"The mystery behind Frank Ocean's recently-released visual album, Endless, continues to unfurl with another piece of the puzzle revealed. In an Instagram post, Tillmans revealed that his track, 'Device Control,' was the closing song on Ocean's Endless" --Vice, August 22, 2016. This EP is the only physical release of photographer and musician Wolfgang Tillmans's "Device Control," following its digital release as part of Frank Ocean's Endless and the wave of coverage that ensued ("The photographer is on the hottest record of the year." --Artnet). The Device Control EP also includes three remixes of "Make It Up As You Go Along" from Tillmans's 2016 2016 / 1986 EP (FRAGILE 001EP) -- two by Daniel Wang & J.E.E.P. and one by Salem, ahead of the witch house trio's first album since 2010.
The Ape Of Naples
Double LP version. 2016 version. Pressed using the original Ape Of Naples plates approved by Peter Christopherson. The Ape Of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape Of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece.The Ape Of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece. Packaged in a heavy tip-on gatefold sleeve with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is house in a printed inner sleeve and side D is printed with all three original etchings. Lyrics are printed across the gatefold.
180-gram LP version. Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
LP version. Beyond Welcome! is an album of music that didn't exist before, made by people whose collaboration is altogether rather improbable, developed out of political-performative interventions in public spaces, and created against the backdrop of the recent migration movements to Europe. Beyond Welcome! is about border regimes, jazz, post-punk, electronic Afro-kraut music, the Germans and the non-Germans, about an encounter that goes beyond the "welcome culture", about staying strong without legal papers, about social dances and NATO, about Yoruba gods, about Eurocentrism, about ingenious dilettantes and the impossibilities of even imagining a different world, let alone wanting to push for it. Schwabinggrad Ballett, a political and performance collective that was founded in Hamburg at the beginning of the new millennium, began, in the spring of 2014, to work with Lampedusa activists living in Hamburg - a conglomerate of people from different African countries who fled to Germany prior to the outbreak of war in Libya, and who are still fighting for their right to stay. Raw musical ideas arose from their various performances and political interventions in Vienna, Hamburg, Berlin, Bremen and other cities. These ideas created a framework around agitprop didactic plays and confronted the demonstrators and demonstrations with experimental dance music played on instruments that were mobile enough to be carried on the street - old drum kit parts, analog synthesizers, melodica, xylophone, congas, a nineties sampler or the Böhmat, a Brechtian organ machine from the '70s. Much like Schwabinggrad Ballett's debut in 2006 (STAUB 061CD/LP), this album was created in a commune-like camp atmosphere that brings to mind the marathon sessions in Sun Ra's Sun Studio in New York or Can in their studio in Weilerswist. In the winter of 2015/16, Schwabinggrad and Arrivati, a performance group that arose from the Lampedusa movement, rented a converted barn in Gut Reichenow in Brandenburg. After seven days and nights, 16 songs were finished, ten of which made it onto Beyond Welcome!. Three further tracks were recorded at the Art Blakey Studio in St. Pauli, Hamburg. Schwabinggrad Ballett and Arrivati are: Dieudonné Eboth, Jeano Elong, Ted Gaier, Charalambos Ganotis, Sylvie Kretzschmar, Latoya Manly-Spain, Heiko Marn, Heike Nöth, Peter Ott, Liz Rech, Christine Schulz, Oumar Traore, Margarita Tsomou, Christoph Twickel, Asuquo Udo and numerous other people who took part in their interventions, performances and concerts over the last years.
Noah Howard was an American alto saxophonist and a member of the avant-garde jazz movement of the 1960s and, amongst many influential albums, made the seminal Black Ark album with Arthur Doyle in 1969 (WEAVIL 024CD/LP). This album came about as a result of Justin Wiggan's love of Howard's music. Five years after Howard's death in 2010, Justin was in touch with his wife, Lieve Fransen, and learned that Noah had made a large number of private recordings playing solo on the alto saxophone. Lieve gave Justin access to these recordings and the freedom to develop an album in which he built electronic soundscapes around these solo passages. He then asked Chris Mapp to add bass lines to the foundation. The resulting music has been composed and edited by Wiggan to form this album. Includes download code. Edition of 500.
LP edition of Rizan Said's King of Keyboard, originally released as a CD by Beirut-based Annihaya Records in 2015 (END 011CD). Reissued by Discrepant in collaboration with Annihaya. ''There is no other Syrian dabke musician that has enjoyed the local, regional, national, and international recognition that Rizan Said has, and for that, the world is lucky. Rizan is a musical ambassador from a disappeared Syria, and this is not to be taken lightly. Once upon a time, not too long ago, Syria was a culturally diverse country possessing a certain unity. A place not synonymous with barbarism and savagery. Far from the capital of Damascus, the northeast of the country, known as the Jazeera, was rich with history and culture. Rizan was a musical prodigy from a young age -- a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan the boy wonder was already sending his signals out from the Jazeera frontier, thanks to a partnership with local producer Zuhir Maksi. It can be said, that without Rizan Said, a good number of Syrian singers from the 1990s onward might never have been heard -- most notably Omar Souleyman, a collaborator with Rizan for two decades. Where synthesizers can bring a certain artifice and death to the sound of music, Rizan's torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds -- lightning fast as required -- respectfully forcing the component sounds of folkloric dabke into the next level. This is the updated sound of the ages, where hand drums and reed flutes are now emulated and pounded out on Korg keyboards'' --Mark Gergis, April, 2015. RIYL Omar Souleyman, EEK.
"The latest stop on the brilliant arc of the Guerilla Toss trajectory, Live in Nashville captures the unpredictable ecstasy of the band in live performance. From the Fat Worm-like form-breakdown of 'Drip Decay' to the irresistibly lop-sided groove of 'Diamond Girls', this is how Guerilla Toss was meant to be heard: very live and very loud. Although they change bass players the way Spinal Tap went through drummers, the core of this Boston combo - vocalist Kassie Carlson, and guitarists Peter Negroponte and Arian Shafiee - have remained a constant through their evolution. Beginning as a wildly anarchic take on the noise-art paradigm, they began to develop their strong rhythmic base almost immediately, and it's still the balance (or imbalance) between these elements that give them their secret power. An amazing concert act, this is the first real documentation of their live show. And while it's only an approximation of the full-on in-your-face experience of Guerilla Toss as their trouser-wetting best, it will do for the nonce. Nashville - come for the hot chicken, stay for the shattered disco balls. You'll be glad you did." -- Ted Lee (2016). Edition of 800.
Close friends and metalheads Phillip Tielsch (Von Spar) and Mario Katz (Cologne Tape) have long been meeting for guitar sessions, trying to "take in the essence of their favorite metal records and digest it in their own sound." Quite ambitious, but without any release plans. Magazine's Jens-Uwe Beyer found out about their project and pushed them to produce an uncompromising condensate of their raw material. Beyer cut here and there, contributed some additional production and also got John Stanier (Battles) in the boat for the drums along with Mario Katz. So Zon became a band and their first album, Palace, is an intense and sharp-edged instrumental metal set. Crato's B-side counterpart, a 27 minute drone ambient interpretation of the Zon material, completes this literally thrilling album. Wrapped up by John Harten's unique artwork series. 45 minute playtime. Features an endless loop on side A and inside out cut on side B-side. 180 gram vinyl comes in heavy stock sleeves.
Inna NICE UP! Fashion
Double LP version. Undoubtedly one of the most iconic and legendary reggae labels to come out of the UK, Fashion Records has a rich and deep history. Inna NICE UP! Fashion aims to bring new life to some of these legendary tracks by having modern day producers rework them in their own style and introduce them to a new audience. From the frantic breakbeats of rave-revivalist Special Request and the bottom-end sonics of Toddla T & Melé, to the modern minimalist dancehall-tech of Machinedrum and the digital dub drone of The Bug, there is plenty to get excited about here. Poland's Radikal Guru serves up some classic dubstep, Germany's Jahtari crew take it back into '80s nostalgia with their 8-bit dancehall style, whilst modern reggae producers Wrongtom, Jstar and Mr Benn all show why they are on the forefront of the UK reggae revival. The tempo gets upped for some heavier jungle inspired remixes from Aries & Gold Dubs, Serial Killaz and festival favorites Dub Pistols, giving a little bit of something for everybody. Features reworkings of songs originally by: Asher Senator, Starkey Banton, General Levy, Papa San, Cutty Rank, Bunny Genera, Daddy Freddy, Tenor Fly, Top Cat, Johnny Clarke, Andrew Paul and Pato Banton.
Dennis Bovell presents Heaven. From Bovell's 1981 album Brain Damage is the magnificent "Heaven", a disco dub afro-sound dance floor bomb that somehow manages to sound more current today than it did 35 years ago. Also included is a slightly edited version that removes some of the vocals to focus on the groove a little more. The legendary "Escape Goat Dub" from 1981 sees Dennis outputting a crazy dub track with Garland Jeffreys to work on his new album. "Smouche" is another track from Brain Damage; three minutes of dub, funk-inflected Moogy summery joy.
Barker & Baumecker present the two track 12" Love Hertz/Cipher. "Love Hertz" is a blissful, uplifting, melodic and - at times - bluesy UK bass-inspired cut, shuffling and playfully flicking throughout. The record's alternate lead track "Cipher" is a rework of a two-part track. The track's atmospheric build-up eventually turns in favor of a heavy, dark kick drum and multi-layered percussion, feeling at times as if the duo's hammering onto Berghain's steel staircase. Barker & Baumecker are sound fetishists, carefully and scrupulously sculpting their clang on analog synth machinery, all without turning to cacophony and always staying compositionally sound.
Pampa welcomes Berlin's Mike Denhert for his label debut. Mike provides two original tracks that are as distinct as they are relentless, possessed of a cerebral quality that belies their tough and stripped back aesthetic. "How Close To Be" is a stuttering march of half-heard and half-imagined discourse. It's both surprising and linear. "Me Too" is also a creature of opposing ideologies. Warped moving jazz plays with static motorik patterns, automation curls around repetition, and textures change position throughout.
Trojan is an unmistakable Ishan Sound production, in perfect combination with Rider Shafique who steps up in authoritative style, going full charge with lyrical firepower. The "Version" lets the rhythm take full control, for extended dub-wise pressure. The infamous Gorgon Sound remix, sonically pretty much exactly between the sounds of Bandulu and Gorgon, with their extra overdriven low-end and amplified, multiplied kick drum pattern. Dubkasm flips the energetic steppers on its head in favor of an uplifting one-drop beat, giving the vocal and rhythm a brand new space and presence.
LP version. First pressing of 500. Includes CD. Bushman's Revenge have been called the missing link between Albert Ayler and Black Sabbath and a Marshall amp version of John Coltrane's Interstellar Space (1974). With Jazz, Fritt Etter Hukommelsen, their eighth album, they go all the way back to their humble beginnings and for the first time do what can loosely be dubbed a "proper" jazz album, hence the album title which translates to "Jazz, From Memory" in English. The goal, according to guitarist Even Hermansen, is still to explore the link between the Shorter/Coltrane world on one side and electric blues/Hendrix on the other, but without having to turn everything up to eleven. Sporting four originals and two covers - McCoy Tyner's "Contemplation" and Albert Ayler´s "Angels" - this is easily their most confident, spiritual, heartfelt and fully realized album. "Gamle Plata Til Arne" originates from the first ever jam session they had before starting the band and the album closer "Lola Mit Dem Gorgonzola" is an elegant slice of Scandinavian summer melancholy, in a jazz tradition first explored by legendary Swedish jazz pianist Jan Johanson in the mid '60s.
Wata Igarashi's decades of experience composing music for TV, web, live events, and beyond taught him the ins-and-outs of electronic music production - "the mood of his machines" - and led him to develop mind-bending techno timbres that recall the hypnotic artistry of Rrose or Donato Dozzy. Mood Of The Machines, a pristine techno record so perfectly composed, so tightly woven, simply speaks for itself. Each of the four untitled tracks offers a different bassline groove paired with slowly unfurling cosmic sound design, featuring synthesizer leads that sound like an aural glimpse into the inner workings of your brain.
Restocked. 75 Dollar Bill, a project by Che Chen and Rick Brown present Wood/Metal/Plastic/Pattern/Rhythm/Rock. "Che's interest in the Arabic modes of Mauritanian music has marked our sound quite a bit but I have brought some things, too. The plywood crate I play is a big factor, defining, by its positive qualities (a nice warm 'boom' sound) as well as by its simplicity, what we're likely to do in the percussion realm. Wood/Metal/Plastic/Pattern/Rhythm/Rock, this new record, differs quite a bit from the previous one, notably in the rhythmic 'tone.' Wooden Bag (2015) was all forward momentum, stomping and shaking, but the new record explores a long-standing interest of mine: odd and 'compound' meters. In most of my previous musical activities, I've convinced my partners to delve into this, but in 75 Dollar Bill it has just felt natural and I believe Che's modal investigations and melodic/harmonic tendencies enhance (and are enhanced by) this combination. The current record differs from the last in another big way: reinforcements! Over our few years together, Che and I have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who don't all appear on this record but here we are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capp's Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxville's Give Thanks) on floor tom. Please enjoy Wood/Metal/Plastic/Pattern/Rhythm/Rock. 'Earth' saw is one of our earliest tunes and, I think, the first result of this 'compound meter' approach. It's a slow 9 beat phrase Che came up with for this odd groove. 'Beni Said' has no fixed rhythmic cycle but a roughly unison melodic phrase and a pulsing, loose feeling of 3s and 4s played using a box full of bottle caps. 'Cummins Falls' features Carey Balch on Diddley-beat floor tom and me reprising the maracas. 'I'm Not Trying To Wake Up' is another of our compound meter songs, this one using an 18 beat scheme." - Rick Brown
180-gram LP version. Includes eight-page booklet. The 50th anniversary reissue of Bobby Hebb's Sunny, originally released in 1966. No soul singer of the 1960s boasted the singular array of contrasting influences that Bobby Hebb brought to the table. Hebb came up primarily country in his hometown of Nashville, proceeded to immerse himself in the hip New York jazz and R&B scenes, and had his biggest hit in 1966 with the self-penned "Sunny", a pop classic, a world hit and one of the most recorded songs of the century. Before 1961 was over, Hebb set out for New York and landed a booking at a nightspot called the Blue Morocco that lasted for more than a year. Hebb was soon ready to try out a solo singer-songwriter act on the big apple circuit. Bobby Hebb's brother Harald was murdered on the day after President Kennedy's assassination in November of 1963, but contrary to legend, those tragedies weren't the primary catalysts for Hebb to write "Sunny". They may have figured into it somehow, along with the civil rights struggle then in full swing. In one interview, he mentioned being lyrically inspired by a purple New York sunrise after a long night out on the town. Producer Jerry Ross conducted his Mercury sessions at New York's Bell Sound with a coterie of top session men that included guitarists Vinnie Bell and Eric Gale. Ross recruited Joe Renzetti, a former Philly session guitarist, as his arranger for Hebb's first Philips session. Surprisingly, "Sunny" was the last song waxed on February 21, 1966 at Bell Sound. First up was "Bread", a surging soul number about filthy lucre written by Hebb. Then came the Jimmy Roach-penned rocker "I Am Your Man" (featuring one of Bobby's fieriest vocal performances) and a relentless "Love Love Love", the work of Ross and Renzetti. Finally, they got around to laying "Sunny" on tape. Bobby's inspiring lyrics and riveting vocal were exquisitely supported by Renzetti's modulating arrangement, steadily building excitement from start to finish. "Sunny" broke out during the spring of '66, catapulting to #2 pop and #3 R&B in Billboard as it went gold. Suddenly Bobby was in high demand, appearing as one of the preliminary acts on The Beatles's last American tour.
Tom Trago presents Being Broke -- a bright and groovy three-tracker aimed straight at the dancefloor. The title-track is a bumping house groove built with playful vocal samples and nifty synth lines. Next are two versions of "Good Lies" -- the first rolling out over its elongated duration with sharp, galloping hats and free-flowing Rhodes notes. The "Good Christian Edit" offers up a lighter, more early-doors affair bringing a nicely rounded package to a close.
In line with previous compilations - but this time on vinyl - the Crudités label, affiliated with SDZ Records, present Tendres Ténèbres, eleven variations on the themes of lullabies and sleep. Includes side-projects of French underground sensations Elg and Cheveu. Features: Gabrielle Maes, Ray Yours & The F, Space Blue, Mulan Serrico, Olie Boue, Nicolalala, Maria Violenza, Delacave, Youkounkoun, Charlène Répétition and Elatu Nessa. 180-gram LP. Includes download code for full album plus four digital bonus tracks.
The Woman At The End Of The World (A Mulher Do Fim Do Mundo)
Repressed. Pitchfork: 8.4 -- Best New Music. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
Tracks by Scientist, Barrington Levy, Johnny Osbourne, Linval Thompson, Wayne Wade, Wade Brammer, Barry Brown, Sammy Dread, and Wailing Souls. Produced by Brad Osborne.
Number stamped. Edition of 3500. Presented in a beautiful cover made by Pepe Bradock, sealed and shrink-wrapped.
2016 repress. Originally released in 2009. For more than thirty years, Prince indefatigably attacked the bulwarks which separate funk, rock, pop and hip-hop. This is a deluxe gatefold release composed of two slabs of vinyl (Lotusflow3r and MPLSound also included on CDs) as well as a poster. "On LotusFlow3r Prince has a specific mission: showcasing his long-underrated guitar playing. Whether it's the spare funk of 'Wall of Berlin,' the metal grind of 'Dreamer' or the hazy cover of 'Crimson and Clover,' the music kicks into high gear when Prince starts soloing, delivering one epic face melter after another in a style halfway between David Gilmour's and Eddie Hazel's." Gavin Edwards (Rolling Stone, 2009)
French pop connoisseurs La Femme present Mystère. La Femme have made a huge mark on modern Paris's cultural landscape, with the two sides of the city - the glamour and the grit - ingrained in their music. Since the release of their debut album, Psycho Tropical Berlin (BORNBAD 051LP, 2013), their rise has only gained momentum with fans including directors Jacques Audiard and Romain Gavras to legends Jean Michel Jarre and Hedi Slimane. Returning with a more psychedelic sound and guest vocalists that slice through the starkest of electro beats, Mystère sees La Femme celebrating their wonderful city. From the chattering tête-à-tête heard on "Conversations Nocturnes" to the throbbing disco beat of "SSD", a direct reference to the pulsing nightlife hotspot and multi-cultural district Strasbourg Saint Denis where the band is based. Mystère's true intrigue however, lies in La Femme's enigmatic questioning of falling in and out of love. A compendium of short stories describing loves and losses, each song breaks down language barriers through an inventive and astute knack for melody. The elation of a passionate encounter is captured on the ricocheting electronics of "Tatiana", the melancholic acoustic guitar echoes in "Le Vide Est Ton Nouveau Prenom" and the sorrow of a war-torn couple in "Psyzook". Whether delicate or drenched in dirty disco, the impact of Clémence, Marlon and Sacha's gothic mantras mixed with the guest vocal talent of Clara Luciani, Jane Peynot, Naomi Greene, Mathilde Marlière, Angela Hureau, Battista Acquaviva and Sarah Ben Abdallah is perhaps where La Femme's true meaning can be found. Sacha on his band's all-inclusive philosophy: "We don't like the idea of having a leader or a chief: everyone brings to the band what they can and want." Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, Mystère once again sees backgrounds blurred and worlds collide. The band's chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it's layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons's disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band's new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.
Double LP version. Gatefold sleeve. "Physicalist is the third album from New York City synthesis trio Forma. Since their acclaimed self-titled debut in 2011, Forma have been perfecting a distinctive style of improvised kosmische and minimalism that blends swirling arpeggios, ambient soundscapes, and driving motorik beats. Physicalist is a sprawling, double LP journey featuring new member and multi-instrumentalist John Also Bennett. The first Forma album to include acoustic instrumentation, Physicalist owes more to American composers like Harold Budd or Terry Riley than Klaus Schulze and other Krautrock visionaries. The album was recorded during marathon sessions at Brooklyn's Gary's Electric studio, and is packaged in a gatefold jacket with original artwork by Robert Beatty and a liner notes essay by writer and critic Michael Barron. Physicalist was mastered by Bob Weston. Formed in 2010 by Mark Dwinell in Bushwick, Brooklyn, Forma released their first two full-length LPs on John Elliot's influential Editions Mego imprint, Spectrum Spools. Physicalist is the first full-length statement from the new lineup, which also includes founding member and percussionist George Bennett. The double LP contains two distinct halves; the first consisting of rhythmic compositions derived from the trio's formidable array of modular and vintage synthesizers, and the second breaking from the grid with ambient, free-flowing experiments on piano, flute and acoustic percussion. The album marks a departure from Cool Haptics, the group's techno-leaning 2014 EP on The Bunker New York. Physicalist takes its title from physicalism, the philosophical belief that all phenomena in the universe are created entirely from physical interactions. Using a synthesizer as its foundation, kosmische music turns algorithms into art by investigating infinite possibilities within a set of physical parameters. The electronic composer Laurie Spiegel once suggested that a looped algorithmic sequence could go on forever, and as long as humans were able to interact with it, it would never cease to interest us. This is the bedrock of improvisation, and it is from this vantage point that Forma have created Physicalist, an American kosmische music in which a boundless voyage gives way to a structured environment -- a programmed jazz with the grid as guidepost. 'We're not interested in providing an escapism for people,' says member Mark Dwinell, 'We want to instead connect with people through a vigilantly monitored present. To us, that real moment, shed of any fancy, is just as divine.'"
Darmstadt Aural Documents - Box 2 CD
Distress Signals I (Grey Vinyl) 2LP
Distress Signals II (Red Vinyl) LP
Body Samples (Purple Vinyl) 2LP
Larva Lumps And Baby Bumps 2LP
The Double Life of Véronique LP+CD
The Woman At The End Of The World (A Mulher Do Fim Do Mundo) CD
Bananafish Gardens, NY LP
No Friend Fi Dem/Ripper Riddim 7"
From Dust We Came... To Dust We Return LP
Live... Montevideo... November... '94 CD
Dancing & Romancing Vol. 3 12"
Constant Permutation Part 1 12"
Songs the Bonzo Dog Band Taught Us: A Pre History of the Bonzos 2LP
Paul's Mall Jazz Workshop Boston November 1973 CD
Summer Solstice Edition 12"
Soviet Aesthetics Vol.1 LP
A Morning Without Glory 12"
Inventions for Electric Guitar LP
Magnectic Transducer EP 12"
Awake But Always Dreaming LP
Inna NICE UP! Fashion 2LP
Reflection Feat. Black Soda 12"
Gentlemen Cuts (Vol. 2) 12"
Jazz, Fritt Etter Hukommelsen LP+CD
Le Villejuif Underground LP
Gunman/Caught In A Trip 12"
Communication (Box Set) LP BOX/2x7"/CD
The 50th Anniversary Collection Of Sunny LP
That's All I Wanna Know LP+CD