Art Yard continues their voyage into the omniverse of unreleased Sun Ra tapes with I Roam The Cosmos, an unreleased, previously unheard 1972 live session recorded at Slug's Saloon in New York. Fronting a stellar 18-piece incarnation of the Arkestra, I Roam The Cosmos finds Sun Ra taking the listener on a poetic journey to the outer limits of planetary awareness. While the captain of the space-ship declaims his message with Arkestra vocalist June Tyson as co-pilot, the Arkestra voyage into the solar centers of esoteric astro-black knowledge aboard a comet-trail jam on "Discipline 27-II". As current Arkestra member Knoel Scott observes in his liner notes, "Sun Ra was a teacher, come down to earth to spread the enlightenment of the ancients and advance the alter-destiny of humankind. This earth was not his home: he was here to wake the sleepers, and to make sure no-one would forget his message. The universe sent him to converse with us, and I Roam The Cosmos is another unique message from Saturn, delivered for tomorrow's world by Art Yard Records." Liner notes by Knoel Scott and Irwin Chusid. Limited 180 gram vinyl pressing with tip on sleeve.
Alle Sorgenti Delle Civilta
The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). This release compiles her contributions of Folkmusic releases Alle Sorgenti Delle Civiltà volumes One and Two to create her first-ever dedicated artist album under any of her recording monikers. Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop) combining the ethos of Can's "Ethnological Forgery Series" (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks. Remastered from the original Flipper master tapes in collaboration with the Di Bari family. Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country's vibrant, and seldom rivalled musical secret society. The cliché "behind every successful man, there is a strong woman" might not do Alessandro and Giulia's long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni's limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo's finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984, Giulia's collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens (1969), Revolver (SPITTLE 056LP, 1973), Questo Sporco Mondo Meraviglioso (1971), The Night Evelyn Came Out Of The Tomb (1971), Angoscia (1975), Inchiesta Giudiziaria (1971) and Witchcraft '70 (Angeli Bianchi Angeli Neri) (1970) earning increasing "Most Wanted" status on the collectors market. It is of no coincidence that Giulia's nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis's seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.
Ritual Chants is a stellar earthbound and outer space odyssey spanning three discs, respectfully embellishing Psychemagik's taste and passion for the wonderful, the sublime and very often unusual. Ritual Chants skillfully shows insights into applying retro finds into a contemporary setting, much of the material acquired via world tours and capturing the excitement of finding and sharing lost jewels. Compiled by Danny McLewin, the renowned record digger of the duo, the three discs are carefully programmed and sequenced into three themes: Love, Beach and Dance, all of which tenderly demonstrate curious ears with a respectful nod to the past and the future via such touchstones as the pre-new age emanations of "Water Sports" by Man Parrish, a beautiful tranquil and cascading synth poem which soothes and pulses, and the sublime and haunting "God's Garden" by John J. Francis. Along with the two mentioned tracks, Love features the Gallic seduction of "L'Amour Joue Au Violon" by Jeanette, a real string-swept lost masterpiece reminiscent of Melody Nelson-era Serge Gainsbourg. On Beach, the booming drum machine mechanics of "Hangin' Out In Space" by Tony Wilson is a galactic deep-fried boogie which will have even robots shaking their metal-ware into the long wee hours, as will the hypnotic Arabic infused brew made by Golden Hands on "Take Me Back". The semi discordant funk of Zru Vogue's "Do the Zru", reminiscent of a later era Can, finds its place on Beach as well. Dance opens with phenomenal and unknown cuts such as "Love And Happiness" by Mansour Sallama and Ennio Morricone's disco-infused hybrid cut "Dance On" adding magic and mysticism, and high quality floor polishers such as Pop-Corn Makers's "Nothing", a sweaty gyrating slice of European sleaze. Psychemagik are a duo as infamous for their production technique as their DJ skills, their prolific edits laced with subtle studio production re-interpreting vintage gems and giving them a contemporary bounce. Love features: The Rias Orchestra, John J. Francis, Chac Mool, Kraan, G.R.C. Five, Free Fantasy, Wavemaker, Bobby Lyle, Babla & Kanchan, FG's Romance, Etienne Vermoessen & Guido Delo, Musyl & Joseppa and Karat. Beach features: El Sueño De Hyparco, Minako Yoshida, Adrian Gurvitz, Hitomi Tohyama, Chagrin D'Amour, Amini, Electric Machine, Jean Guy Ruff, J.M. Black and Danny Boy. Dance features: La P'tite Fred, The Right Combination, Sharpio, Grant Santino, Dionne, Will To Power, Raoul Denis Jr, Dan Lacksman and Family Four.
LP version. 180 gram vinyl with obi strip. Far Out Recordings present a reissue of Jose Mauro's forgotten masterpiece Obnoxius, recorded in 1970 for Quartin. Over the course of the '60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year, including Obnoxius. Jose Mauro is an increasingly rare phenomenon. Mauro is said to have died in a car accident shortly before the release of Obnoxious, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. Production on the record was cancelled after Mauro's death and it was never sold commercially until it was rereleased decades later. The title track is a wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro's yearning vocals. The result is indicative of Mauro's unique blend of sounds from Latin jazz and samba to psychedelic folk and baroque orchestration. Today, Obnoxious retains its strange, otherworldly appeal - a firm favorite among a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points and DJ Nuts. Jose Mauro's mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro's confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener in an almost trance-like state of ecstasy. Obnoxius is Mauro's long hidden masterpiece, a complex and uniquely stunning work. All tracks on the record were composed by Mauro and Ana Maria Bahiana. Personnel: Maurilio - trumpet; Paulo Moura - alto sax; Altamiro Carrilho - flute; Rildo Hora - harmonica; Salvador - organ, piano, harpsichord; Geraldo Vespar - guitar; Jose Mauro - violao; Sebastiao Marinho - bass; Juqinha and Mamao - percussion; Wilson das Neves - drums; Roberto Quartin - string formation.
LP version. Includes download code. After the widely noticed performance at the "Acht Brücken Festival 2016" at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich's "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich's composition but still far more than just that - it is a modern approach to his idea behind it. The basic idea came up at the beginning of the '70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where "Six Pianos" developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form "Six Pianos" in dignified modernity and top it off with today's sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture - "Six Pianos" the way it should be looked at in 2016. Jan Brauer mixed "Six Pianos" in the studio while Lukas Vogel provided delays for the "Keyboard Study #1". "Keyboard Study #1" by Terry Riley is a worthy companion for Reich's composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach's assumption: "Terry Riley's and Steve Reich's music are open doors for pianists socialized by pop music and their audience."
Brand-new, rambunctious, rootsy, spiritual brass-band music from Lagos, with singing, drums and home-made percussion. Obadikah is a group of old friends who play together in the Cherubim & Seraphim and Baptist churches of the Ikeja and Isale Eko districts. A couple of them were founder-members of the Eko Brass Band; they've played with pretty much all the key Nigerian reggae artists. The tunes are mostly traditional Yoruban melodies, often sung at bed-time. The songs are mostly original, sung in Yoruba (though "Jomido" is an Egun song from the Badagry area of Lagos state).
Double LP version. Gatefold sleeve. A project that came to life fueled by collector's obsession and a life-long willingness to dive head-first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013's Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland, their first album since 2012's Elemental, has been constructed with a narrative in mind. From the clipped hard-style of the opening "Curzon", through the jaunty dancehall mutations of "Animal Style" and "FullEdge", exotica/house refractions on "Hardnoise", the frankly ridiculous, bass-bin destroying jungle ructions on "Sourcer", or the extended tease of "Overstaying", it's probably the most enjoyable and loose-limbed hour of music in their catalog, or that you'll likely hear in these weird, angst-ridden times. Mastered and cut by Matt Colton.
Sold out; repress will available Feb/2017. Radio Martiko present a reissue of Abdou El Omari's Nuits D'été, originally released in Morocco in 1976. Reissue of this ultra-rare oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced-out modern sounds. First part of Abdou El Omari's Nuits trilogy. Includes download code.
LP version. White vinyl. "Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history's greatest lovers, and Two Virgins is the document of the pair falling in love in real time. The album is a curious and amazing suite recorded over one weekend in Spring 1968 at Lennon's Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. The now-iconic cover (featuring Ono and Lennon standing nude together) not-with-standing, nothing about Two Virgins is safe. It would be a risky move today for artists in the larger, pop-culture conversation just as it was a risky move in 1969. But this is an uncomfortably private, two-person dialogue about - and celebration of experimentation, inspiration and play. And these two souls bravely let us look through the keyhole."
LP version. 180 gram vinyl. Includes CD. Edition of 500. Tapete present a reissue of Slapp Happy's Sort Of, originally released in 1972. Left-wing intellectual film critic Uwe Nettelbeck, who had good connections to Polydor, had set up his own studio in rural Wümme, disrupting the mainstream with pioneering sounds by the likes of Faust, inventively engineered by the "boffin's boffin", Kurt Graupner. By the time Anthony Moore, one of Nettelbeck's charges, approached his third album in 1972, Polydor's accounting department was fast losing patience with all that experimentalism. So Nettelbeck suggested to Moore that he might write some straight songs (relatively speaking), which in turn prompted Moore to invite his old school friend Peter Blegvad over to Hamburg to form the band Slapp Happy. Dagmar Krause, a young singer from Hamburg and Moore's girlfriend, joined them both on their trip to Wümme to record what was to become Sort Of, using Faust as a backing band. A second album emerged, eschewing, even more clearly than the Sort Of, the heavy rock idioms of the era for an anti-macho playfulness that presaged the sparseness of post punk and the dry jangle of early indie. Nonetheless, Polydor pulled the plug, and Uwe Nettelbeck signed Faust and Slapp Happy over to Richard Branson's nascent Virgin imprint. At the Manor, they would rerecord their second album with UK musicians, bells and whistles for a 1974 release as Slapp Happy, burying the original version in the vaults not to reemerge until 1980 as Acnalbasac Noom (TR 356CD/LP). After being asked which version they prefer today, the band does not take long to choose: "For the more direct approach it would have to be Acnalbasac Noom. It had a naïve spontaneity to it. Naïve in the nicest sense of the word." CD version includes one bonus track and comes in an edition of 500.
"When Spacemen 3 -- the seminal, drone-indulgent English psych duo comprised of Peter Kember and Jason Pierce -- split in 1991, Pierce shuffled off to acclaim in Spiritualized. Meanwhile, Kember charted a less predictable course. As Sonic Boom, he released Spectrum in 1990, then, after taking a liking to that handle, released Soul Kill (Glide Divide) as Spectrum in 1992. Kemper alternated between those monikers and Experimental Audio Research (E.A.R.) throughout the 1990s, building a rich, probing catalog of synth and electronic explorations of which 1997's Forever Alien is an undeniable high point. With theremin, vocoder, and an array of modular analog synthesizers (depicted lovingly in the cover art) Kemper, along with Alf Hardy and Pete Bassman, fused kosmische abstraction and the pulsation of minimalist composition to more traditional psych elements epitomized by early Pink Floyd. Landing between the unfettered experiments of E.A.R. and Spacemen 3's songcraft ('How Does it Feel?' is scarily reimagined), Kemper crafts unnerving atmosphere on the title track and an enduring catalog high point on the consummate opener, 'Feels Like I'm Slipping Away.' Forever Alien leaves no doubts about the reasons for Kemper's sought-after production today (he played a vital role for Animal Collective and sculpted Panda Bear's most recent album) -- nor the essential status of his post- Spacemen 3 output."
Previously un-issued recordings from the Porn Art Movement (1980-1982), including five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the anti-normative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. His use of stigmatizing words in these Porn-poems transformed them from denigrating to empowering, through political critique and defiance. The LP also includes the "Manifesto Pornô" (1980) and four recordings of "Flatographic Poems" from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flow as material. "Flatographic Poems" have visual scores - one of which can be seen on the cover - for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the movement to literally explore the internal side of the body. Includes an LP-size 40-page full-color book with full documentation on the Porn Art Movement. Edition of 270.
Black Truffle present Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney. The two are musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo, on The Face Of The Earth (2012) and Aestuarium (SOMA 002LP, 2011), most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations. On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's "Thoughts On Being Exiled To The Frontier, For Lord Wei", inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which at times is reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature, the piece opens a space both serene and subtly uneasy. Kenney's "Elm" features Kenney and vocalist Nova Ruth (Filastine, Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara IV). The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. Presented in a deluxe sleeve designed by Stephen O'Malley; Mastered and cut by Rashad Becker; Cut at 45rpm for maximum fidelity.
Dagored present Ennio Morricone's famous soundtrack composed for the 1971 Franco Rubartelli documentary Veruschka, Poesia Di Una Donna. The documentary was about the legendary Veruschka, the world's first supermodel and '60s/'70s icon, who appeared in several cult movies including Blow Up (1966), Salome (1972) and Couleur Chair (1978). In Rubartelli's movie, the viewer follows the beautiful model in a shockingly surreal journey through the rural countryside of Italy on a downward spiral of self-discovery that leads her through so many whacked out head trips; heavily dark and sad with some of the most stunning psychedelic eye candy you can find from the freak-out era of filmmaking, perfectly tuned with one of Ennio Morricone's best scores. A true one kind of experience. Limited deluxe gatefold edition; Double LP on pink and white vinyl.
Makam, aka Guy Blanken, returns to Dekmantel Records with his first full-length album for the Amsterdam based label. Blanken's ongoing search for fresh sounds, textures and rhythms has lead him to Than Sadet, a gorgeous piece of work that takes his sound into new directions. Than Sadet displays a refinement of Makam's sound. The music is highly tactile, with an emphasis on the surroundings of the environment in which it was created. Blanken on the records: "Than Sadet is a secluded beach on an island in Thailand. A mysterious atmosphere haunts it. It's windy and the weather is always a bit worse compared to the rest of the isle. There are many cliffs and you can't swim because the waves are too high. Four years ago, I visited Than Sadet for the first time and I've been coming back ever since. At one point I decided to bring my studio equipment. For a week, I dedicated my days to making music. Those sketches formed the basis of the album." The inspiration on Than Sadet is obvious: From billowing percussion through windswept strings, to passages of strange bird calls, across desolate tracts of calving synthesizers, to a climax with a finale of petrifying thunder drums. The levels of dramatic suspense are sky-high, and mostly downbeat and mid-tempo grooves operating beyond the dancefloor. Blanken explains further: "Each track is based on a particular Than Sadet aesthetic. For example, 'Mr. Singh' is a masseur on the beach who uses fire while doing his shiatsus. 'Buddha's Bridge' is a wooden bridge that leads to an impressive Buddha monument; 'Seven Kings' is an ode to a local waterfall. Tracks like 'Mai Pen Rai' and 'When Light Gives You Hope' are representative for Than Sadet. I tried to create an introspective album that does what the island did to me: it puts life into perspective."
Mr. Oizo (aka Quentin Dupieux), the French producer and pioneer of modern electro alongside Daft Punk, Air and Cassius simply can't and won't stop working. Having released five studio albums, four original soundtracks, a multitude of EPs and directed six movies over the past 20 years, the "Godfather" is back with All Wet. And this time, he is not alone as the track list features an impressive selection of quality guests: Peaches, Boys Noize, Skrillex and Charli XCX among others. All Wet will be a new occasion to further explore the mind of one of the most fantastically uncommon artist today. Also features: Tetanos, Phra, Siriusmo and Mocky. Comes in gatefold sleeve with standard black vinyl. Includes CD.
Editions Mego present the third release by Sendai, Ground and Figure. Comprised of Peter Van Hoesen and Yves de Mey, Ground and Figure presents the duo residing in a more economic framework which allows the sound and rhythm they produce more room to shift, swirl and swim the circumference of the audio spectrum. Moving away from the twitchiness and anxiety of the earlier output, Ground and Figure is a vast spacious journey from a duo in full control of their chosen path. Throughout Ground and Figure, abstraction and rhythm weave among each other in such a sly manner that the resulting tension in the conflicting elements presents the listener with a hypothetical high-tech elastic percussive grid. A thudding, pulsating, shape-shifting ambient beast is summoned by these two creators working as one. This is machine music. This is hypnotic disorientation. This is an immense ambitious and refined world of sound and rhythm. This is the work of two producers who continuously try to top up their skills. Mastered by Giuseppe Tillieci at EnissLab Studio, Rome. Cover image by Cameron Robbins.
A re-work by Mark Ernestus of the opener of Honest Jons's new LP by the Obadikah brass band, from Lagos (HJR 113LP, 2016). Consummate Berlin dub science by the maestro. Beautifully textured, shuffling Lagos funk, on home-made percussion 0 militant, parping horns and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the devil himself.
Intervallo present a reissue of Peymont's Cibernetica, originally released in 1971. Back in 1971, when this real gem of electronic experimentation was released, the term "cybernetic" was used to refer to the future. Or, at least, to an obscure science in the hands of a few experts, conducting experiments in rooms filled with huge electronic calculators. Automated controls, auto-regulation, information theory, those were abstract, uncommon and rarely used concepts which would change the world in a few years, and, in our case, deeply influenced an album which, almost half a century later, remains a mystery. The Greek origin of the word used as a title ("kybernetes", which indicates the pilot of a ship) is not very helpful and it's still a mystery as to who is hiding under the Peymont alias. For many years it was commonly believed that Peymont was Piero Umiliani in disguise, but some of the most respected theories explain that the nickname was used to hide the identity of Luigi Malatesta - composer of film scores, music libraries and, oddly enough, the hymn of the Italian political party Democrazia Cristiana - or the world famous Egisto Macchi (a more fascinating and plausible thesis). The 13 tracks featured on Cibernetica bring to the mind the most abstract and experimental compositions of Macchi. This music is constantly a means to research and explore: the listener can almost see the author and the musicians - whoever they are - locked in a research lab ("Laboratorio Di Ricerche") while assembling thermoionic valves ("Valvole Termoioniche") and artificial kidneys ("Reni Artificiali"), using an oscilloscope ("Oscilloscopio") or an electronic calculator ("Calcolatore Elettronico"), discussing about analysis and distillation ("Analisi E Distillazione"), electronic impulses ("Impulsi Elettronici") and automatism ("Automatismo"). Edition of 400.
Double LP version. Gatefold sleeve with printed inner sleeves. Includes download code. Amiina's latest adventure, Fantômas, was originally composed as a live score to a silent masterpiece from 1913. Amiina's members decided right from the start that the music would also be able to stand on its own, independent of the visual narrative. Fantômas is melancholic and ethereal, yet full of suspense, pounding rhythms, and haunting melodies; A sound world full of contrasts, from darkness and utter terror, to heavenly melodies. The music thoughtfully composed, reoccurring themes and lied-motives build up a delicate structure where the listener can experience the piece as one entity - and then again different tracks or songs can be enjoyed independently. Violin, cello, drums, percussion, metallophone, table harp, ukulele, and electronics are the source material for the sound world of Amiina here, but it is expanded upon with their intelligent and imaginative usage of the different instruments and their varied and endless textures. The score Fantômas premiered in Paris in 2013 at the prestigious, Théâtre du Châtelet, where Amiina, together with musicians James Blackshaw, Tim Hecker, Loney Dear, and Yann Tiersen, took part in a special Halloween event, celebrating the centenary of the Fantômas series, directed by the French film director Louis Feuillade in 1913-1914. The Fantômas series - in five parts - ran for six hours with every musician/band providing their new live score for the series, the music commissioned by Yann Tiersen who curated the event. A huge success right from the beginning, Fantômas is an early example of the interplay between avant-garde intellectual and emerging mass culture, highly regarded by the French avant-garde of the 1920s, especially the surrealists, e.g. René Magritte and Guillame Apollinaire, the latter stating that "from the imaginative standpoint, Fantômas is one of the richest works that exist." When the magical, somewhat fragile sound world of Amiina meets the lord of terror something, unexpected and truly magical happens. Mengi is an operation created and managed by artists in Reykjavik, Iceland.
LP version. Mental Experience present first ever reissue of AK Musick, originally released in 1972. Radical, freaked-out sound with hints of free-jazz, improv and avant-garde, AK Musick was an improv collective assembled by clarinetist Hans Kumpf to "make music in a very democratic way". The five players had a classical education but they were also influenced by avant-garde composers like Helmut Lachenmann and Johannes Fritsch. Their only album, AK Musick, was recorded at the famous Bauer Studios in just three hours and engineered by Martin Wieland, who had previously worked with Keith Jarrett for the ECM label. A wide arrangement of instruments were used: clarinet, cello, oboe, organ, piano, darbuka, tam-tam, ektare, flute, zither. Includes the amazing "Impro-Vision" which sounds like electronic music, but using only natural instruments. AK Musick saw the light in 1972 on Kumpf's own AKM Records label. It was a private homemade edition of 150 copies, with spray-printed covers. During the '70s, AKM Records was also home to other free-jazz rarities like Free Blacks by Perry Robinson/Hans Kumpf (1976), where Hans also collaborated with his friend Wolfgang Dauner, and In Time by Theo Jörgensmann (1977). Reissue under license from Hans Kumpf. Remastered sound; Insert with liner notes by Klemen Breznikar (It's Psychedelic Baby) plus rare photos and memorabilia. LP edition includes download code. RIYL: Anima, Annexus Quam, Albrecht D, Gulda, Nihilist Spasm Band, Nurse With Wound.
Erik K Skodvin returns with a focused album under his Svarte Greiner moniker, releasing two side-long cinematic compositions, continuing where he left off with Black Tie (MIA 023CD, 2013). "The Marble" patiently sets the tone with a slow moving wall of strings underlaid by a warped bass line. A feeling of weightlessness covers the ground while empty space surrounds the listener in an embracing yet uneasy way. It's a gloomy territory with an unexpected extent of grace to encounter. Time gradually illuminates several stages of light and dark before revealing a desolate wasteland filled with electric organisms. "Garden" strikes heavily with rattling string hits and low bass waves quivering through your skull, transforming the scenery into a fallow that is staring right back at you. This could easily be the soundtrack to a nightmarish sleeplessness if it wasn't for carefully scattered comfort zones to be found in unknown territory - What appears to be violent at first soon reveals sheer reflective beauty. However, it is patience and repeated listening that liberate the aspired altered state of consciousness. Originally composed for Marit Følstad's installation art, Moss Garden more than ever consolidates Erik Skodvin's individual idea of soundscape. His approach can be interpreted as an embodiment of the word "Terrific" amelioration: Developing from "Terrifying" over "Intense" to its modern understanding in a little more than two centuries, Svarte Greiner reenacts this metamorphosis within a single recording. Includes an insert and a download code. Edition of 700.
Music From Memory present a few tracks from Heinz Becker, Karl-Heinz Stegmann and Isabel Zeumer's 1987 album Ich Träume So Leise Von Dir. One off German studio project with spoken word and electronics.
Jam-packed with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, The Mechanical Fair drew comparisons to Igor Stravinsky's The Rite of Spring upon its original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist's hands don't settle for an iPad, it craves vinyl. His wholehearted endorsement led the captain of the Olsen family to clear the rights, assemble his own killer remix and requisitioned Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic. Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014. Having just spearheaded seven genre blending shows in just six days as the "Artist in Residence" of 2016's prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multi-instrumentalist, composer and producer Ola Kvernberg can look back at an already impressive recording and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today. The Mechanical Fair is a genre twisting magnum opus that reaches its true potential with this vinyl release.
LP version. "Formed in 1978, Soggy started with covers of Alice Cooper, Black Sabbath, MC5 and the Stooges but quickly began writing their own songs and developed a unique style, mixing hard rock and punk rock in a Stooges vein. In April of '81, the Waiting For The War 7" was released and a video was shot for French TV. After more than 100 concerts, the band split in July of 1982 but their cult status has only grown over the years. The French label Memoire Neuve released their record in an edition of just 500 copies and it is now long out of print. Original copies of that LP and the single are now in hot demand in collector circles, with original copies of the single selling for over $200. This release from Outer Battery is the full LP, including the tracks from the Waiting For The War single!"
LP version. Pharaway Sounds present the first ever reissue of Group Titan's Anatolian Break Dance, originally released on the Diskotür label in 1985. Turkish ancient melodies get an '80s electro-funk treatment on this obscure album. Probably the work of an "ad-hoc" studio band (nothing is known about the musicians), this is a delirious mix of exotic melodies and lots of analog synths, cheap Atari-styled electronic effects, distorted guitar and '80s beatboxes. File under: Anatolian funk, '80s boogie/electro, cosmic disco, Balearic, oriental grooves.
DJ Sotofett provides two tracks for So-Phat's debut release.
Vibrant Forms III (Part 1)
In 2016, Subwax Bcn remastered and reissued the timeless dub techno compilation Vibrant Forms II by Fluxion (SUBWAXFX 001CD). Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III. It's all here: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb, dub echoes and the warmth. Vibrant Forms II was a reminder of the legacy of the Basic Channel, in which Chain Reaction played an important part. Vibrant Forms III is a reminder of the timelessness of truly great music.
"Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation. Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band's most urgent and distinctive. The album begins with the severe provocation of 'The Classical' and the terse punk of 'Jawbone And The Air-Rifle,' but it's 'Hip Priest' that stands out as Smith's calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated 'And This Day' fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano. Superior Viaduct's edition is the first time that Hex Enduction Hour has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner."
"On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith's continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall's most experimental and improvisational recordings. As proclaimed on the album cover, 'Undilutable Slang Truth!' would be revealed throughout Room To Live. With the album's comparatively lo-fi production and always- teetering performances, the title track comes closest to a stab at pop (by The Fall's standards), built on fantastically bent saloon swaying under one of Smith's by-now characteristic dressing-downs of square life. 'Detective Instinct' is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. 'Marquis Cha Cha' is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure. Superior Viaduct's edition is the first time that Room To Live has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner."
"The record contains two sidelong tracks, 'Lekker' and 'Momentos Mágicos', which clock in at a combined 19 minutes. It'll be the US producer's third full appearance on Will Bankhead's label, following 2013's El Portal and 2014's Zipacon. Slice Of Life is the ninth vinyl release on The Trilogy Tapes in 2016." --Resident Advisor.
Urashima present the first vinyl version of Merzbow's Lowest Music.2, originally recorded and released on cassette in 1982. Merzbow stands as the most important artist in noise music and is the moniker of Masami Akita, born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the futurist movement. Not only would he embrace the futurists's love of technology and the machine civilization, he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1980 Masami founded the first noise label, Lowest Music and Arts. In this early period he released Lowest Music.2 on cassette using a 4 track reel tape recorder with different loops, recorded by a Mono-aural hand tape recorder. In 1990, Australian legendary label Extreme reissued a new version of the cassette, remixed by Masami Akita by itself and included it in an amazing 50 CD boxset titled Merzbox (2000). No changes of pitch were made in the mastering process. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve. Includes insert with original tape replica cover. Edition of 200.
Junko and Thomas Tilly present Wild Protest, produced by Emanuele Carcano for Vent des Forets Art Center in France. Each year, Pascal Yonet, director of the Art Center Vent des Forets, invites between six to eight artists to confront a natural forest environment and to create a unique work, more or less ephemeral. The project is born from the desire to bring together two sound artists, a brutiste performer and a field recorder, on a territory that still resounds with cries of two world wars. In July 2016, at Vent des Forets, Junko made a series of cries performances in the woods, wild bursts into the Meuse forest with the howling known from the Japanese noise scene. Out of words and meaning, pure expression of the body, its shrill cries are full of freedom and revolt. The sound of his voice rending sounds of the surrounding nature is recorded by Thomas Tilly, who distills this first sound material to compose a piece revealing an exceptional audio experience. Long time tracking in the forest and around it allowed Junko and Thomas to find the most relevant and surprising places for its outlets. Registration cries, Thomas could capture the immediate or distant sound environment which then forms the basis of its original composition. Each cry is geo-localized, the track list gives the GPS coordinates of each. The opening, which was held July 11, 2015, allowed 70 people to participate in a collective cry. Junko is a member of the cult group of the Japanese noise scene, Hijokaidan (group formed around the guitarist Jojo Hiroshige). Junko joined the group in 1982, participating in the development of an increasingly radical group. Thomas Tilly uses the microphone and speaker as key creative tools. His work is centered on the study of the sound environment and his confrontation with the space in which it exists.
Hart & Tief return with Pampa's dark bastard and the Proverbial black sheep. For the second statement from the label, they have the twin voices of DJ Koze and Robag Wruhme. Both are masters at remaining simultaneously identifiable yet surprising, and the freedom afforded by this fledgling label sees them push their respective milieus. "Driven" sees Koze return to previously mined percussive tropes and plumb a new minimalist clarity of emotion through maximal means. Robag Wruhme provides "X-mop 198", a slice of linear horror-techno that deftly re-contextualizes its simplistic components into a jagged and constantly surprising listen.
Shanghai'd Soul: Episode 4
"Everybody's still talking about the good ole days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of shanghai'd soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation."
Nella Stretta Morsa Del Ragno LP
Carmina Diabolo (White Vinyl) LP
Ich Traume So Leise Von Dir 12"
Unfinished Music No. 1: Two Virgins (White Vinyl) LP
Isn't It Lupintic?: Lupin The Third TV Special Original Sound Track LP
PoorManMusic (Box Set) LP BOX
Dear Reader. Don't Read CD/BOOK
Alle Sorgenti Delle Civilta 10"
Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982) 2LP
Wade Guyton Kunsthalle Zurich 4LP
This Ain't No White Christmas LP
Six Pianos / Keyboard Study #1 LP
The Medium Is the Massage LP
Plays The Kassetteninstrument LP
Int'l Players Anthem (I Choose You) 12"
Done By The Forces Of Nature 2LP
The Howlin' Wolf Album LP
James Brown's Funky People (Part 3) 2LP
Mark Ernestus Versus Obadikah 10"
Joe's Place, Cambridge, MA 17th January 1973 LP
Wake Up You! Vol. 2: The Rise And Fall Of Nigerian Rock (1972-1977) 2LP
Shanghai'd Soul: Episode 4 LP
The Sisters And Their Sons LP
Treasured Moments: The Complete Backbeat/ABC Singles 2CD
Treasured Moments: Backbeat/ABC Singles LP
I Learned It All The Hard Way: Deep Soul Classics 1966-2003 CD
I Learned It All The Hard Way: Deep Soul Classics 1966-2003 LP
Modern Soul Classics 1974-1981 CD
Don't Kill My Groove! The Complete Duke Singles 1964-1970 CD
Count To Ten: The Complete Singles Collection 1968-77 CD
Love, Peace & Poetry: Asian Psychedelic Music LP
The Rubble Collection Volumes 1-20 20CD BOX
Almost Holy: Original Motion Picture Soundtrack LP
Killed By Deathrock Vol. 2 CD
Killed By Deathrock Vol. 2 LP
Plastic Ono Band (Clear Vinyl) LP
Unfinished Music No. 1: Two Virgins CD
Unfinished Music No. 1: Two Virgins LP
Unfinished Music No. 2: Life With The Lions CD
Unfinished Music No. 2: Life With The Lions LP
Generic Mix/Alternate Mix 12"
Vibrant Forms III (Part 1) 12"
Vibrant Forms III (Part 2) 12"
Vibrant Forms III (Part 3) 12"
Vibrant Forms III (Part 4) 12"
Jay Deelicious: The Delicious Vinyl Years - Originals, Remixes, & Rarities 2xCassette
Shy Dancers On Bungalowdorf Beach 12"
I-Dentity/Freedom Cry 12"