Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada’s sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada’s first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles.
Following the reissues of Brother Ah’s three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah’s unique sound and musical vision. Released as a 5xLP box set, a 3xCD package, and digitally, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance.
The first ever repress of this Klaus Weiss musical masterpiece. And it’s the first of the all new Trunk library series that is a coming this way. Time Signals is an incredible thing on many levels and for many reasons, and you will not find an original without a mortgage. It’s classic German experimental sounds and rhythms that only Klaus can really get away with, and over the years cues have turned up all over infamous hardcore porn as well as sports programming and maybe some sinister wildlife documentaries too. This is electronic, rhythmic, peculiar, and will make your brain hurt at times.
A limited vinyl edition featuring Ramleh’s side of the classic split-album “A Return To Slavery” album. Backed by “The Hand Of Glory” EP material. Cut by Matt Colton at Alchemy, London for full effect. Reissued March 2017 on Harbringer Sound.
Stunning split release between Maurizio Bianchi, godfather of the Italian industrial noise scene, and Abul Mogard, the much loved and hyperstitious synthesist, conjuring a spellbinding testament to the transcendent and transportive energies of electronic music. On the A-side, Maurizio Bianchi serves the obfuscated, coruscating atmosphere of Nervous Hydra; a 17 minute piece of sunken, desiccated harmonic structures and warped greyscale tones rinsed with ET radio signals and distant percussion that recall the sound of embers landing on tinfoil or snow. It evokes the experience of being caught in a quietly raging whiteout with only a dying fire for company, or equally a sense of subaquatic, amniotic serenity prior to being evacuated into a much colder world. In that piece’s tempestuous wake, Abul Mogard brings a sense of soothing, glacial calm with All This Has Passed Forever on the B-side.
Anthropologist Marc Augé calls hotels and airports “non-places,” where “people are always, and never, at home.” As a touring DJ, Roman Flügel probably spends as much time in non-places as clubs or his studio. The Frankfurt-based artist has said that his third album for Dial, All The Right Noises, is very much a product of those surroundings. In particular, it’s about the solitary time in hotel rooms between gigs, and that strange mixture of peace and isolation. Released in October 2016 on Dial Records.
Laraaji’s sublime zither improvisation, Celestial Vibrations (1978) forms nothing less than an early archetype for new age ambient music. It was originally issued as a privately pressed meditation aid and sold in limited numbers around NYC until, that is, Brian Eno famously stumbled across Laraaji doing his thing, and the rest, as they say, is laid out in the ambient history books. Yet Celestial Vibration is far from a historic footnote, and still resonates deeply with listeners – especially these ears – ever since it reemerged circa 2010 on its first ever CD pressing and vinyl reissue through Soul Jazz Records. Now nearly 40 years old, and future-proofed by its timeless sense of expressive minimalism, Laraaji’s fluid, rhythmelodic flutter and reverberant harmonies have lost none of their ability to enchant, soothe and transcend the consciousness of all who cross its path.
These days everything you consume has to be checked – a vibrant outside can hide a genetically modified Frankenstein interior. Finding that 100% organically grown with no artificial rhymes can be difficult. This album is for those looking for something less calculated. Powerful production runs the range from soulful, funk filled, and hard knocking to cool, laid back easy nodders. The rhymes are politically aware without taking themselves to serious – so from the occasional judo chop to the need for sexy, dirty slutty money – Denmark explores life from the perspective of a man who grew up on minimum wage and butter sandwiches. Lyrics don’t sugar coat anything -no matter how rough that truth might appear: “The fleek shall inherit the Earth and the meek shall be buried in dirt – ain’t nothing sweet.” Denmark delivers existential truths while still throwing in a “where the hoes at?” A street savvy album that explores Black love, brutality, capitalism’s grip on our daily thoughts, and the connection it all has to our ancestors. Gensu Dean has produced for David Banner, Large Professor, Roc Marciano, and more, while Denmark Vessey has had his praises sung by the likes of Earl Sweatshirt.
Finally, a proper release for the rapper’s classic bootleg.
MF Doom’s Live From Planet X is finally coming to vinyl after more than a decade. The live album features a Doom performance recorded live in San Francisco on August 15, 2004 and has previously only been available on CD, originally given away with Special Herbs, Vols. 5 & 6.
Though it includes songs from Madvillainy, Take Me To Your Leader and Operation: Doomsday, some of the rapper’s all time best albums, the original release was frustratingly stuck as a single 38-minute track. Everything about it fits better on vinyl and it’s been given some fantastic new artwork to go with it.
In the early ’90s, as the rave fever-dream gripped Europe, people started writing lullabies to soothe it. Adam Feingold’s latest EP as Ex-Terrestrial echoes this counter-movement, falling somewhere between the proto-IDM of Warp’s Artificial Intelligence comps and the then-burgeoning chillout sound. This music styled itself as sophisticated, but its simplicity by modern standards often makes it all the more charming. Feingold, who has celebrated a different kind of ugliness on a redlining house EP for Apron, captures this contradiction. The occasional rough edges make his radiant tracks all the more beautiful.
Much of Paraworld captures techno just before it lifts off into space. The title track’s hissing hi-hats and artful congas keep one foot on Earth while rich synths tug us towards the great beyond. The chords are so serene that you sometimes wish they’d untether entirely; they do so on the beatless “Dreams Of Jupiter,” two minutes of Detroit noodling and dreamcatcher twinkles. “Aletheia” remains gravity-free for the first half, before settling into a comfortable broken-beat slouch. On brilliant closer “Blue Smoke,” another dog-eared breakbeat trudges along under a starry canopy of synths. Save for the simplest of midpoint breakdowns, the most striking event in its simple arrangement is a voice intoning, “deep… inside.” Here and elsewhere, Feingold spacewalks elegantly between retro-kitsch and straight-up gorgeous.