Corey's Picks

Severed Heads “Clean” (Dark Entries)

2020-03-13T20:35:15+00:00February 5th, 2020|

Dark Entries’ first release of 2020 is a deluxe 2xLP reissue of Severed Heads’ debut 1981 album Clean. One of the longest surviving bands to emerge from the Australian post-punk independent music scene, they began in Sydney in 1979. Severed Heads is basically a nom- de-plum for Tom Ellard, who incorporates elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style.  Clean was amongst the first vinyl releases under the Dogfood Productions banner of Terse Tapes, previously a cassette-only label. For this records Tom used an array of synthesizers (Kawai 100F, Casiotone, Roland CR78+SH1+CSQ100), sequencers, tapes and occasional guitar and violin played by Garry Bradbury. Severed Heads have a language of their own, music that juxtaposes all sorts of noise, in all sorts of ways so that a structure evolves, (fragmented) melody and rhythm being almost a by-product. As one reviewer said in 1981, “It is an ugly album that you simply cannot ignore, it thuds and screeches and makes you stare just to wonder what kind of people would procure such an album.” For this deluxe reissue we’ve included a bonus disc featuring 13 songs, 5 of which have never been released before, culled from live performances, the Side 3 cassette and a Clean demo tape that only surfaced last year, plus “Food City” missing from previous reissues.  Each copy is housed in a gatefold jacket featuring black and white xeroxed artwork from the first vinyl edition. Inside the gatefold are liner notes by Tom Ellard plus photos and press clippings from the period. 25% of proceeds will be donated to the Australian Fire Relief Fund for First Nations Communities, that offers specific direct support to some of those communities with critical costs to cover expenses.

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Coil “Stolen & Contaminated Songs” (Cold Spring)

2020-03-02T07:04:44+00:00January 23rd, 2020|

Double LP version. 180 gram vinyl; glossy, 350gsm gatefold sleeve. Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil’s 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love’s Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil’s ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality.

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Khotin “Beautiful You” (Ghostly International)

2020-03-07T05:37:20+00:00May 2nd, 2019|

“Beautiful You needs little framing. “No distinct storylines or themes. It’s really just a collection of songs as rudimentary as that sounds,” Khotin-Foote explains. But the title of the album arrives with some lore: in high school, Khotin-Foote found a handwritten note on his windshield that read “Beautiful you, thanks for the smile.” Whoever left the note, they gifted the producer with this anonymous phrase that perfectly suits the work now, here, years later. Paired with the record’s cover, an ASCII-rendered photo of his mother and her parents living temporarily in Italy as refugees in the ’80s, the information graphs a malleable outline for listeners to shape into their own experience. A sensation akin to déjà vu, of misremembered hospitable climes, broadcast via ambiguous transmissions, birdsongs, melody and static.

Songs drift at a leisure; environments and voices pass by, some distinguishable, others pitched down or truncated to single words. In the case of “Vacation,” the message comes into focus over time, beginning in fragments, assembling above a suspended note to sublime effect. On “Merged Host,” a cycle of melodic phrases becomes punctuated by a clipped half-time beat and injected with a sample’s reoccurring comic relief (“I am so happy / how great I am”). On album closer “Planet B,” nostalgia is encountered head-on, with coiling and smooth synth lines twisted and spiraling around a nodding and assured percussion pattern.”

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Muslimgauze “Azzazin” (Staalplaat)

2020-03-07T06:14:22+00:00March 22nd, 2019|

Azzazin is a double standout Muslimgauze album, first LP originally issued in 1996, as a CD (Muslimgauze Subscription 003); the second disc originally as a 10″ of remixes (Muslimgauze Subscription 007). This 2LP adds two unreleased tracks. Tightly focused on a singular palette of monotone drones and swarming electronic buzzes, which arguably sound like a parallel to early Editions Mego. They’re probably the most minimalist Muslimgauze tracks you’ve heard, and even still he manages to express a fine range of abstracted emotions, from aggressive buzz to tender ambient pieces and spectral concrete prisms. Starting with an extremely minimal opening number — it’s no surprise Finnish experimental duo Pan Sonic were Muslimgauze fans, based on this track — Azzazzin has a much more electronic feeling than most of Bryn Jones’s other albums, eschewing the traditional elements used elsewhere for a rough, quietly aggressive, and disturbing feel. The fourth track, with its unpredictable keyboard snarls over a low, quiet pulse, and the sixth and seventh songs, with distorted, high-pitched noise tones mixed with a soft series of bass notes and a slight spoken-word interjection from time to time, are some of the strong points from this intriguing release. Surprisingly this album contains no trace of percussions whatsoever and instead presents a dry and claustrophobic minimal electronics that sounds more like a Warp band or a project by some S.E.T.I.-inspired laptop artist than a Middle Eastern-inspired band. Outer space sci-fi sounds meet with found sounds and human-made noises, isolationist experimental knob tweaking and mostly hi frequency material loops playing at random. Beats are used in an extremely limited way throughout Azzazzin, with rhythm, always a key component of Jones’ work, more suggested at points by the nature of the keyboard lines than anything else. draws a picture of the artist that is different than the one we got to know. Closing with an equally minimal track, Azzazzin won’t be everyone’s cup of tea, but adventuresome listeners will find themselves rewarded. All tracks written, played by Muslimgauze. Edition of 700.

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Gas “Zauberberg” (Kompakt)

2019-02-08T19:22:27+00:00February 8th, 2019|

Zauberberg — Wolfgang Voigt’s most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography — finally stands alone once again and is released in the way its original splendor. Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP, 2016), Zauberberg is now released on his own label, Kompakt. Though this narcotic symphony is not the first release under the GAS moniker, Zauberberg is the first to disclose the true nature of Wolfgang Voigt’s unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, Zauberberg is the definitive GAS album and a perfect starting point for those not familiar with his music. 180 gram vinyl.

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Meshuggah “Destroy Erase Improve” (Nuclear Blast)

2018-12-17T00:32:21+00:00December 14th, 2018|

Destroy Erase Improve was unleashed on an unsuspecting world in 1995 and was more of a success than probably anyone was expecting. Merging together progressive and technical thrash/groove metal in a myriad of creative and innovative ways, this was a collection of songs that pounded you down with inhuman, mechanical precision and robotic intensity.

The band’s first post-thrash album was a roaring success and firmly put Meshuggah on the map. Many releases are rather too casually called groundbreaking or landmarks, but Destroy Erase Improve is an album that deserves such appellations.

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Regularfantasy “Tales From The Plush Palace” (Heart To Heart)

2018-12-21T05:45:02+00:00December 14th, 2018|

Plush. Palace. regularfantasy s music is about as plush as it gets, filling your area with bright melodic blankets for which to throw around your bod. Turning it into a plush palace of sorts, if you will. Half of this record seems designed to sooth you while the other half is all about getting you steppin . Our pal dj zozi comes in with an absolute heater of a remix, taking you to planets unknown and raves gone by. Without a doubt, the party is gonna be turned out.

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B12 “Time Tourist” (Warp)

2018-12-17T00:33:00+00:00December 14th, 2018|

Somewhere between a computer game soundtrack, pulpy sci-fi score, and an armchair accelerant, ‘Time Tourist’ holds a special place in the pantheon of mid-late ‘90s electronica/IDM. Some of it sounds pretty dated now, but the innocent sincerity of of B12’s retro-futurist aesthetics still glow from highlights such as ‘Infinite Lites (Primitives Mix)’ and ‘The Radiophonic Workshop’.

 

 

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Crack Cloud “Crack Cloud” (Deranged)

2018-12-17T00:34:24+00:00December 7th, 2018|

Crack Cloud is a mixed-media collective based out of Vancouver, BC. Modelled around harm reduction philosophy, the collective operates as a rehabilitative outlet for a revolving cast of multi-disciplinary artists across Canada. They sound like no other band going at the moment, delivering rhythmic art / post-punk that could be compared to early Gang Of Four and Wire. This LP compiles both their demos (s/t from 2016, and Anchoring Point from 2017) on one record. This is hands down one of the most interesting bands Canada has to offer at the moment. New album scheduled for 2019.

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Vessel “Queen of Golden Dogs” (Tri Angle)

2018-12-17T00:35:16+00:00November 30th, 2018|

Queen of Golden Dogs -the third album from Vessel- was conceived, developed and rendered into life over eighteen months of solitude in rural Wales. In essence, it is an exploration of living a life devoted to uncertainty, curiosity and change.

Influenced by a range of writers, the painter Remedios Varo, and a new love, the album is a marked departure from Vessel’s previous work. The world of QoGD is saturated with colour; oscillating between grief, bombast and fierce joy, this is music shot through with both sincerity and irreverence.

Whilst traces of his sonic signature remain, there is much changed since Vessel’s second album, Punish, Honey. An infatuation with chamber music brought about in collaboration with his violinist lover, and a voice given by singer Olivia Chaney leave strong impressions, providing landmarks in a world that is essentially about the joys of difference.

‘Fantasma’, a prologue of sorts, careens from bent cello to blunt force percussion and billowing synthesisers, dispersing into the harmonically restless lament of ‘Good Animal’, providing the album with the first of it’s many purposefully uncomfortable segues. Ideas oftransformation are regularly explored internally within individual pieces, as well as across the album as a whole, dominated by unpredictable shifts in tone. The probing string swells of ‘Argo’ give way to throbbing bass and slippery rhythms, which twist briefly into an almostpop leaning chorus before a barrage of fuzzy drums lead to one of the albums most straightforwardly techno moments. The layered voices of ‘Torno-me eles e nau-eu’ offer the most overt example of Vessel’s move towards classical forms. Using chromaticism, dissonance and sweetness, he explores a space that seemingly refuses to resolve, although eventually revealing itself as an extended reflection of album centrepiece, ‘Paplu’.

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Raime “We Can’t Be That Far From The Beginning” (RR)

2018-12-17T00:35:53+00:00November 23rd, 2018|

We Can’t Be That Far From The Beginning is the inaugural EP by Raime for their own RR. Following from their release Am I Using Content Or Is Content Using Me?, this EP shows the duo exploring non-linear sound into something more challenging. We Can’t Be ? is filled with snippets of conversation and shifting narratives that are at once satisfying and confusing, perhaps a reflection of our bombardment-based online culture. Teetering between the real and the transient, Raime use multiple techniques to create a collage of our collective experience with contemporary concrete, Japanese anime, pointillist tech and spatial futures.

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Demdike Stare “Passion” (Modern Love)

2018-12-17T00:39:26+00:00November 23rd, 2018|

Since the release of their album Wonderland, Demdike Stare have been recording material for this new double album Passion; an asymmetric re-imagining of UK club styles taking in frenzied drum trax, shortwave jungle, pinging dancehall and clipped, post-punk riddims. During this time they’ve been busy curating their DDS label (releases from Shinichi Atobe, Mica Levi, Robert Aiki Aubrey Lowe, and Equiknoxx, among others) and have been commissioned by both the Groupe de Recherches Musicales(GRM) and the surviving members of Gruppo di Improvvisazione Nuova Consonanza to mine and rework their archives. Enlisting visual artist Michael England(Autechre, Gescom, Leila), they’ve created a cinematic accompaniment for their collaborative live shows, resulting in the image which adorns this cover – a hybrid/composite portrait exploring/questioning the current use of software in creating hyper reality and the manipulation of the self. The accompanying film includes documentary footage filmed at a Voguing event in NYC, a Blackpool promenade and a Newark, New Jersey roller rink, the end result smudging the lines between live performance, documentary and sonic cinema. It’s an idea that’s echoed on Passion, continuing a process Demdike began on their Testpressing series of dismantling lines between analog and digital realms, between urban realism and fantasy, between experimental, pop and soundsystem cultures. An outlandish configuration of avant-garde and ultimately functional club weapons designed and honed for the weightiest bassbins, it’s also their most direct and fucked up record to date — a raucous, joyful 9-track smash that comes off like a night on a glamorous, neon-lit bender.

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Shinichi Atobe “Heat” (Demdike Stare)

2018-12-17T00:41:34+00:00November 23rd, 2018|

Heat is a surprise new double album from Shinichi Atobe for Demdike Stare. It follows on from 2017’s From The Heart, It’s A Start, A Work Of Art (DDS 023LP) and continues a run of highly enigmatic, acclaimed and completely unparalleled productions that follow their own timeless logic. There’s no sonic fiction involved; this material really does just turn up on a CD sent by air mail from Japan to Manchester, sparse info, no messing, pure gold. What’s that cover art about? It’s probaby something to do with the balmy, slightly fucked, sun-stroked material within. “So Good, So Right”, the ten-minute opener, will force you to forget about all the shit around you for a while. There are also several tracks called “Heat”; they’re all killer. This music takes you elsewhere almost immediately; that fan on your desk is basically a summer breeze. In fact, this whole album is absurd, completely effortless, and a total classic. Find a more life-affirming electronic album in 2018, and there’s an ice cream in the offing. Mastered and cut by Matt Colton, cover by Mat Thornton.

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Brainbombs “Fucking Mess” (Armageddon)

2018-12-17T00:42:25+00:00November 23rd, 2018|

Armageddon Shop is proud to announce the long-awaited reissue of the BRAINBOMBS’ fifth album Fucking Mess. Originally released in Sweden in 2008 on the Lystring label, it quickly sold through two pressings. After many years out of print, it will be available for the first time domestically in the USA. It has been freshly re-cut for this vinyl release by CARL SAFF Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Seven tracks of blown out noise rock from the depths of Sweden’s sub/urban landscape. Blood soaked lurching riffs taking you through a horrific police report. An audio notebook filled with disturbing and murderous events. A serial killer walking down a dark road listening to a blown out cassette on a dying walkman as he wipes the blood off his hands and into the dirt… In their own words: “Brainbombs Fucking Mess as a testament/funeral. BB found previous releases to be too naive, this time it’s for real.”

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Brainbombs “Burning Hell” (Armageddon)

2018-12-17T00:42:42+00:00November 23rd, 2018|

Armageddon Shop is proud to announce the long-awaited reissue of the BRAINBOMBS’ first album Burning Hell. Originally released in 1992 on the Blackjack label. After many years out of print in the USA, it has been freshly re-cut for this vinyl release by CARL SAFF at Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Nine tracks of abrasive noise rock that will drill into your skull. Abrasive music that surges with hypnotic Stooges riffs that have been laced with acid and drenched in the sweat of physical fear and danger. Mutated and disorienting songs with lyrics that deliver first person accounts of the most disturbing and darkest events that are part of the human experience… Murder, sex, drugs, blood, and violence.

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Loscil “Submers” (Kranky)

2020-03-07T06:17:19+00:00November 23rd, 2018|

Scott Morgan’s second Loscil full-length, Submers, took inspiration from salvaged Time Life classical music albums and “the indelible mystery of submarines and the deep sea.” Composed using a custom-built Max / MSP sequencer—with no external samplers, synthesizers, or acoustic instruments involved—the limitations of the process shaped these masterful, minimal compositions. Each piece was produced as a live mix, direct to disk, with no separated tracks. Originally issued in November of 2002 on compact disc, Kranky is now making these timeless recordings available on vinyl for the first time. All of these tracks are named after submarines, the final cut being a requiem for the crew of the ill fated Russian nuclear vessel Kursk. Recorded at home using only samples as sound sources, the album is rife with sourceless echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the tracks.

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Yoshinori Hayashi “Ambivalence” (Smalltown Supersound)

2018-12-17T00:43:21+00:00November 23rd, 2018|

Smalltown Supersound is proud to be releasing YOSHINORI HAYASHI’s debut album, Ambivalence. Previous work by the Tokyo-based producer has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor). Hayashi presents his self-described “collage expression” throughout Ambivalence, which he produced and played in its entirety. Album opener, “Overflow,” is a club track inspired by Cecil Taylor. It’s freeform nature sets the tone for the album’s cosmic, hypnotic, and almost ritualistic approach. Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafitti and Moscoman’s Disco Halal. Check out his recent mix for Resident Advisor

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Midori Takada ” MKWAJU” (WRWTFWW)

2020-03-07T06:17:26+00:00November 23rd, 2018|

140 gram vinyl; 350 gram sleeve, with sticker. WRWTFWW Records announces the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada’s MKWAJU Ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD. Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato’s debut album, Yasuaki Shimizu’s Kakashi (1982), Colored Music’s self-titled LP (WRWTFWW 024CD/LP, 2018) and many more) MKWAJU is the fruit of the collaboration between Takada’s crew and world-famous composer/musical director Joe Hisaishi, the man behind most of Hayao Miyazaki’s Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano’s Sonatine (1993), Hana-Bi (1997), and Kikujiro (1999). The ensemble’s transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album: historic. Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada’s career and an all-around pioneering album. Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion (WRWTFWW 026CD/LP, 2018) fame, Junko Arase (heard on Satoshi Ashikawa’s legendary Still Way – Wave Notation 2(1982)), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).

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Choir Boy “Passive With Desire” (Dais)

2018-12-17T00:51:59+00:00November 9th, 2018|

Since his recording debut as CHOIR BOY in 2016, ADAM KLOPP mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti. The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album’s tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp’s original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp’s hazy youth. Engineered by Klopp, BRET MEISENBACH and STEPHEN COPE, Passive With Desire is the entry point to Choir Boy’s world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration. Now available for the first time in a wide release, Passive With Desire is a proper introduction to Choir Boy’s unique brand of storytelling, orated by Adam Klopp’s full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album, Passive With Desire, along with seven bonus tracks, including the Sunday Light 7’’ single and live studio session tracks from the limited edition Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert and lyrics.

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Kadodi “Kadodi” (Nyege Nyege Tapes)

2018-12-17T00:52:51+00:00October 25th, 2018|

After almost 15 years of peddling his own music on the streets of Mbale, Robert Mugamba’s Kadodi finally gets a proper introduction to the outside world thanks to the increasingly vital Nyege Nyege Tapes crew. Kadodi pairs a transfixing percussive soundtrack with modern electronic contributions from Bamba Pana and Sun C, resulting in another remarkable document from the pearl of Africa. Extending privileged insight to the way ancient practices meet modernism near the Equator in East Africa, Kadodi renders a set of mesmerizing, rhythm-melodic percussion and crowd hollers, along with electrifying reinterpretations by local, East Ugandan producer Sun C and Dar Es Salaam, Tanzania’s Bamba Pana. Placing ageless ritual music alongside its club antecedents, the results find tradition frictionlessly reconciled with modernism, drawing bridges between tribal identities and ancient belief systems, and clubs as contemporary sites of ritual enactment. The musical aspect of the ceremony is intended to induce initiates to a trance state, readying them to transcend from boyhood (basinde) into men (basani). The twice-yearly rites of passage are such an occasion that their soundtrack has now transcended from original ritual use to find its ways into nightclubs, thanks to producers such as DMX, Papas and Sun C – the pioneer of Kadodi music’s shift into electronic spheres. On Kadodi, the ceremony starts on side A and continues into side B, documenting the Domadana Kadodi Performers brewing a bristling frenzy of polymetric percussion with hypnotic intensity coming as a result of their natural complexity. Following this utterly unique situation, Mbale native Sun C offers a near-ten-minute electronic reinterpretation of Kadodi music on “Kaad 4”, mirroring the breathless cadence and intensity of the original in its sustained pitches and intricate syncopation of pipes and pointillist percussions. And you can trust Bamba Pana to take that one step farther on “Wateranga”, where he ramps the original drums with Singeli-style pattern and pace to irresistibly energetic effect. This is incredible, unique music. Master and vinyl cut by Matt Colton. Edition of 300.

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Coil “A Thousand Lights In A Darkened Room” (Dais)

2018-12-17T00:53:38+00:00October 25th, 2018|

During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence.  Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love’s Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

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Ty Segall “Fudge Sandwich” (In The Red)

2018-12-17T00:54:31+00:00October 25th, 2018|

Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it.  Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

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Throbbing Gristle “Mission Of Dead Souls” (Mute)

2020-03-07T05:42:17+00:00October 19th, 2018|

Mute are delighted to announce the reissue of Mission Of Dead Souls, the 1981 live album from Throbbing Gristle.

Mission Of Dead Souls documents Throbbing Gristle’s last live performance in San Francisco in 1981. It’s a given that Throbbing Gristle’s studio work was noisy and abstract, but more was left to chance during gigs like this, with primitive synthesizers and other electronics pitted against a band trying to keep some semblance of control. By this period, their early group solidity had crumbled into the two elements they were soon to finally divide into: Chris Carter & Cosey Fanni Tutti (soon to be known as Chris & Cosey), with their emphasis on synth manipulation and electro-rhythms, and early Psychic TV, with their focus on Genesis P-Orridge & Peter “Sleazy” Christopherson’s occult interests and ghostly atmospherics. On stage in San Fransisco, Genesis’ presence leans the set’s seance-like atmosphere in the latter direction, but recurring jackhammer blasts of rhythm and spindly noise make sure that Chris’s presence and importance to Throbbing Grisle doesn’t go unnoticed.

Taped voices introduce “Spirits Flying,” before a shrieking swoop of the synthesizer swirls above a Canlike groove that proves that Throbbing Gristle’s assault never lacked talent or skill. “Vision and Voice,” like many of the tracks, builds and builds the noise, striking one blow after another against rhythm and melody. “Persuasion U.S.A.” presents the song with more of a creeping beat than usual, and “Discipline (Reprise)” gives listeners a rapid version of the song before the band leaves the stage to a Martin Denny tape.

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Throbbing Gristle “Journey Through A Body” (Mute)

2018-12-17T00:58:09+00:00October 19th, 2018|

Mute are delighted to announce the reissue of Journey Through A Body, the 1982 album from Throbbing Gristle.

The final studio recording from Throbbing Gristle’s initial existence, Journey Through A Body was recorded in Rome over a week in March 1981 at the invitation of RAI radio studio, and released the following year, by which time, the original Throbbing Gristle mission was terminated. Recorded in five days (a day per body section), no tracks were re-recorded or added to alter their day. Each piece was mixed immediately after recording. No tracks were pre-planned, all tracks are invented directly onto the tape.

Classic Throbbing Gristle, the music on this album is very focused for being completely improvised. It truly is an electronic masterpiece, an album The Wire called “Throbbing Gristle’s scariest album”. The late, great Miles Davis gave the jazz world Kind of Blue, Throbbing Gristle gave the industrial decaying world Journey Through a Body.

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Coil/Zos Kia/Marc Almond “How To Destroy Angels” (Cold Spring)

2018-12-17T00:58:56+00:00October 12th, 2018|

Includes download card. Cold Spring Records present the complete recording of A Slow Fade To Total Transparency. Recorded on August 24th, 1983 at the Air Gallery in London, UK. Personnel for the performance: John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell), and live mix by Peter Christopherson (Coil, Throbbing Gristle). Features: “How To Destroy Angels”, the complete 23-minute piece; “How To Destroy Angels (Zos Kia Remix)”, a nine-minute, unheard remix by John Gosling; and “Baptism Of Fire”, an unreleased recording of Zos Kia/Coil at Recession Studios, London, England on October 12, 1983. Liner notes by Michel Faber (Under The Skin (2000), The Crimson Petal And The White). All audio, previously unreleased, has been remastered from the original tapes and is exclusive to this release.

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Jay Glass Dubs “Plegnic” (Ecstatic)

2018-12-17T00:59:51+00:00October 12th, 2018|

Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on Plegnic, his lushly evolved first collection of new material for Ecstatic, following from on from Dubs. Where Dubs was a set of his earliest, hard-to-find tape releases, deconstructing and rebuilding Jamaican dub with Musique Concrete production methods and a lingering air of inspiration from classic 4AD, new age and laïko, or Greek popular music, on Plegnic Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to expand the nostalgic, esoteric and dance floor dimensions of his unique sound world. Plegnic is an extinct word meaning “to strike like a hammer”, and offers a palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples in conjunction with vocals from Yorgia Karydi — former beau of his childhood neighbor, and Andreas Kassapis, one of his oldest friends, who provides the cover art — to conjure a mutated take on classic and well-trodden styles, metaphorically and anachronistically renewing their purpose while connoting his newfound dance floor drive in the process. Recording took place at his mother’s house in the Athens suburbs, with Fugazi’s Steady Diet Of Nothing on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some “crappier equipment” that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the diffused soul of this superb five part-crop. On the A-side he sets out to spook with the desiccated, stepper’s motion of “Temple Dub” featuring heavily processed vocals by Karidi, but heady nostalgia takes over with a sublime tactility in the vaulted chorales and reverb tails of “Umbro Dub”, and again in the aching sehnsucht of “Mouthless Dub”, where traces of Laïka’s bouzouki melodies glimmer. However, the B-side is far more upfront and up-for-it, putting weight behind the cranky skank of “Dry Dub” with its hexagonal drums and acidic bass squirm, then in the super-squashed swagger of “Fearless Dub”, the near-ten-minute pinnacle of his dance floor output to date. Ultimately, Jay Glass Dubs’s music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you’ve heard it before in a dream or some altered state; that’s a rare and precious thing. Limited to 500.

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Coil Presents Black Light District “A Thousand Lights In A Darkened Room” (Dais)

2018-12-17T01:01:00+00:00October 5th, 2018|

During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence.  Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love’s Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

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Omega Tribe “No Love Lost” (Sealed)

2018-12-17T01:04:34+00:00October 5th, 2018|

Remastered vinyl reissue of the debut and only Omega Tribe album, originally released in late 1983 on Corpus Christi Records. The album was recorded by guitarist Pete Fender deep in the Poison Girls basement studio in Leyton and contains 11 punk anthems with a pop sensibility missed by most of their curse of 1983 peers. Omega Tribe were one of the few bands that had a much more softer, poetic and melodic style of playing that still managed to impress, educate and influence their audiences. It was protest music with a heart and sense of love that still is relevant 35 years later. This album has never been reissued and deserves it’s place right next to The Mob – ‘Let The Tribe Increase’, Poison Girls – ‘Hex’ and Zounds – ‘Curse Of Zounds’.

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Pixies “Come On Pilgrim…It’s Surfer Rosa” (4AD)

2018-12-17T01:04:59+00:00October 5th, 2018|

30th anniversary edition of Pixies’ very first release, the eight-track mini-album Come On Pilgrim and the band’s first full album, Surfer Rosa.

Gold 3xLP edition Pixies “Come On Pilgrim…It’s Surfer Rosa”with new artwork reimagined by original designer Vaughan Oliver and the bonus disc, Live From The Fallout Shelter – one of the earliest recordings of the band, a concert / session that first aired in late 1986 on WJUL-FM in Lowell, MA.

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Aphex Twin “Collapse” (Warp)

2018-12-17T01:06:25+00:00September 21st, 2018|

The legendary Aphex Twin returns bringing the heat to this summer of love! One of the most spectacular and critically lauded artists in the world, the Collapse EP is one surely not to be missed! Available on Deluxe Version with Paper Inner in Procédé Heliophore Silver Foil Sleeve plus Download (includes bonus track pthex) – Limited First Pressing Only, Standard Black Vinyl, and CD.
For nearly three decades Aphex Twin has reigned as The God of Electronic Music. His tunes have packed dancefloors, soundtracked late night sessions and highlighted festivals around the globe. The emotional crescendos he manages to sculpt from his melodies take the listener on a roller coaster of feelings. Also known as Richard D. James, the Duke of Rave has built a career on frollicking visuals and beastly bangers, but this doesn’t mean the man cannot trade in a whole plethora of emotions, Avril 14th is a sumptuous celestial patchwork of sadness and euphoria, whilst Come to Daddy is without doubt the most petrifying song in the universe. The Collapse EP falls between these, affirming him as the very best electronic wizard in the game!
The Collapse EP is a juicy bag of delights. Extending the flamboyant paths that Aphex Twin has consistently managed to forge through his dizzying career. From the utterly exhilarating T69 collapse to the complete and utterly bonkers, instantaneous and life affirming abundance10edit[2 R8’s, FZ20m and a 909] featuring vertigo inducing high hats and sauntering arrangements with some brain scrambling noise thrown in for good measure!

Deluxe Version with Paper Inner in Procédé Heliophore Silver Foil Sleeve plus Download (includes bonus track pthex). Limited First Pressing Only. Also available!

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John Beltran “Ten Days of Blue” (Peacefrog)

2018-12-17T01:09:15+00:00September 14th, 2018|

John Beltran first emerged in the techno scene 1991 with the Aquatic 12” on Carl Craig and Damon Bookers rare and seminal Retroactive label. The tones and shapes on Aquatic and his follow up for R&S Earth & Nightfall suggested an individual take on modern electronics as shades of jazz, classical and Latin whispered through Beltran’s productions. Ten Days Of Blue (1996) built on the successes of its predecessors with sharp rhythms and pure digital sounds flooding through dreamy sequences and subtle chord shapes. The title track and the plaintive Soft Summer sounded like Tangerine Dream injected with jazz bass or Kraftwerk mainlining on heartbreak. Beltran seemed to have perfected the art of painting tones and rhythms across canvasses that were almost unbearably delicate and pretty. Over 20 years on and Ten Days Of Blue is still considered a masterpiece of delicate textures and heart stopping romance for those in the know. Essential!

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Ross From Friends “Family Portrait” (Brainfeeder)

2018-12-17T01:14:13+00:00August 17th, 2018|

Having recently made his inaugural outing on Brainfeeder with “Aphelion EP”, British producer Ross From Friends aka Felix Clary Weatherall returns with his debut album on Flying Lotus’ label. “Family Portrait” is characterised by a perpetual desire to experiment and Felix’s obsessive attention to detail, somehow marrying an intricately layered production style with warm, heavily saturated sonics that elevate, rather than stifle, his melodious funk. With a handful of revered 12”s under his belt via Breaker Breaker, Lobster Theremin, Distant Hawaii, Magicwire and a 10” on Molten Jets. “Family Portrait” showcases his ability to shift and evolve, moving from the world of lo-fi to the world of FlyLo, he demonstrates a versatility exemplified by the ease in which he can switch between playing shows with Little Dragon, holding down a peak-time slot in Berghain’s Panorama Bar and performing live at Maida Vale for BBC Radio 1.

The album title – “Family Portrait” – also nods to a very specific personal aspect of the record: the influence of his parents. Dance music has always been a feature in Felix’s life, with early memories of his dad producing music on his analogue set-up, or pumping out hi-NRG tracks on the turntable, he grew up discussing, sharing and learning about music from his dad. “My dad has been hugely influential to the whole thing,” he explains. However it was with the emergence of some old family VHS tapes, and the story of how Felix’s parents came to meet, that the true significance became clear.

Having built up a sound system in the 1980’s while playing at various squat parties around London (including the then derelict Roundhouse) Felix’s dad decided he wanted to get out of the capital and see some of Europe. He got his hands on a bus and started putting word out through a network of like-minded friends and acquaintances. At the time just a friend of a friend, the trip caught the attention of Felix’s mum-to-be, who offered to document the whole thing in return for a seat, and in 1990 they loaded up the sound system and hit the road. Travelling through France, Belgium, West and East Germany (though returning through a unified one) and beyond, setting up in towns to share their passion for the sounds of hi-NRG dance, Italo disco and proto-Techno through spontaneous parties in whatever venue they could find.

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This Heat “Live 80 – 81” (Modern Classics)

2018-12-17T01:14:57+00:00August 17th, 2018|

Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

In many ways, the nuanced sound worlds created in the studio by This Heat are tailor made for sedentary headphone listening. But pulling off such complicated, genre defying compositions live was surely something to witness. Until now, there was no real official document of the group’s live performances. Compiled by Charles Hayward and Charles Bullen from rough cassette tape recordings of European gigs in Tilburg, Nijmegen, Ärhus, Apeldoorn, Vienna and Rheims between April 1980 and June 1981, Live 80-81 is an essential document of This Heat’s powerful live performances.

Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

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This Heat “Repeat / Metal” (Modern Classics)

2018-12-17T01:15:10+00:00August 17th, 2018|

Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

Recorded from 1979 – 1980 Repeat / Metal is essentially This Heat’s third proper album, although it was released posthumously in 1993. Arguably their most radical work, Repeat / Metal features side-length tape experiments ranging from the dubby drum loops of “Repeat”, a 20 minute edit / reworking of their landmark piece “24 Track Loop”, to the gamelan-inspired sounds of “Metal”, an electro-acoustic work recorded outside of their studio, Cold Storage, and helmed by member Gareth Williams.

Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

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S.O.N.S “Shin-Okubo One Night Stand” (S.O.N.S)

2018-12-17T01:15:55+00:00August 17th, 2018|

S.O.N.S is back with the last instalment of the “T.O.K.Y.O” series. This time it is a double 12″ called Shin-Okubo One Night Stand. This record is made to be played using a turntable at home, at your friend’s birthday party or at your uncle’s wedding. Club use is possible too but no refund will be granted if you clear the floor.

Disclaimer: This record is not made to practice karaoke. This record is not made to replace the wheel of your bicycle, and using this record for this purpose can be harmful. No refund will be granted if the record or his owner is damaged this way.

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Tirzah “Devotion” (Domino)

2018-12-17T01:16:53+00:00August 10th, 2018|

Following her acclaimed EPs released on Greco-Roman, new album Devotion positions London based Tirzah as a unique contemporary soul voice on an innovative modern British R’n’B record, produced by Mica Levi. The 11-songs across Devotion are an intimate collection of downtempo love-songs laced with romance and lust, melancholy and desire. The album was conceived and written with long-term collaborator, Mica Levi who handles the music and production across the whole album, Tirzah providing vocals, melody and lyrics. Additional vocals and lyrics are provided by Coby Sey on stand out track, Devotion. The album was mixed by Mica and Kwes.

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Muslimgauze “Uzi Mahmood” (Soleilmoon)

2018-12-17T01:17:56+00:00August 3rd, 2018|

3LP version. “It stretches luxuriously across three LPs — two running at 33 RPM and one at 45 RPM — presented in a lavish, no-expense-spared gatefold jacket, and is limited to 500 copies. Shocking cover art and design has been furnished by the fine folks at Plazm, again, already, of course.”

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MKWAJU Ensemble “Ki-Motion” (WRWTFWW)

2020-03-07T07:26:27+00:00July 19th, 2018|

LP version. 140 gram vinyl; Heavy cardboard old Stoughton tip-on sleeve. WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada’s MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind (“mkwaju” in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient — the ideal companion to her majestic opus from 1983, Through The Looking Glass (WRWTFWW 018LP/019CD/019LP). Sourced from the original masters.

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Wire “154” (Pink Flag)

2018-12-17T01:19:51+00:00July 16th, 2018|

Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first.
It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.
1978’s Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire’s favorite ’70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from it’s antecedents. Chairs Missing was at once more stark and more lush than it’s predecessor and has exerted it’s own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic.

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Wire “Chairs Missing” (Pink Flag)

2018-12-17T01:20:01+00:00July 16th, 2018|

Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first.
It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.
1978’s Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire’s favorite ’70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from it’s antecedents. Chairs Missing was at once more stark and more lush than it’s predecessor and has exerted it’s own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic.

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Wire “Pink Flag” (Pink Flag)

2018-12-17T01:20:11+00:00July 16th, 2018|

Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first.
It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.
Usually contextualized against a backdrop of two years of the growing cultural importance of punk rock—Wire’s debut Pink Flag, released in December 1977 on EMI’s progressive label Harvest was in fact was something “other.” To the keen cultural commentator, the timing and label of it’s release will register two essential facts about it. Firstly, too late (a year after the Pistol’s debut release) to be part of UK punk’s first flush and secondly that the band were signaling something beyond punk by their choice of label. Further investigation would reveal twenty-one tracks, some of them clocking in at well under a minute and covering a range of tempi well beyond the buzzsaw rockabilly that had become, even by the second half of 1977, punk’s staple.

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Elph Vs. Coil “Worship The Glitch” (Dais)

2020-03-07T07:26:33+00:00July 6th, 2018|

“Unexplainable” may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.  During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions “ELpH”: a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional “errors” was adopted as a musical technique. The acceptance of the “mistake”, and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.”  Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

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Steve Reich “Drumming” (Superior Viaduct)

2020-03-07T06:20:55+00:00July 6th, 2018|

Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing—pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City—first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made—and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.

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Varg “Nordic Flora Series Pt. 5: Crush” (Posh Isolation)

2018-12-17T01:21:54+00:00July 6th, 2018|

Following on from the previous iterations of the series, particularly the widely acclaimed Nordic Flora Series Pt. 3: Gore-Tex City (2017), the cast of collaborators remain familiar. Some faces are more prominent on this occasion, while others were folded into the series for the first time at last year’s Berlin Atonal festival where Varg’s Nordic Flora program was unveiled. The album’s most tender moments arrive when the acoustic instrumentation and ambient ascents cross and tangle with the spoken word performances from AnnaMelina and Chloe Wise. They speak in lullabies of decadence. And the sincerity catches you out, tapering the rush, awakening the crush. When working with both AnnaMelina and Vanity Productions, the gentle details get scaled up for bigger arenas, the track signaling a kinship with last year’s Yung Lean collaboration. Not surprisingly, Varg configures this side of Crush alone, perhaps letting this stormy intensity out just the once in a mournful piece with Ecco2k. True to the Nordic Flora Series, the artwork comes from American multidisciplinary artist Cali Thornhill DeWitt. Features Morning Star, Ecco2k, AnnaMelina, Chloe Wise, Matti Bye, Christian Augustin, Henrik Söderström, and Vanity Productions.

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Brainwaltzera “Aescoba” (Film)

2018-12-17T01:22:28+00:00June 28th, 2018|

Brainwaltzera debuts on FILM. The anonymous producer, whose work has already received online approval from legendary British IDM auteur Aphex Twin, offers up an extended EP for the Berlin based imprint. The compositions on Aescoba EP are of similarly high caliber. Varied in approach and marrying both electronic and acoustic elements with ease, the six tracks that comprise the record range from yearning ambient segues and dreamy down tempo grooves to otherworldly krautrock and more direct, dancefloor fare — but remain bound tight as a cohesive and functional body of work by a glorious, arcane musicality.

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Muslimgauze “Maroon” (Staalplaat)

2020-03-07T07:26:50+00:00June 22nd, 2018|

Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations — space, color, depth, illusion — to the listening experience. The music on Maroon is dub-like inspired techno music, laidback with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on Maroon give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauze’s ambience gets remolded by subjective experience and moved around in the memory. By shifting the quality of perception with the producer’s sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the music’s unspoken subject. Divorcing Muslimgauze’s music from its image is like listening to Take That without seeing Robbie‘s pelvis or Mark‘s pouting. This is precisely why the music is so effective. Relocating music’s power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzin’s wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce “death-to-the-infidels” fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water-colored bliss of run-of-the-mill ambient and force the listener to internalize difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion. Handmade thick cardboard cover, sewed, with text gold screen-print. Mixed By John Delf. Originally released on CD in 1995. Limited edition of 500

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DJ Richard “Dies Irae Xerox” (Dial)

2018-12-17T01:24:06+00:00June 22nd, 2018|

DJ Richard returns to Dial with his much-anticipated sophomore LP, Dies Iræ Xerox. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015’s Grind (DIAL 033CD/LP), found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, Dies Iræ Xerox is a personal and uncompromising journey that finds the Rhode Island native in reflective form. In part adapting its title from the Latin hymn “Dies irae”, otherwise known as “Day of Wrath”, Dies Iræ Xerox melds the physical and psychological aspects of DJ Richard’s production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. On Dies Iræ Xerox, the artist finds the space to write “the records I really want to play”, and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying “Vanguard”. The sludgy yet sophisticated crawl of “Tunnel Stalker” sets the tone for the menacing yet somehow melancholy EBM of “In Broad Daylight”, while the record draws to a breathless close with the affecting, drum machine lethargy of “Gate Of Roses”. Drawing little distinction between his more physically rousing material and searching soundscapes, Dies Iræ Xerox instead finds a passage of catharsis throughout both. “Dissolving World”, the album’s breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless “Ancestral Helm” and “Final Mercy”, DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If Grind, inspired by the weathered coastlines of Rhode Island, was a record concerning “the border between civilization and the ocean”, then Dies Iræ Xerox is an unapologetic follow-up concerning that between macabre obsessions and fear of death.

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Gas “Rausch” (Kompakt)

2018-12-17T01:28:21+00:00May 18th, 2018|

Double LP version. Includes download code. “Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite.” –Wolfgang Voigt, 2018; Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GAS will continue to perform live throughout 2018 to support Rausch.

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