Souffle Continu Records present the first ever reissue of Philippe Doray & Les Asociaux Associés’ Nouveaux Modes Industriels, originally released in 1980. Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his ‘Associés, evermore iconoclastic and numerous, backs up his anguished poetry with customized krautrock, hallucinatory pop, and rock Suicide. Much more than a memory of the then surprising (and disturbing) swinging Rouen, this album is an intergalactic ambush. Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires (FFL 058LP), on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen. In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d’Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers, TN) run by, amongst others, the ex-manager of Crium Delirium, Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock, and free jazz; a few months later he would undergo a change which would be the precursor of his future projects. Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing. Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need. Licensed from Philippe Doray. Remastered from the master tapes; obi strip; includes text sheet insert.
2020 repress. Italian musician, producer, DJ, and composer Tommaso Cappellato is a musical maverick – running the gamut from free-form techno to hip-hop production and jazz improvisation. Mentored by jazz visionaries Harry Whitaker and Michael Carvin (Pharoah Sanders), and a collaborator with techno master Donato Dozzy, Tommaso’s seemingly unorthodox breadth of style and vision offers a truly unique new school artist. From building his jazz chops as a resident drummer in NYC, to hip hop excursions alongside Brooklyn MC Yah Supreme; to traveling to Senegal to meld with local world music masters; to leading his own award-winning spiritual jazz project Astral Travels; to collaborating with experimental electronica and techno artist Rabih Beaini and visionary Egyptian producer Maurice Louca; to now presenting his solo artist project Aforemention, Tommaso is the modern renaissance man. With Aforemention, he brings together his lifetime of artistic exploration and exposure to create his own concept of a jazz-informed experimental electronic soundscape. Tommaso started his music journey on piano and at age 11, he transitioned to drums. He studied under many of the jazz greats in NYC and soon became a regular fixture on the scene there, subsequently touring the US, Japan, China, Australia and Europe with multiple projects. His fascination for sounds outside the jazz realm led him to this new project – asking himself what would happen if he created alone, embracing everything from inspirations to moments of randomness and finding his own musical identity in that process. Using drums, analog synths, and his own voice, Tommaso has created a body of work that evokes inner spaces, outer realms and new ideas. Aforemention takes in all of Tommaso’s past experiences and sees him creating a one-man journey through sound. He is joined on the album by three guests: legendary drummer Victor Lewis provides spoken word on “Team Ball”, Inglewood, CA native and Solange-collaborator Nia Andrews provides vocals on the ode to freedom, “Fly”, and Detroit/NYC vocalist Dulcinea Detwah brings freeform hip hop verse to “Get Set Free”. Everything else you hear is performed solo by Tommaso Cappellato, mixed by Donato Dozzy and mastered by Neel. “One man, live on stage, concocting wild sonic mash-ups of the jazz and techno traditions” –Mark de Clive-Lowe. “Connecting deeply with his vision of time, texture, rhythm, space, and soul!” –Carlos Nino.
Available again for the first time since original release in 1974, Outernational Sounds presents one of the deepest custom press jazz recordings of all: Jaman’s spiritualized and funky Sweet Heritage. The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. The true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls, and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it. Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians — one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist, Juini Booth, and regular Ahmad Jamal sideman, Sabu Adeyola (also of Kamal & The Brothers), have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and many others. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily. He became one of Buffalo’s true jazz stalwarts, and so he remains. But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in complete control, and with the flying, spiritual sound of “Free Will” and the Latin-tinged “In The Fall of The Year” — both Jaman originals — the album has since become a legendary collector’s classic. 180 gram vinyl.
Dusky’s return to Running Back. The second volume of Life Signs continues where its parent left us: on the path to euphoria. A brew of rumbling bass lines, ecstatic dreams, rattling rave signals, and moving melodies that is as sapid as it is substantial. Consisting of four tracks (and one dub), Dusky further cement their reputation of being champions of their (production) craft and the dancefloor alike. While “Fridge”, “Seed Tray”, and “Mushroom Samba” lower the plough with DJs and steppers in mind, “Metropolis” ennobles itself to a higher stand: with or without voice, it is a sophisticated and divinely inspired master class in a perfect hook (bleeps) and eye (bass). And a gentle reminder: function and beauty don’t have to exclude each other.
Asteroid B-612’s Forced Into A Corner is released for its very first time on vinyl. This is the second album of legendary Australian band, and it is the killer predecessor to their cult album Not Meant For This World! (BANG 134LP). Originally recorded and released in Melbourne, Australia in 1994, this album was produced by Dave Thomas from Bored! So… you can assume it is a monster piece of sonic hazard and guitar army sound mixing Detroit’s wildest with Australian classics. This album was originally released only on CD and only in Australia. It’s remastered here in order to deliver the most brutal sound of this band. A total must for all fans worldwide of MC5, Stooges, Dark Carnival, Sonic’s Rendezvous Band, Radio Birdman, The New Christs, Bored!, Hellacopters, etc.
LP version, edition of 500 on 180g vinyl. Incorporating a diverse range of influences, from samba to no wave, Handle, a three-piece from Manchester (now based between Manchester/London/Brussels) made up of Giulio Erasmus and Nirvana Heire, former members of D.U.D.S (the first British band to sign to Castle Face) and Leo Hermitt, a genderqueer multidisciplinary artist renowned for their challenging, thought-provoking work in the city’s arts and literary scenes. The group mesh politics with a trans experience of time and a vibrant, avant-garde freedom of approach. Handle make a uniquely minimal sound, buoyed by poetic, urgent vocals. Each instrument (bass, drums, keyboard and voice) is permitted its own space, yet somehow the result is a brilliantly unified yet understated sonic experience that demands then commands your attention. Powered by looping, hypnotic synth lines, quaking flexes of bass, clattering tribal percussion and expeditious, often agitated vocals that cordially sprint, Handle’s songs — all of which clock in around the two-minute mark — owe as much to performance poetry as they do to the vibrancy of post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis, albeit disorientating at times, pre-empting sense from the shards of sound they gather about themselves. “Life’s Work” begins with isolated swells of pitch before driving full throttle into an exuberant rhythmic workout. “Sunday Morning” shares this elasticated feel for melody and communication, twisting about itself in rubbery fashion. “Coagulate” is more disembodied from the pulse, but similarly retains a boldness of vision. “Step By Step” showcases what Handle excel at, it’s a clangorous leviathan of beat-forward dance punk, peppered with Leo’s fluid vocal inertia. It’s dizzying yet divinely exuberant. “Punctured Time” evokes the same cascading flow “Punctured time, bicycle wheel, what if I told you that your lips were like venus, lips were like what? Lips were like venus and that my tongue was a trampoline?” sings Leo amid undulating bass, toppling drums and jabs of keyboard ambience. Handle make music occupied by dark shapes that move beneath a roiling surface: jolting, shattering, cracking, smoothed, bounded, punctuated. Handle’s debut album In Threes is a collection of frenetic sounds for frenzied forms. In Threes was recorded and mixed by Robin Williams and follows on from the band’s previous EP Demonstrations (2018), released through their own imprint Absolute Fiction.
“Daniel Steinberg continues to have great success on labels such as Microfon, Grandpetrol and Stylerockets and is also the main representative for Front Room Recordings. With his last EP — featuring ‘Keep On Movin’ and ‘Don’t You Know?’ — enjoying such widespread success, we thought we should call upon the remix skills of Roman Flügel and Siopis for this release. Roman has been artistically active since the 1990s with his own labels Playhouse, Ongaku Musik and Klang Elektronik contributing some of the best house around throughout the years. His remixes for the likes of Pet Shop Boys, Human League, Primal Scream and Kylie Minogue have garnered him a worldwide recognition, and now he delivers in true style to Front Room. Siopis, fresh from his Get Physical release Penny From The Lane, has also recently remixed Mr. Static which has further pushed his name into the international dance music vocabulary. His work can also be spotted on some of the most prominent labels like Get Physical, BPitch Control and Crosstown Rebels to name a few. Three quality remixes making one brilliant EP that maintains Front Room at the top of its game.”
Various ”Taiwan Disco – Disco Divas, Funky Queens And Glam Ladies From Taiwan In The 70s And Early 80s” (Aberrant)
Disco divas, funky queens, and glam ladies in ’70s and early ’80s Taiwan! Due to its extremely complex history, Taiwan in the ’70s saw the creation of some incredibly special music in which the sounds being created at the moment from the west collided with the special sensitivity of Taiwanese musicians, creating a delicious mixture you’ll need to hear to believe. Taiwan Disco shines a light on the music created by Taiwanese women during those years (’70s and early ’80s) to present a mind-blowing collection of songs with sounds ranging from wild funk to apace glam, exotic disco or fuzzed-out soul. Here’s the ticket to some crazy Taiwan nights, get those dancing shoes ready, it’s time to shake it! Features Wu Xiu Zhu (吳秀珠), Hua Yi Bao (華怡保), Cui Tai Jing (崔台青), Zou Juan Juan (邹娟娟), Chen Lan Li (陳蘭麗), Wang Xiang Ling (王祥齡), Tian Lu Lu (田路路), Liu Guan Lin (劉冠霖), Wu Xiu Zhu (吳秀珠), Luo Yan Li (駱豔麗), Yu San Shan (于三珊), and Zhang Bei Xin (張蓓心).
Original score by Krzysztof Penderecki. New reading and conduction by Mats Gustafsson. The first (and until now only?) recorded interpretation of Krzysztof Penderecki’s Actions For Free Jazz Orchestra took place in 1971 at Donaueschingen and featured the New Eternal Rhythm Orchestra, assembled by Don Cherry for the occasion and conducted by the great Polish composer. That orchestra also consisted of 14 musicians, including international jazz heavyweights such as Kenny Wheeler, Peter Brötzmann, Thomasz Stanko, Terje Rypdal, Han Bennink, and others. Don Cherry himself did not perform. Penderecki had heard the Globe Unity Orchestra a couple of years earlier and was fascinated by the possibilities of working with musicians from a different background and with other perspectives than he was used to from the classical world. The challenge for all involved was to find the right balance between composition and improvisation. The idea was initially met with some skepticism from the musicians, but this soon gave way to acceptance and even eagerness. The new, extended reading by Mats Gustafsson and Fire! Orchestra was commissioned by the Sacrum Profanum festival in Kraków, Poland in 2018. The idea was to place this classic piece in a contemporary setting, with a new approach and a new body of sound. However, the original score was used as a platform for the new reading, connecting history with the present. A score in this context is most often of a graphic nature to present reference points, visualized on the sleeve by Kim Hiorthøy’s cut-up adaption of Mats Gustafsson’s score. It’s also worth noticing that the instrumentation is more or less identical to that of 1971, the main difference being a tuba replacing one of the trombones. Finally, this new reading clocks in at 40 minutes, and is thus considerably longer than the 1971 version. This line-up of the Fire! Orchestra is unique in that it’s the first time without founding members and singers Mariam Wallentin and Sofia Jernberg. It’s also the first time with guitarist Reine Fiske.
“In 1992 Mudhoney left Sub-Pop and signed with Warner Brothers’ subsidiary Reprise Records. Having already worked on a batch of songs, we set out to demo what we had. My buddy from high school, Rolf Bertieg, and his friend Jim Collier had set up a studio in the basement of Jim’s house in the Wedgwood neighborhood of Seattle, where, armed with a few tunes and several cases of beer we made these recordings. The songs on this record would eventually be re-recorded and released on our album Piece Of Cake, except ‘Knock It On The Head’ which has remained unreleased until now. (Maybe there’s a reason for that, but I’ll leave it up to the listener to make that judgment). The energy and the vibe of these recordings reflect how we wish the final Piece Of Cake would have sounded. Hope you enjoy this archaeological dig through our past.” –Dan Peters, Mudhoney
Thundercat is set to release his new album “It Is What It Is” on Brainfeeder Records on April 3, 2020, and shares the first music; ‘Black Qualls (featuring Steve Lacy and Steve Arrington)’. The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox.
“It Is What It Is” follows his game-changing third album “Drunk” (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. “This album is about love, loss, life and the ups and downs that come with that,” Bruner says about “It Is What It Is”. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.
The unruly bounce of new single ‘Black Qualls’ is classic Thundercat, teaming up with Steve Lacy (The Internet) and Funk icon Steve Arrington (Slave). It’s another example of Stephen Lee Bruner’s desire to highlight the lineage of his music and pay his respects to the musicians who inspired him. Discovering Arrington’s output in his late teens, Bruner says he fell in love with his music immediately: “The tone of the bass, the way his stuff feels and moves, it resonated through my whole body.”
‘Black Qualls’ emerged from writing sessions with Lacy, whom Thundercat describes as “the physical incarnate of the Ohio Players in one person – he genuinely is a funky ass dude”. It references what it means to be a black American with a young mindset: “What it feels like to be in this position right now… the weird ins and outs, we’re talking about those feelings… Part of me knew this [track] was where Steve [Arrington] left us.”
Thundercat forms a cornerstone of the Brainfeeder label; he released “Golden Age of Apocalypse” (2011), “Apocalypse” (2013), followed by EP “The Beyond / Where The Giants Roam” featuring the modern classic ‘Them Changes’. He was later “at the creative epicenter” of the 21st century’s most influential hip-hop album Kendrick Lamar’s “To Pimp A Butterfly”, where he won a Grammy for his collaboration on the track ‘These Walls’ before releasing his game-changing third album “Drunk” in 2017. In 2018 Thundercat and Flying Lotus composed an original score for an episode of Golden Globe and Emmy award winning TV series “Atlanta” (created and written by Donald Glover).
Rare and unissued Pacific Northwest floor fillers! While soul music might not be the first thing that comes to mind when you think of the music of the Pacific Northwest, Salem Oregon’s Garland Records was churning out high quality hip shakers along with their reels of garage & psych.
Contained here is some super deep ‘Northwestern Soul,’ including three cuts making their inaugural spins 50 years after they were put to tape.
Nils Frahm announces the release of Encores 3 on 18 October 2019, the third and final installment of his Encores series. The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music, to follow his masterful 2018 album All Melody.
Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.
“The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”
Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favorite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.
Hypermagic Mountain, Lightning Bolt’s 4th album has been unavailable for nearly a decade since it’s 2005 release. Back as a double LP including a full drawing by Brian Chippendale as the D side Etching! The package includes a large scale 4-page book (previous pressings included a cd size book). Recorded at Machines with Magnets and Lightning Bolt’s home by Dave Auchenbach. Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.
They are often called one of the loudest rock outfits in existence, both on record and on (or famously, off) the stage. Brian Gibson creates sounds that are unexpected and remarkably varied with his virtuosic bass playing and his inventive approach to the instrument, centered around melody rather than rhythm. The dizzying fury of Brian Chippendale’s drums twist from primal patterns into disorienting break beats as his distorted, and echoing vocals weave more melody into the mayhem.
Tindersticks release a new limited four-song EP See My Girls. The four song EP features a radio edit of See My Girls, an instrumental dub version of the track and two new songs – the David Boulter penned instrumental A Street Walker’s Carol and Blood And Bone, with Sidonie on lead vocals. The EP is a companion to Tindersticks’ 2019 release No Treasure but Hope.
The 11th Limited Dance Edition Ranil y su Conjunto Tropical. Fourteen mindblowing Cumbia masterpieces – many of which have never seen wide release outside the Amazonian region.
Ranil’s extraordinary output has remained one of the best kept secrets among collectors of cumbia and psychedelic Latin sounds. With the release of Ranil y su Conjunto Tropical it is a secret no longer. Assembled by Analog Africa founder Samy Ben Redjeb from original LPs sourced from Ranil himself, this fully-licenced compilation presents 14 tracks – many of which have never seen wide release outside the Amazonian region – by a singular artist at the very height of his considerable powers. Prepare yourself for a guitar groove you won’t soon forget.
Robbie Basho was one of the big three American acoustic guitar innovators, John Fahey and Leo Kottke being the other two. Basho was the least commercially successful of the three, but his influence and reputation has steadily grown since his untimely death in 1986 at the age of 45. And with good reason; for Basho’s deeply spiritual approach, intellectual rigor, and formal explorations (among his goals was the creation of a raga system for American music), present a deeply compelling, multi-faceted artist. Basho was actually a college friend of John Fahey, and his early recordings (like Kottke’s) were for Fahey’s Takoma label. Following Fahey ‘s move to Vanguard, Basho followed suit, and released Voice of the Eagle and Zarthus for the label in 1972 and 1974, respectively (his most commercially successful records were made for the Windham Hill label later in the decade). Flash forward to 2009: Vanguard contacted guitarist (and long-time Basho champion) Glenn Jones with the intriguing news that an unreleased Robbie Basho album session had recently been found, on a tape that, alas, lacked any real documentation. It was only 12 years later, when Jones, in the process of researching the liner notes for this release, discovered the truth: that not just the mysterious tape but both Voice of the Eagle and Zarthus were the result of one marathon session in 1971 or 1972 recorded in New York City by Vanguard staff engineer Jeffrey Zaraya. Songs of the Great Mystery—The Lost Vanguard Sessions, then, takes its place as the third of the triumvirat of albums Basho recorded for the label, and it is their equal in every way, exploring, in particular, some of the same Native American themes found on Voice of the Eagle. Some of the tunes showed up on later albums in much different forms; 1978’s Visions of the Country featured “A Day in the Life of Lemuria” (re-titled “Leaf in the Wind”) and “Night Way,” and “Laughing Thunder, Crawling Thunder” went through various permutations before appearing on 1981’s Rainbow Thunder as “Crashing Thunder.” But for Basho fans, the originals will probably steal the show, particularly “Song of the Great Mystery,” which, unlike some of the songs here that showcase Basho’s singing and piano-playing, brings to the fore his amazing six-string guitar technique and touch. Vanguard briefly put these sessions up digitally when they were located, but Real Gone Music’s release represents the first time they have come out in any physical form (and the alternate take of “A Day in the Life of Lemuria,” also discovered by Jones, has never been heard anywhere). Featuring track-by-track annotation, rare photos (including Basho’s own handwritten notes found in the tape box), and remastering by Mike Milchner of SonicVision, Songs of the Great Mystery—The Lost Vanguard Sessions is a timely release heralding the release of a new documentary and an upcoming Basho box set. Available on a double-LP set pressed in clear vinyl limited to 1000 copies at Gotta Groove Records and housed inside a gatefold jacket. A great American artist, finally getting his due!
North London’s Sorry release their hotly-anticipated debut record 925 via Domino. Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos. Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound. Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.
Arbouretum’s mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they’ve perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics. Let It All In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann’s melodies and solos remain a central focus bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time.
In a shocking turn of events, Daniel Romano has decided to give you exactly what you asked for–– He and his unparalleled live band, The Outfit, have decided that you deserved it, that it is in fact already yours––and they want to say “you’re welcome.” The record is called “OKAY WOW”. Which is probably what you’ll say when you listen to it. It’s all your favourite songs except superior in every way to the versions you’ve exhausted. “OKAY WOW” also features several rarities previously heard only on two albums which received brief, momentary release via Bandcamp before being deleted forever. “OKAY WOW” was RECORDED LIVE by Kenneth Roy Meehan the 1st while on tour across Scandinavia.
The first album by Acrimony (from 1994) for the first time ever on vinyl! Remixed and mastered in 2019 from original studio files by James Plotkin. Includes new artwork from JimBob Isaac (Taint/Hark). Acrimony’s influences were varied, from ’70s rock to trance techno, but their riffs were undeniably heavy, with lyrics exploring the isolation of their hometown and the same kind of disaffection that once launched Black Sabbath to the outer reaches of doom from a blues rock beginning.
One of the best albums released on NOVA, “Aardvark” features such outstanding pieces as the evocative ‘Once Upon A Hill’, ‘Many Things To Do’ and the powerful album closing track; ‘Put That In Your Pipe And Smoke It’.
This Esoteric Recordings reissue has been remastered from the original master tapes and features a booklet with fully restored artwork and new essay.
Made primarily while on the road, the nine-track LP spans techno, electro, deep house and ambient. It’s Karmil’s second full-length on Smalltown Supersound, following 2018’s Will.
Describing his production process, the UK artist says, “I tended to record a little here and there when I could grab some time with my gear, and then do most of the arranging and choices while I was traveling about—until the end when I went to mix in one of my favourite studios, Cologne’s incredible The Brewery.”
British shoegazing/alternative rock band Chapterhouse released two albums during their existence, ‘Whirlpool’ (1991) and ‘Blood Music’ (1993). Their debut album is a fantastic example of shoegaze at its best. The wall of sound approach is built around dance music structures and they’re creating some heavy grooves. Comes on 180 gram vinyl.
Paul Chain has long been known for his improvisational eccentricities, aggressive nightmarish doom, and moody atmospheric meanderings. Since its release in 1988, the ‘Ash’ EP has been considered a masterpiece of thrash and total doom.
‘Girl And Robot With Flowers’ is a thematic journey into the emotive and enthralling realms of cinematic jazz, seductive ambience and majestic drama. Greg Foat uses everything from brass bands and kettle drums to Moog synthesizer and harmonium to take the listener above and beyond the stratosphere of senses.
Epizootic’s sole album is very rare one and in good shape a very expensive album if you are looking for an original one. Longhair is proud to present the first official re-release of this album, first issued in 1976 by Epizootic as a private pressing. Their music could be described as raw hard rock with psychedelic flavours, dominated by organ and guitar. Breaks and tempo changes within the titles are responsible for a diversified album. In his book ‘Scented Garden Of The Mind’ Dag Erik Asbjornsen declares: Epizootic made one of the most obscure Swedish heavy rock albums, in a joyful style reminiscent of Fuzzy Duck and early Atomic Rooster. The album has been re-remastered from an early CD self-release by the band and gains a better sounding. On the insert, keyboarder Lars Liljegren tells the band’s story and some never before seen photos show the band in their glorious days. Don’t miss the limited edition of this extremely rare album. Recommended.
Reissue of the D.R.I. ‘Greatest Hits’ album, originally released in 2001. D.R.I.’s music has combined elements of punk rock, thrash metal, speed metal and heavy metal, while their early material has been described as hardcore punk. They are often cited as one of the key bands that helped create the crossover thrash genre, along with S.O.D., Suicidal Tendencies and Corrosion of Conformity.
The Collectors represents the Canadian psychedelic movement. This self-titled album is one of the true forgotten gems from 1968. The superb song-writing and intelligent use of unusual chord progressions are just brilliant on this record. Comes on 180 gram vinyl.
Golden Earring’s On The Double was the band’s first double album, released in January 1969. It contains 19 tracks varying from poppy songs and acoustics to their well-known heavier rock tracks. The album includes the bands first piano based ballad simply entitled “The Grand Piano”. However, most people will know this album for the song “Just A Little Bit Of Peace In My Heart”, which reached #2 in the singles chart in their homeland The Netherlands. The band was charging like a mad bull through venues all over the country and started to gain attention from countries all over the globe. This is when it started to get really serious for the band.
On The Double is available as a limited edition of 1000 individually numbered copies on red coloured vinyl and the package includes an insert.
Los Angeles-based Fraction’s heavy psych classic Moon Blood was originally released on the Angelus record label in 1971. Only 200 copies were pressed, so originals are currently worth a small fortune. Fraction, with vocalist Jim Beach, bearing an uncanny vocal resemblance to Jim Morrison (although he was singing on Sunset Strip long before Morrison took to the stage), were often compared favorably with The Doors, although their quasi-religious message would probably not have found favor with the recently-departed Morrison. Indeed, this rather fine record was once famously described as the album The Doors probably wished they’d made! Underpinned by guitarist Don Swanson’s superb Ritchie Blackmore-style guitar work, this is an album full of beautiful psychedelia, acid and hard rock, at once emblematic of the era, but not dated by its association. The five original compositions are consistently of the highest quality and the contribution of Beach’s now legendary vocals places a stamp of originality on the recording that endures from beginning to end. Monstrously heavy, howling, epic psych that is basically a must-own. A truly excellent album. Featuring the original die-cut cover with colored cellophane, and pressed on 180 gram vinyl.
Gagarin Kombinaatti was Mika Vainio’s earliest band project in Turku in the early ’80s. This band was influenced by industrial groups like Throbbing Cristle, Einsturzende Neubauten and Test Department. Vainio compiled a this album from the original cassette recordings in 2015.
No-bullshit underground free-rock and proto-punk dosage featuring a multi-piece line up of GRs! This acetate slab of defiant mixture makes the magic happens like an hallucinatory disenchantment incorporated into some ultra vindictive power… Infectious, scary, brutal, elegiac, freakish and wickedly stylish, GR’s fifth solo album ‘The GR Record Head’ pushes the boundaries straight up to cook your synapses. Once again, the album comes out outside of the standards, with no other backing than GR himself on all instruments plugged into overheated tubes, then a few dusty razor-like moving coil transducers, a mixing board built like a Panzer and an analog 4 track reel to reel recorder from another age. GuitaRazing, frenzied riffing and cranked soloing vagabondage on corroded strings, mesmeric tone, acid rave ups, rhythms like catapults, motorik plus deconstructive free forms, opaque vocals full of venom and fuelled by raw lines & metrics… Now pair all that with the craft of fixing sounds onto an early ’80s 1/4 inch reel tape and you got an idea of what The GR Record Head is all about.
The mother of all fuckers in actual D.I.Y./low-fi rock’n’roll.
Limited edition of 300 copies on white vinyl. An Opaque Dynamo (FR) and Cardinal Fuzz (UK) co-production.
In the early 1960’s, when the Jamaican recording industry was still very much in its infancy, the local music scene was dominated by a mere handful of performers. Among these musical pioneers was Derrick Morgan. A year after the launch of the Island record label (1967), they released the ‘Derrick Morgan And His Friends’ LP, which has since become a highly prized collector’s item. Recorded at Jamaica’s premiere recording studio, WIRL, and featuring the musicianship of leading session crews, the Carib Beats and Lyn Taitt & the Jets, the quality of the tracks remains consistently high. Morgan is one of reggae’s real unsung heroes and this compilation makes it all the more compelling.
Nasty Savage’s classic demotape ‘Wage Of Mayhem’ (1984) for the first time on vinyl spiced up with a lethal selection of rare and unreleased bonus tracks from the early days. Nasty Savage were the undisputed pioneers of Florida’s metal scene, arguments can be made that the early ’90s Tampa area death metal explosion was a direct result of Nasty Savage, who mixed a more nihilistic view, lyrically and through onstage horror imagery, than the Bay Area. Their debut demotape and the additional early tracks collected here show the band on a more power metal oriented approach (at times even leaning to NWOBHM areas) than the incendiary thrash artillery of some subsequent works, but the amount of memorable riffs, a dark evil mood with a few psychedelic elements and the charismatic vocals of their distinctive frontman Ronnie Savage, clearly show the fact that even at their inception they were surprisingly mature and way ahead for their times.
Denmark’s finest hard-psychedelic band will now get their first official reissue on vinyl. Hair (no connections to the musical) released their one and only album in 1970 on EMI/Columbia and despite the fact that this was major-label release, the LP still remains as one of the rarest artifacts out of Denmark.
The listener will be rewarded with an effective combination of guitar dominated hard-psychedelic songwriting and strong melodic influences, culminating in their awesome masterpiece ‘Dream Song’. This 2LP-Set includes the original album and all six songs from their singles plus a previously unreleased (on vinyl) song as extensive bonus material. The album and single tracks have all been remastered from the master tapes.
‘Living Eyes’ was recorded at Rockfield Studios in Wales during a break in the band’s 1978 tour of Britain and Europe. Relations between members were falling apart and Sire had dropped the band prior to the start of recording. Their breakup soon followed. Initial releases were cut from a tape dub of trial mixes as the band never received an official master. Red Eye Records retrieved the master tapes from Rockfield in 1995 and the album was remixed. Limited to 1250 copies.
US IMPORT. An exact repro vinyl reissue of the sole album by this Bay Area acid-/psychrock band, originally issued by Mercury in 1968. A classic delivery of guitar dominated psychedelia, recommended to fans of Hendrix, Cream, Quicksilver Messenger Service, Tripsichord Music Box, Frumious Bandersnatch, etc.
Rain was a popular blues inspired rock band from Rochester, New York. Members were Brad Morse on vocals, Ted Paris on bass, Mick Guerin on drums and led by guitar maestro, Helmut Getto. Rain was a real powerhouse in their day! This legendary band broke up shortly after recording their studio album in 1971.
Lost and forgotten for nearly 50 years, the album was never released! ‘1971… The Lost Album’, a collection of original songs that the band recorded in the summer of 1971, was originally planned to be a follow up to their first record, ‘Live Christmas Night’, which came out on the band’s label, Whazoo Records in early 1971. Through fate’s twists and turns, the plan changed and the studio album fell by the wayside. Decades later and after lots of detective work, the studio tapes finally surfaced! These eight previously unreleased original songs have finally manifested themselves on limited edition 12″ vinyl, and Jargon Records are proud to present to you this epic treasure of rock history as a part of Jargon Records’ Time Capsule Series!
Back on vinyl, this is the first of two great albums released by this obscure Hawaii-based band. The album offers the same style of exotic-blues, light psych and hard-edged acid rock as their second album ‘Stuck In Paradise’. This reissue (500 copies pressed) comes with remastered sound, reproduced artwork and an insert.
‘Red Sea’ was the second album from the excellent rock band, founded by ex-Deep Purple bassist Nick Simper. As with many original Vertigo releases, collectability and costs have been steadily increasing over the years, as its availability becomes rarer.
The album is a truly long lost classic. It features Pete Parks, formerly of Black August on lead guitar, having replaced Ged Peck. Originally released in 1972, it proved to be their final release for the label, as the band then underwent several personnel changes before finally breaking up.
Among the original seven LP tracks is a stunning version of the Shirley Bassey hit ‘I (Who Have Nothing)’, as well as the title song, and such surging rockers as ‘Back In Time’ and ‘Feeling Better’.
After the release of ‘Tomorrow Blue’, we have to wait ’til 1975 to find Toad’s third album, unfortunately their last one. Originally released on Frog, ‘Dreams’ is a very good album that never got the attention it deserved because the band was a little bit disregarded by international press, and what was supposed to be their best seller, turned out being their swan song.
The rise of power trio T2 in 1970 was rapid: important open-air festivals; headlining residencies at the Marquee Club; appearances at virtually every major venue in London. Then their debut album was released; they seemed poised for a breakthrough. As the band recalled, they were playing the Marquee club, with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were coming forward saying, “we cant find your album anywhere.” In short order, the band fell apart. Still, their sole Decca album has become well established as an all-time classic amongst progressive and psychedelic music collectors-even the techno and dj crowds. The fact that it has done so without hype is a testament to the innate quality of the music. The album is packed with melodic acoustic passages, frenzied fuzz guitar workouts, not to mention acid-trip induced lyrical and musical content. It is, in every way, an extraordinary album, one of rock musics best kept secrets, on a par with all the other major works that form the rock music canon of the time. Hefty booklet contains extensive musicological analysis by composer and musician Andrew Keeling, which includes illuminating interviews with band members Peter Dunton and Keith Cross, as well as detailed illustrations. Included as bonus are three tracks from BBC Sessions recorded in October 1970. Licensed from Decca/Universal, UK.
This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the ’70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can’t be said that the country’s music library has bulky volumes, rather it’s just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like “Spanish-soul” or “rhythm’n’blues-pasodoble”. It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that’s why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 1 features Gregorio García Segura, Los Brandis Con María Nevada, Lin Barto, Blas And His Friends, Jorge Enrique, Roberto Serrano, Rafael Martínez, Orquesta A. Latorre, Orquesta Miramar, Conjunto Nueva Onda, Ramón Gil, Mesie Bató, Red-Key, and Unidades. Edition of 500 (numbered).
This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the ’70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can’t be said that the country’s music library has bulky volumes, rather it’s just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like “Spanish-soul” or “rhythm’n’blues-pasodoble”. It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that’s why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 2 features Red-Key, Ray Martin, J. Tenafly, Nick Wilson, Blas And His Friends, Conjunto Olivino, El Conjunto De Rafael Martínez, Conjunto Nueva Onda, Greg. Segura Y Su Orquesta, Jorge Enrique, Orquesta Miramar, Dany Roy And His Band, Sarr Incony, and Mesie Bató.
Ren Schofield’s work as Container has developed into a succession of complementary releases over the last decade. He’s released four aggressive noise-techno LPs, all simply titled LP with searing noise and grinding electronics providing grisly decorations for rigid, skeletal beats indebted to hardcore and minimal techno. While Schofield can wreck plenty of audio destruction, the rhythmic foundation beneath the chaos gives every track a throttling momentum.
Schofield’s latest album, Scramblers, offers some major and minor changes to his spartan formula, the most obvious being the release’s titular divorce from the LP series. On Scramblers, Schofield junks familiar elements while keeping the noise at a euphoric high. The eponymous first track opens as hardcore techno written for jackhammers and power drills before boiling over with an off-kilter synth arpeggio. “Mottle” sounds like it’s constantly on the verge of ripping itself apart, slowing, accelerating, and convulsing relentlessly. While “Queaser” deploys synths that feel ripped from an old video game sound-chip. When that song’s beat finally drops out, it opens space for a field-recorded collage of howling and hooting animals that seamlessly meshes with the following track’s industrial clangs. That transition is a perfect example of how skilled Schofield has become at sequencing his work, landing haymakers with something as subtle as a tracklisting. Container has always had a firm grasp on the nuances of both noise and dance music, but this album captures the thrill and fun of the hybrid in a way he’s never quite done before.
Alternative Fox presents a reissue of Jan Dukes De Grey’s Sorcerers, originally issued in 1969. Sorcerers is the group’s debut, recorded when Jan Dukes de Grey were still the duo of multi-instrumentalists Derek Noy, the band’s songwriter and lead vocalist, and Michael Bairstow. The 18 songs of the album, recorded in October 1969, show within a pure folk style the subtle use of multiple instruments like guitars, woodwinds, brass, keyboards, and percussion. Every song conjures up its own time and place, from the quiet pastoral delights of “28th June, Village Song” to the urban pulse of “City After 3:00 AM,” the homage to the vast expanses of an idealized “Texas,” and the Eastern promise of “Turkish Time.” Moods shift dramatically from the anger-drenched “M.S.S.” to the medieval musings of “Dragons” and the wonder of a “Butterfly.” One of the most brilliant acoustic experiments of folk-psych-prog rock ever.
LP version. Eight early songs written and produced by Tase, recorded on 16-track tape machine. Neues Deutschland Studio 2010-2011. Tase is producer Sven Rieger. Co-founder of SUED, Rieger records under aliases SVN and Ixus and in groups such as AU, Département d’Éducation Psychique, Dreesvn, and S.P. Posse.
“Produced within the context of The Guidebook of Church Burners publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O’Malley is a result of this collaboration.” – Emilie Lauriola
Alternative Fox presents a reissue of Satisfaction’s self-titled album, originally released in 1970. Trumpeter Mike Cotton had played with The Beatles and others before forming Satisfaction with former Artwoods guitarist Derek Griffiths and former Unit 4+2 bassist/vocalist Lem Lubin, along with drummer Bernie Higginson, saxophonist/flutist Nick Newell, and trombonist John Beecham. Signing to Decca, their self-titled debut album was released in February 1971, produced by Decca staffer David Hitchcock. Somehow, the band folded by the autumn of 1971, with Cotton taking the horn section to The Kinks for The Muswell Hillbillies (1971). Includes three bonus tracks.
Electric Sewer Age’s »Contemplating Nothingness« is a lysergic tapestry culled from the deep end of the collective pop cultural unconscious. The project was originally started anonymously by the late Peter »Sleazy« Christopherson (of Throbbing Gristle, Psychic TV and, most notably, Coil) together with Coil affiliate and seasoned remixer Danny Hyde, who continued the project together with John Deek, who passed away in 2013. »Contemplating Nothingness« is the third release by Electric Sewer Age and the second one that Hyde finished alone. Having previously been only available on CD, it is now re-released by the Swiss Hallow Ground imprint on vinyl both as a standalone release and as a strictly limited bundle together with »Svay Pak,« Hyde’s 2011 EP under his Aural Rage moniker.
Hyde left his imprint on many of Coil’s seminal albums such as »Love’s Secret Domain«, co-produced Pop Will Eat Itself’s »Very Metal Noise Pollution« and remixed a diverse roster of artists such as Nine Inch Nails, Scorn, Chris & Cosey, Psychick Warriors Ov Gaia or Depeche Mode. With his work as Electric Sewer Age, he explores the vast open space between the dark psychedelic aesthetics that he has helped establishing together with John Balance and his long-time collaborate Christopherson with a postmodernist approach that is deeply rooted in studio practice and sampling.
On »Contemplating Nothingness,« disembodied voices mingle with subdued rhythms, muffled harmonies or menacing string themes. Over just a little bit more than half an hour, Hyde conjures up traditional and contemporary production techniques and genres like plunderphonics, Leyland Kirby’s V/VM project or early vaporwave, all while retaining his singular voice. Throbbing industrial gives way to jazz-inflected quasi-rap, autotune balladry and ethno ambient, before closing on eerily alienated synth pop sounds and a stunning exercise in psychedelic minimalism. »Contemplating Nothingness« is an album as surreal and beautiful as a half-remembered dream, constantly navigating through the liminal zone of the familiar and the great unknown.
Lose yourself in the circuitry of the original 1965 Buchla 100 with NYZ (Dave Burraston) as he utilizes Barbara Hero’s Lambdoma tuning theories to create two slow, deeply layered, subconscious, organic and meditative compositions. NYZ’s split 12″ with ELEH (IMPREC 477LP) will be released at the same time as Millz Medz. David Burraston is an award-winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. His experimental arts practice encompasses field recordings, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis, and electronic music. He performs, lectures, conducts workshops, and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab, and the Australian Broadcasting Corporation. In 2014m he independently published the legendary “SYROBONKERS!”, the most technical and in-depth interview ever given by Aphex Twin. First pressing of 500.
Opium Crop Airstrikes is a Vatican Shadow EP with long-form industrial tracks in the style known from Jordanian Descent (2012). A portion of the proceeds go to AYOK civil society volunteer organization for earthquake relief in rural Mexico. Cassette comes in oversized package; includes fold-out poster.