2020 repress; gatefold double-LP version. Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini’s words, “The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space… it’s such a living instrument.” The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm’s releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.
Out-Sider present a reissue of Wildfire’s Smokin’, originally released in 1971. Powerful and melodic hard-rock by this US power-trio: ultra-loud Quilter amps, killer leads, fuzz bass, furious drumming and vocals. Recorded at the legendary Sonobeat Studios in Austin (home of Mariani) and originally released in 1971 as a private demo album, now impossible to find. Originally formed in California in the late ’60s, Wildfire consisted of Randy Love (guitar, vocals), Danny Jamison (bassm lead vocals), and Donny Martin (drums). Famous for powerful live shows, they packed the clubs with lines around the block of fans waiting to enter, becoming the house band for Finnegan’s Rainbow and the favorite group of The Hessians Motorcycle Club, who became the unofficial guardians of the band. Soon, they got in touch with Pat Quilter from Quilter amps. Tired of blowing up amps when playing, Randy told Pat to design an amp that couldn’t blow up. And he did it. Following Wildfire’s input, Pat designed for the band the famous “Master Volume Dial” amp. In 1969, a Texas promoter heard the band in Southern California and brought them to Austin, becoming an instant hit locally in the Austin area. While in Texas, Wildfire shared the stage with Freddie King, the Allman Brothers, Johnny Winter, and ZZ Top. It was in Austin that the eight-song demo was cut at Sonobeat Records (home also of Mariani and Cold Sun), released in 1970 as a private pressing housed in a plain white cover with a Wildfire sticker, each one numbered. The demo album was never sold other than at a small record store in Southern California and it’s now one the rarest hard-rock albums from the US. First bootlegged in the ’90s and then officially reissued by Shadoks in 2006, here’s a welcomed new vinyl edition. RIYL: Grand Funk, Bolder Damn, Demian, Cactus, Stack, Banchee, Blue Cheer, Hendrix… Master tape sound; includes insert with liner notes and photos.
Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form. Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own “Cascata di Malbacco” tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw. On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time. Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences. John Carroll Kirby has released records on Leaving Records, Outside Insight, and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces, and Solange. He recently signed to Stones Throw Records. Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ — with E2-E4 representing the format’s high tide mark — each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12″ piece of plastic. Set and forget, zone out to tune in.
Tangerine serves as a coda to the qualities that have established Shanti Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. Tangerine is Celeste’s most fully-realized contribution thus far to this continuum of musical culture. More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There’s a kalimba, recorded at her father’s home in Chile. There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and color you know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with good friend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work. Creating Tangerine has been a space for Celeste to explore all of this with a freedom that has come with the easing of expectations that an artist earns with the passing of time. Striking a balance between deeper, understated sounds and building gradually towards the fleet-footed bursts of rave energy that Celeste is known for, Tangerine peels back layers of dreamy textures to reveal an optimistic afterglow, reflecting on a life devoted to club culture. “When I made music for EPs, sometimes I felt restricted,” she says. “I would think too much about creating the moments on the dancefloor I love — seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping.”
2019 repress; Double LP version, part 1. 15 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chakachas, Mad Unity, René Costy, Alex Scorier, Open Sky Unit, Plus, André Brasseur, Les Hélions, Chicken Curry & His Pop Percussion Orchestra, Placebo, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters, Nico Gomez & His Afro Percussion Inc., and Chocolat’s. The best Belgian dance tracks from the beginning of the ’70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it’s hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there’s hardly any money to be gained anyway, you may just as well play what you bloody well like. That’s what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early ’70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat’s, and “The Birdy Song.” Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans’ jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there’s Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the ’60s and the electronic triumphs of Telex in the late ’70s and early ’80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon.
Includes CD. As David Fricke points out in his liner notes, this is not just another novelty guest-project, the Krokofant on Q is like a brand-new band. In fact, all the involved are so happy with this album that there’s more to come with a bunch of new material already written. After three albums in three years as a trio, and sensing the possible danger of being stuck in a formula, they all felt a need to try something new, taking the band one step further. Especially Tom Hasslan, guitarist and main composer, felt an urge to expand the canvas and sonic possibilities. Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal) was the trio’s first choice for a keyboardist. He had seen Krokofant live in 2015 and, in his own words “had an instant kick”, so he said yes straight away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) had seen them the same year, and practically invited himself to join up at some time. Hasslan’s tunes are perfect vehicles for Storløkken to present the full scope of his playing; from sheer pastoral beauty to full on jazz skronk. The same can be said about Jørgen Mathisen, who is given ample room for soloing. By introducing Håker Flaten and his bass, work was lifted from Hasslan’s shoulders while a “proper” rhythm section was born, Skalstad and Flaten instantly bonding. Personnel: Tom Hasslan – guitars; Axel Skalstad – drums; Jørgen Mathisen – saxophones; Ståle Storløkken – Hammond organ and keyboards; Ingebrigt Håker Flaten – bass.
Limited edition LP version on red marble vinyl, housed in a gatefold sleeve with insert. “The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus.”
Complete recordings by The Beatstalkers, 1963-69, the legendary band from Glasgow. Fabulous mod-beat, wild R&B, and pop-psych, including all their 45 sides for Decca and CBS plus early demos. Formed in Glasgow in 1962 during the early beat boom by Alan Mair and Eddie Campbell, their line-up also included Davie Lennox, Tudge’ Williamson (replaced by Jeff Allen) and Ronnie Smith. Playing an authentic brand of rhythm n’ blues and soul covers, they soon took the city by storm and were famous for their riotous shows, attracting hordes of screaming girls and young fans. No wonder they were dubbed “the Scottish Beatles” by the press. Between 1965 and 1969, The Beatstalkers would go on to release a total of seven singles. All these sides are featured here. Including mod/freakbeat classics like “Base Line”, “Ev’rybody’s Talkin’ ‘Bout My Baby”, “You’d Better Get A Better Hold On”, plus several tracks penned by a young David Bowie (“Silver Tree Top School For Boys”, “Everything Is You”, “When I’m Five”), a killer psych cover of The Action’s “Little Boy”, and more. The Beatstalkers were a strong live attraction in the clubs and ballrooms around Great Britain (they also held a residence at the Marquee) and were highly praised by their contemporaries, including The Who, with whom they shared a “Ready Steady Go” television appearance. David Bowie was also among their crowd and through mutual manager Ken Pitt, he ended up writing three songs for them. He also played guitar and sang backing vocals on some of the recording sessions. Some of The Beatstalkers 7″ were also released in the US, Australia, and France (where an EP housed in a cool picture sleeve was issued). The band also toured Germany many times. In 1969, after their van was stolen with all their equipment, The Beatstalkers broke up. Eddie Campbell was later in Tear Gas and Jeff Allen went on to play for Dr. K’s Blues Band and then East Of Eden. Alan Mair was a co-founder of The Only Ones (of “Another Girl Another Planet” fame). The band reunited for a show in Glasgow and in 2018 a book about the band was published. Remastered sound; includes color insert with rare photos and detailed liner notes by Lenny Helsing (Ugly Things).
Second Circle announce the latest release on the label comes from the Indonesian outfit Zatua with their debut release Sin Existencia. First formed by Dea Barandana, the seven-track album was recorded in Jakarta and Bali over two years and grew out of improvised live shows with a band Dea put together. Zatua first performed together in 2017 at the Goethe Institute in Jakarta as a last-minute addition to the bill, having only a week to prepare and rehearse. The live show would consist of material based on simple melodic ideas and extended sections growing into live jams. Taking material from Dea Barandana’s solo compositions the ideas were then further developed and re-structured by Dea and band members Harsya Wahono, Adra Karim, and Rafi Muhammad into finished pieces. Inviting further guest musicians to join on various tracks, the vocals were in fact largely improvised by Carmen Caballero Fernández and Sasha Sabrina — in French, Spanish, and Asturian. Using predominantly analog equipment, Sin Extistencia is the final outcome of an extensive exploration into the unique sonic ranges and musical fascinations of the various members of the band. Taking influence from Indonesian psychedelic music from the 1970s and ’80s the album presents a fascinating glimpse into contemporary Indonesian electronic music with a nod to its little known but rich past.
Studio Mule present a reissue of BGM’s Back Ground Music, originally released in 1980. The debut album from Japanese living legend, electronic music producer Takayuki Shiraishi. Released on legendary experimental music label in Osaka, Vanity Records, run by Yuzuru Agi when Shiraishi was high school student. Shiraishi was influenced by the music of post punk, new wave, kraut rock — this album is his unique mixture of that kind music style. One of the most in-demand alternative music albums from japan finally reissued. Remastered from original tape and mastering by Kuniyuki Takahashi.
180 gram vinyl; 350gsm gatefold sleeve; includes download with “The Doctrine Of Eternal Ice”. Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the “body without organs” was fully eviscerated. Graeme felt “industrial music” was becoming ossified and needed to be taken into radically new territories: “post-industrial”. The track “In Flagrante Delicto” (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute’s 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.
Black Saint present a reissue of Sonny Clark Memorial Quartet’s Voodoo, originally released in 1986. Voodoo shows the Sonny Clarke soulful hard bop conception as seen through the oblique perspective of a NY Downtown all-star quartet featuring John Zorn (alto sax), Wayne Horvitz (piano), Bobby Previte (drums), and legendary bassman Bill Drummond. This unique and iconic album stands as one of Zorn’s first declared tributes to the art of an influential musician and composer. All compositions are by Sonny Clark including such hits as “Cool Struttin'” and “Something Special” both from his classic late ’50s/early ’60s Blue Note sessions. A full catalog of opened up hard bop structures and advanced jazz modes.
Karl O’Connor’s banging Regis 1998 blueprint is back in circulation for the techno ultras. The track list has been reshuffled from all previous versions. The A-side now runs through “Hands Of A Stranger” and the cold pipes of “Disease Through Affection”, and is backed with the chewy grind of “Body Unknown” and the tonkin’ hustle of “Barriers”, while the C-side revolves “Concentrate” along with three hefty locked grooves and the D-side includes “Escape From Yourself” and the panic-inducing trample of “Indifference”. It hardly needs to be reiterated but this set includes some of the meanest examples of late ’90s UK techno, and more specifically, the Birmingham sound that Regis forged so definitively with this album, alongside efforts by his peers, Surgeon, Female, and Mick Harris. If you weren’t party to the original pressing, this one stands out thanks to the remastering, which really highlights the pebbledash grain and clangorous industrial atmospheres of the original recordings, which surely set this record and sound apart from the crowd. Entirely remastered at Dubplates & Mastering and cut with three bonus locked grooves not found on the 1998, 2003, or 2012 editions. Includes new artwork. Edition of 500.
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.
“After five long years of waiting, rural psych masters, Sore Eros, return with an extended statement of purpose. Although their partial spatial dislocation from Western Mass has seemly rendered them a studio-oriented outfit, the lovely tangles of sound they create are as optimally fried as ever. The album was helmed by engineer/producer Adam Granduciel (War on Drugs) who was the only one capable of coaxing the whole band into the studio. Aided by players like Daniel Oxenberg (ex-Supreme Dicks) and Kurt Vile (ex-Nest of Saws), the music on Sore Eros was recorded between Philly and L.A., and seems to owe some its creative modeling to those cities as well. Indeed, the side-long ending track, ‘Mirror,’ feels like it’s equally indebted to left-coast canyon-hugging surf-pop and cheese steak-powered garage-volk readymades. The rest of the album is just as sizzling. The tunes move between large-scale rock moves with Deadly intent and strangely-drifting pop aktion that gets close to Bobb Trimble’s version of otherness. The overall heft is more woodsy than beachy, but maybe I’m just saying that ’cause I’m listening to the thing in the middle of a forest. Pressed at 45 RPM for extra high fidelity, packed up with a poster insert you can throw darts at (just like an earlier generation threw darts at the insert from the first Silver Apples LP), the theoretical swan song of Sore Eros is all a head could hope for. And then some.” –Byron Coley, 2019
“Emotional ambient, soft focus synthesis and pastoral programming from German duo Cass. & Gianni Brezzo on Hamburg’s Growing Bin. Hopeless romantic with GSOH seeks open minded audiophile for lifelong companionship. The style might change, but the quality remains the same in the Growing Bin. For this autumnal edition, the Hamburg label looks South West to Osnabrück and Cologne, home to Cass. and Gianni Brezzo respectively. Sharing an appreciation for emotive tonality and expansive texture, the two musicians make the perfect partnership on Masala Kiss, Brezzo’s timeless melodies only serving to intensify the signature sensuality of the Cass. sound. Despite the occasional polyrhythms, you’re hearing two hearts beat as one… Insistent and expressive, well-traveled opener ‘Jaybo’ joins the ethnic and esoteric with a new age optimism before giving way to the detailed ambience and good nature of ‘Umberella’, a brief pitstop on the road to the meditative ‘Imence Sense’. Alive with layered guitars, this opiated raga dances like hashish smoke in the evening sky, and then it’s up into the cloud forms of ‘Instabubu’ and ‘Autoscooter Love’, celestial serenades both off and on beat. Cass. and Brezzo set controls for the heart of the sun with the Friesean ‘Out Of Mind’, a cinematic exercise in precision sequencing and frequency control then start the journey home with the dewy bells and delicate waveforms of ‘Koli’. If you’re in need of a little new age funk for your poolside playtime ‘Helge’ and ‘Der Däne’ are on hand with the chunky bass and languid grooves, while a last-minute interlude provides a prenatal comfort and womblike warmth. I always cry at endings, and ‘Paterson’ provides pure emotional release in utterly Balearic fashion. Pensive guitar and euphoric synths meet on the waterfront as you stare over the ocean with all the people you love.” –Patrick Ryder
2020 repress; gatefold double LP version. Alessandro Cortini is best known as the lead electronics performer in Nine Inch Nails’ live unit. His recordings under his own name have gained prominence in recent years and he has become known as one of the pre-eminent Buchla masters in North America. Cortini makes a surprising departure into the 202 on his debut album for Hospital Productions — Sonno. Sonno was recorded in hotel rooms, using a Roland MC 202 through a delay pedal, recorded direct, sometimes into a small portable speaker system. “I liked to walk around the room with a handheld recorder to hear where the sequence would sound better, turn on faucets, open doors or windows to see how the ambient sounds would interact with the MC 202/delay/speaker sound. It was very relaxing and liberating to make music this way.” The result is a beautifully restrained yet oddly emotive album that’s quite distinct from the overly academic approach so often undertaken by hardware-driven devotees. Mastered by Matt Colton.
“We’re excited to release the debut solo LP by Matthew J. Rolin, currently a resident of Columbus, Ohio. Rolin cut his teeth with garage and psych outfits in Cleveland, appearing on vinyl by Shoreway and Nowhere before he found himself adrift and wandering in the direction of Chicago at the end of 2016. Matthew had always been a fan of Jim O’Rourke’s brilliant Bad Timing LP (Drag City, 1997), and when he caught a set by Ryley Walker soon after arriving in the city, he decided to throw himself into developing his acoustic chops. Without really knowing much about the history or context of the American primitive/concert steel string scene, he managed to create a distinctive sound and approach to the instrument, owing less to the music’s arts-blues fundamentals than to the contemporary players who have expanded outward in all directions from those initial impulses. Playing his first solo gig in Cleveland, opening for Daniel Bachman, an audience member mentioned John Fahey to Rolin, but he had no idea who the guy was talking about! The root-thread of Rolin’s playing flows more from Glenn Jones onward, through Rose and Bachman and Blackshaw and Walker and Lane. I feel like I detect a ‘Vaseline Machine Gun’ urge towards Kotte-esque density in certain spots, but maybe that’s just me. Regardless, Rolin’s talents as a solo player (abetted only by Jen ‘Donkey No No’ Gelineau’s violin on one track) are immediately clear from the first note he plays. Matthew currently works both solo, and in a duo with dulcimer player, Jen Powers. If you get a chance to see him don’t pass it up. Nor should you pass up this chance to score his first long player while it’s hot off the presses.” –Byron Coley, 2019 Edition of 250.
At long last! Three years after his début as a bandleader, Phineas Newborn found a courageous producer who was willing to allot him time in the studio to record an LP. The man from Tennessee brought with him his guitarist brother Calvin and a rhythm group made up of super stars Oscar Pettiford and Kenny ‘Klook’ Clark. What resulted was an outstanding, dazzling piano album full of fire.
How these musicians dash through “Celia” makes one forget Bud Powell, its composer and demigod on the piano. The tempo and the breaks would lead you to break your ankle if you tried to tap your foot to the music. “Dahoud” from the repertoire of the Clifford Brown Quintet is similarly fast-paced. Just listen to Kenny Clarke and you will be astounded by his precision and swing. In addition there are little gems such as “The More I See You” and the “Newport Blues” that is dedicated to the legendary Jazz Festival held on Rhode Island, where Phineas was often to be heard. All in all, this LP is a real treasure, which sees the light of day once again after sixty years.
Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, “Stand In The Fire” delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire (“Jeannie Needs A Shooter”) and fuels the emotional inferno with high-speed bursts of rock (“Excitable Boy”). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful “Mohammed’s Radio”. In a direct comparison to this number we have the forthright, no-nonsense hit “Werewolves Of London” with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk (“I’ll Sleep When I’m Dead”) and finally in the thunderous final number – “Bo Didley’s A Gunslinger” – with its percussive and metrically complicated antiphony.
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com.
All royalties and mechanical rights have been paid.
ANDALEEB WASIF was born in a well-known family of Hyderabad, India in 1928. A self-taught singer and harmonium player. He gained recognition early in life, performing for the Nizam (ruler) of Hyderabad when he was only six years old. On this recording Wasif performs six ghazals, a poetic form of couplets focussing on love and longing with mystical and spiritual elements. The lyrics to the ghazals featured on the recording are written by some of the best known Urdu poets of the 20th century including FAIZ AHMAD FAIZ. Never commercially released, the songs have been sourced from private concerts, home recorded cassettes and radio shows. Andaleeb’s renditions are enigmatic, filled with pathos, timeless and ethereal.
Andean party music from the central sierra of Peru. TAYTA SHANTI’s long history of complex syncretism is expressed through its simple song structure. Minimal and raw, or layered with intricate arrangements, its unrelenting rhythm mesmerizes as much as it moves. 16 songs of pure folklore, spanning the late 1960s until the early 1980s. Compilation includes liner notes and photos. Instant mountain rave.
“If you get confused, listen to the music play,” counsels Grateful Dead leader Jerry Garcia on Blues for Allah. Surely, better advice has never been given. The band’s only release during a self-imposed hiatus that lasted nearly 20 months, and the effort that witnessed the welcome return of percussionist Mickey Hart, the 1975 album marks the rebirth of a signature naturalism, spiritualism, and energy that had begun to fray because of ceaseless touring and financial pressures. And as experienced on this audiophile-caliber reissue, such inspired élan and elevated performance facets – embraced literally and figuratively on Bob Weir’s hallmark “The Music Never Stopped” anthem – achieve transcendent heights.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s 180g 45RPM vinyl 2LP set possesses seemingly limitless dynamics, reference-grade presence, expansive soundstages, and a wealth of previously obscured information. Strongly informed by jazz themes and organic progressions, the album’s arrangements unfold as a series of interlocking puzzle pieces that, together, comprise an adventurous landscape informed by compound structures, angelic harmonies, chiming tones, and brilliant colors. Every member’s vocals resound with tube-like clarity and remain entirely free of artificial ceilings or unintended blurring.
The peerless transparency is reinforced by the chirping crickets on the title track, reggae-flecked crispness of “Crazy Fingers,” and spinning-plate-on-a-stick rhythmic voodoo cast throughout by drummer Bill Kreutzmann. Recorded at Weir’s intimate Ace Studios, Blues for Allah depicts the Grateful Dead returning to its collaborative roots: Entering the sessions with no preconceived ideas and letting inspiration move them brightly, resulting in improvised-meets-rehearsed compositions replete with varying time signatures, Middle Eastern motifs, and elegant scales. More than any other Grateful Dead studio record, Blues for Allah combines the ensemble’s trademark exuberance with exacting precision and instrumental luster.
Of course, much of Blues for Allah is itself a dance goosed by a flurry of beautiful fusion devices and quicksilver melodies. Witness the taut “Crazy Fingers” – a series of haiku – or the knotty medley “Help on the Way/Slipknot!/Franklin’s Tower,” an exercise in controlled flow, urgent purpose, and, finally, liberating relief that remained a live staple from the moment it was introduced onstage. Not to be outdone, the wordless and acoustic-based “Sage & Spirit” feels the way its name sounds while the acid-jazz twists of “King Solomon’s Marbles” swing via Phil Lesh’s power-line-thick bass notes. A soul-nourishing salve, Blues for Allah enchants with equal parts mysticism and reality, imagination and common sense. Rolling Stone scribe David Fricke insightfully deemed it a way to “shake away the darkness” and head “back to the light.” Let it shine on brighter than ever via Mobile Fidelity’s deluxe analog reissue.
Originally released in 2011 on the Tour de Garde label, DEPARTURE CHANDELIER’s demo recording, The Black Crest of Death, the Gold Wreath of War, was recorded in 2010, a year after Antichrist Rise To Power, the band’s recently released debut full-length completed in 2009. With slightly heavier production than the album—an intentional act by the band—this demo nevertheless achieves the same atmosphere, one defined by the inherent discord between the visceral body of the songs and the ornate melodies reflected in the poignant interplay of guitars and keyboards, in which one hears the influence of O.T.A.L. and Strid. Musically and conceptually, Departure Chandelier explore the dichotomous relationship connecting unbridled freedom and the concomitant lust for power with tyranny and despotism. The Black Crest of Death, the Gold Wreath of War forms an essential piece of the Departure Chandelier discography, and, as such, is made widely available again with this reissue.
Sentient Ruin is proud to release RUIN LUST’s incinerating sophomore LP Sacrifice for the first time ever on vinyl, after a self-released tape surfaced in early 2019 bringing back under the spotlight one of America’s most elusive and feral extreme metal entities. Featuring current and past members of ANICON, TRENCHGRINDER, VORDE, VILKACIS, FELL VOICES, VANUM, and YELLOW EYES, the NYC black/death/war metal horde return six years after their debut album was released on Psychic Violence Records, with their darkest and most baneful compositions to date, blending the most pestilent strains of black and death metal with the blunt force trauma of grindcore to elevate the notion of sonic warfare at unseen new extremes. While remaining true to the genre’s voluntarily involved and feral approach to aural barbarism, a careful ear will not fail to notice the modern and transformative approach taken by the band to assemble their sonic war zone, utilizing a dense and suffocating sense of atmosphere and an immanent sense of dynamics and unpredictability to mercilessly blindside and destroy the listener. By all means a pinnacle in this year’s war metal output, Sacrifice is a modern and defiant spasm of extreme metal terror that will find loyal proselytes amongst fans of Diocletian, Knelt Rote, Heresiarch and other contemporary black/death bands who show to be more inclined to breaking new ground and paving the genre’s future than living in the past.
Bastard old school death metal orcs PETRIFICATION return with their debut full-length album, unleashing a lawless legion of pummeling and brain-eating riffs designed to annihilate the listener and dismantle their flesh in the most barbarous and least efficient way possible. Through these eleven new cuts of decaying brutality and mental abuse, the Portland death metal butchers unleash a barrage of classically gruesome and traditionally repulsive death metal chaos that worships directly at the rotting altar of legends Autopsy, Nihilist, Grave, Convulse, Funebre, Bolt Thrower etc., while also setting their footmark as a visionary and ambitious entity all of their own, set on a path of total self-determination within the most liminal realms of absurd death metal de(con)struction.
With its more direct approach and songwriting, “Axioma Ethica Odini” came as a lightning strike from the golden heavens of Valhalla itself! The Re-Issue features two special songs recorded during the same sessions as the album and previously only released as a 7” single; the hypnotic ethereal “Migration” (inspired by Enslaved’s collaborative commissioned piece at Molde International Jazz festival in 2008) and the doom-version of Frost-classic “Jotunblod” re-imagined for a special set at Roadburn Festival 2010. The layout features analytic and in-depth liner notes by Dom Lawson of Metal Hammer UK and Prog Magazine fame – a longtime friend and supporter of the band’s uncompromising preference of the roads not taken.
The design of the album is beautifully redone with new details, colors layout solutions by Marcelo Vasco (Slayer, Kreator, Machine Head), all while staying true to the original artwork by longtime Enslaved-cover artist Truls Espedal.
Welcome, friend. You’ve just checked into the Mars Hotel. The Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as “Earthquake Bass.” Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled “U.S. Blues” that serves as both an irresistible rallying cry of pride and ironic commentary. And the Grateful Dead’s interplay continues to wow, peaking on “Unbroken Chain,” the most obvious example yet of the group’s shared chemistry and individual talents. Yes, we’re certain you’ll enjoy your stay. In the lobby, you’ll find decoratively funky “Scarlet Begonias.” Do we need mention the music, performances, and sights sound and look better than ever?
Mastered on Mobile Fidelity’s world-renowned mastering system, pressed at RTI and strictly limited to 4,000 numbered copies, Mobile Fidelity’s 180g 45RPM vinyl 2LP set of From the Mars Hotel comes on as both an audiophile delight and Deadhead’s dream. Vastly improving upon the long-out-of-print 1984 MoFi version that currently commands upwards of hundreds of dollars on the aftermarket, the new version takes advantage of enhancements to the cutting system, pressing process, and mastering gear. MoFi’s engineers have taken every precaution in honing the sound and feel of the Dead classic. And you cannot argue with the extra information within the wider 45RPM grooves.
Originally made in a modern facility dubbed Studio A – a large cinderblock room that Columbia Records specially outfitted for Simon and Garfunkel, who, ironically, split up before they could use it – From the Mars Hotel was primarily recorded live to 16-track machines. After laying down the basic structures, a few overdubs got added, most notably in the form of John McFee’s rustic pedal-steel guitar accents on one track and Ned Lagin’s spacey synthesizer passages on another. Always prized for its superb fidelity, the effort possesses an uncanny sense of airiness around the vocals, brilliant microdynamics, excellent transients, reference-caliber balance, accessible tonalities, and the distinctive aura of a real band playing in a defined space.
With Keith Godchaux’s spry quick-finger piano notes adding a barroom blues feeling and wife Donna Godchaux’s soaring background vocals bringing up the rear, the Dead puts a vibrant spring into the step of contagious fare such as the rousing “U.S. Blues,” down-and-dirty funky soul of “Loose Lucy,” and slippery “Money Money.” These songs stand as some of the loosest black-inspired music the Dead composed. And why not? True to the era’s burgeoning mix of soul, R&B, psychedelic rock, and dance, the collective places its own memorable stamp on the day’s popular fusion.
Yet From the Mars Hotel earns its stripes as a must-own album for Deadheads and traditional listeners alike because of the manners in which the six band members communicate, bond, react, and create. Singing lead on the high country of “Pride of Cucamonga” and interlocking centerpiece “Unbroken Chain” while threading the record’s golden tapestries with silvery bass lines that cradle, shift, and anchor the arrangements, Lesh turns in a heroic individual performance.
Each of his mates maximize their own techniques: Garcia lending equal doses of sincerity and salaciousness; Bob Weir hunting, pecking, and jabbing guitar phrases into the flux; drummer Billy Kreutzmann demonstrating jazz-like flair, flawless timing, and rhythmic wit. It’s no wonder that many Deadheads, if forced to choose, would select “Unbroken Chain” as the premier example of third-era Dead interaction. Relatively concise, eminently soothing, and named for a crumbling hotel down the street from Studio A, From the Mars Hotel forever dispels the tired notions that the Dead never succeeded in the studio after leaving Warner Bros. and aimlessly drifted (the longest track here clocks in at a scant 6:45).
This album is really a thank you to my fans tbh. I started and finished it In 2018, mixed and mastered it in 2019 right after the Vince tour. I don’t usually work on something right after I release a project. But Veteran was the first time in my life I worked hard on something, and it was reciprocated back to me. So I wanted thank my people. And make an album that I put my my whole body into, as in all of me. All sides of Me baby. Not just a few. This the most ME album I’ve ever made in my life, Im trying to give y’all niggas a warm album you can live in and take a nap in maybe start a family and buy some Apple Jacks to. I’ve removed restrictions from my head and freed myself of doubt musically. I would have removed half this shit before but naw fuck it. Y’all catching every bit of this basic bitch tear gas. This is me, all me, in full form nigga, and this formless piece of audio is my punk musical . I hope it disappoints every last one of u.
With ‘Behold.Total.Rejection’, REVENGE have reached a new peak in black violence and raving misanthropy. The band was founded by vocalist and drummer J. Read continuing in the vein of his previous outfit and war metal instigators CONQUEROR in the year 2000. The Canadians have since delivered some of the most severe and brutal music the metal underground has ever produced. Simply put: they are one of the most extreme bands in existence. This limited release comes with a 24 page insert and patch.
Already somewhat of a “cult classic”, this is the album where the production philosophy of “new era” Enslaved was born. The Re-Issue features two very rare cover-tracks recorded during Enslaved legendary live-appearance at Henie Onstad Museum, Oslo, Norway – in May 2011; one is Rush’s “Earthshine” while the other is King Crimson’s instrumental “Red”. These covers set the rest of the album into context through highlighting two main influences for Enslaved’s evolution from especially “Vertebrae” and onwards. The layout includes in-depth liner notes written and edited by writer and long-time friend of the band Chris Dick; known for his decades of writing for the American Metal-magazine Decibel Magazine. The liner notes are written in the style of an in-depth and extensive interview with all five members on the album, where many new angles and golden nuggets of information never before divulged publicly.
The design of the album is beautifully redone with new details, colors layout solutions by Marcelo Vasco (Slayer, Kreator, Machine Head), all while staying true to the original artwork by longtime Enslaved-cover artist Truls Espedal.
The line-up of drummer Art Blakey’s Jazz Messengers shifted in 1961 with trumpeter Freddie Hubbard replacing Lee Morgan, pianist Cedar Walton replacing Bobby Timmons, and the addition of Curtis Fuller on trombone who joined existing members Wayne Shorter on tenor saxophone and Jymie Merritt on bass. This powerful new sextet line-up first recorded on the album Mosaic, and quickly returned to the studio the next month to begin recording Buhaina’s Delight. The album featured 3 compositions by Shorter (“Backstage Sally” “Contemplation” “Reincarnation Blues”) along with 1 each by Fuller (“Bu’s Delight”) and Walton (“Shaky Jake”), closing with an high-intensity arrangement of “Moon River.”
This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
From her debut, which established her as the Queen Of Hip-Hop soul, Singer/Songwriter, Actress, and Philanthropist Mary J. Blige has remained a global symbol of female empowerment and perseverance. HERstory, the 7 inch boxset collection of 16 hits and rare remixes, is a highly curated look into the multi-faceted sounds of an unforgettable era in music. From her solo hits like “You Remind Me”, to the remix of “What’s The 411” featuring Notorious B.I.G and K-CI (of K-Ci & Jodeci) the box set is a definitive look at a moment in time when sounds were coalescing and Mary was establishing herself as a tour de force in R&B. The box set features 8 individual 7inch LP’s on standard black vinyl, in a beautiful package that celebrates Mary’s Bronx, New York roots.
WHITE VINYL. In 1985, CHRISTIAN DEATH extended its shadow over the nascent gothic genre with the release of of its’ third album ‘Ashes’. Continuing where the epic ‘Catastrophe Ballet’ left off, ‘Ashes’ furthered the band’s burgeoning legacy with its keen sense of romance and dramatic flair. The disturbingly dark and deeply atmospheric songwriting of the two main protagonists, Rozz Williams (vocals) and Valor Kand (guitar/vocals), remains to this day some of the bands most elegant and incisive. Williams’ unquestionably delivers some of the finest vocal performances of his all-to-short career.
Recorded in Milan (Italy) and originally released in 1975 “Sea of Faces” stands as one of Shepp’s strongest recordings of the Seventies. A highly varied program, covering Shepp’s entire spectrum and performed by an all-star line up featuring Archie Shepp – tenor & soprano sax, piano, vocals, Charles Greenlee – trombone, tambourine, vocals, Dave Burrell – piano, Cameron Brown – bass, Beaver Harris – drums, tambourine, vocals, Rafi Taha – vocals, Bunny Foy – vocals, maracas, percussion. The album includes the famous 26 minutes long “Hypnosis” a groovy extended jam in full spiritual Jazz mode.
The 1971 concept album, Victim of the Joke?…An Opera is the third solo LP from the acclaimed producer, songwriter, and singer David Porter. Listed as one of the “100 Greatest Songwriters of All Time” by Rolling Stone, Porter established his career at Stax, working alongside writing partner Isaac Hayes.
Together, the pair wrote over 200 songs, including Sam and Dave’s Soul Man and Hold On, I’m Comin’ and Carla Thomas’ B-A-B-Y. Much like Hayes, the songwriter also took time to record as a solo artist, and this ambitious LP stands as a testament to his endless creative spirit. Victim of the Joke pairs original pop-infused soul music and covers (including an infectious rendition of the Beatles’ Help!) with interludes of dialogue and sound effects to tell the story of a love affair. Porter’s searing rendition of the standard (I’m Afraid) The Masquerade Is Over has been sampled in over 35 songs by artists like The Notorious B.I.G (Who Shot Ya), the Wu-Tang Clan (Duel Of The Iron Mic) and Madlib (Medicine Dub). This is the first-time Victim of the Joke? has been reissued on vinyl.
This Record Store Day Black Friday release captures two complete sets of the Bill Evans Trio (with bassist Eddie Gomez and drummer Marty Morell) on October 23, 1968 at Art D’Lugoff’s legendary Village Gate club in New York City. The much sought-after 2012 3LP boxed set edition was initially pressed at 45 RPM and has been out of print and unavailable for three years.
Originally recorded by Resonance founder and co-president George Klabin at 21 years old, and digitally remastered from the original tapes, this deluxe 2LP gatefold set includes a 4-page insert with iconic photos by Tom Copi, Jan Persson, Raymond Ross, Fred Seligo and Herb Snitzer, essays by renowned jazz critic Nat Hentoff, vibraphonist Gary Burton, Art D’Lugoff’s son Raphael D’Lugoff, and more! This is a limited edition re-pressing of 4,000 copies worldwide, on 180g black vinyl. Mastered by Bernie Grundman and pressed by Record Technology Inc. at 33 1/3RMP.
Two-track 12″ of armour-plated, tripped-out, dizzyingly uptempo steppers tekno / raw-lion-dubbs…original mix + extended FX version that unfurls into deadly halftime lurch…out-and-out soundsystem warheads both; ridiculous, ram-raiding sub-bass. 22 mins of music approx. DL inc.
Now in stock! Pessimist links with longtime associate Karim Maas for twelve untitled, interconnected tracks of paranoid, dub-fissured hip-hop and voidal techno pressure. Forget dnb…this is a downer than downtempo excursion, deep and dread, heavy as a jeep parked on your chest, with low-slung, blunted breakbeats and weapons-grade sub-bass caught up in whirlpools of dissolve and decay and baleful, insinuating drone…yeah at times it feels less like a record and more like a bona fide AIRBORNE TOXIC EVENT. Intricate, elegant, its chillin-with-the-wrong-b-boy mood fantastically sustained, It conquers territory that previous Pessimist and Maas solo productions have only hinted at, connecting with the Isolationist/industrial traumascapes/infinite-comedown of 90s E.A.R./Köner, Main and SAW II, the enveloping neo-noir of Plastikman’s Consumed, the crackle-and-hiss materiality of Rhythm & Sound and Pole, the thermonuclear rack and ruin of Lustmord’s Stalker. Just the baddest vibes…Music to get lost – real lost – inside. Includes download.
Free, fresh, rowdy-cum-wistful rave/blooz mutations from Thomas Bush and Guy Gormley (Special Occasion, Enchante), improbably applying hardstyle tempos to breezy, dub-scuffed pop songs with soca/funky-derived rhythms and eerie, ambient/folk textures (what?). Hashed out over a few sessions at GG’s studio over the road from us back in December, it’s a looser, spacier excursion than the duo’s last RAP outing, the brightly lit and tightly wound ‘Originals’ – and in true Jolly Discs fashion it goes down so easy it takes a few listens before the true extent of its craft and daring and attention to detail becomes apparent. Those of us craving more from Bush after last year’s banging Old & Red ought to be first in line – his distinctive young-druid vocals are used sparingly, but very effectively, here, while as co-producers he and Gormley deliver something more than the sum of themselves, folding upful, bashy UK house tropes into a more private, moody, crepuscular sphere – a world where floatation-tank techno chords, steel-drum vamps and LFOish sub-bass plasma-bursts co-exist with eldritch swirls of woodwind and stately, high-lonesome piano nocturnes. It could be music imagined from a point so far in the future, or by a civilisation so far away, that they perceive the temporal and cultural distance between Gareth Williams and Karizma to be effectively zero. Or just people making stuff to suit themselves, and kindly sharing the spoils with you>>>>
Supremely hungover, red-eyed-and-can’t-quite-be-arsed but utterly LIFE-AFFIRMING bedroom/loner-pop masterpiece from the Itchy Bugger. May this record bless your miserable existence like it has ours.
Songs that somehow combine punk concision and psychedelic whimsy with a fluency accessible only to THE GREATS. The songs are lusher and more intricately arranged than on the first LP (maiden voyage on our shoppe label), even as they double down on the DIY, drug-scrambled weirdness, and that unmistakeably PRIVATE, nocturnal, kitchen-creeping, don’t-wake-the-flatmates vibe… oh yeah and still with that same sadsack fucking drum-machine beat on every song.
The custom bonehead riffage he contributes to Heavy Metal and Diat is here repurposed into something more textured and introspective and jangling and DAZED, mekkin me think of The Moles (especially ’Sometimes’), Pip Proud, subtly OUT early 90s Flying Nun gems like David Kilgour’s Here Comes The Cars or John Kelcher’s Personal Disorganiser… if you’re feeling saucy you can throw in bits of Razorcuts, Afflicted Man, Solid Space, Beauty Contest,Television Personalities +++ while yer at it (‘An Adorable Graveyard’ not only makes me BAWL, it is also the best song Privilege-era Dan Treacy never wrote.). It’s just… so good. Not sure I’ve felt this ALIVE since I lost my virginity and a few mins later narrowly escaped death trying to ride a bicycle the wrong way down a dual carriageway (“But that was only two weeks ago!” ARF).
Ach, REALLY floundering here trying to describe the best album of the decade – which somehow WE dumb cunts are releasing. Not gonna waste our breath any more…THOSE WHO KNOW DON’T SAY AND THOSE WHO SAY THEY JUST DON’T KNOW
Proper stunning 12-track LP of ruffneck, downtempo breakbeats, ultra-sparse electro and gorgeously melancholic, after-the-flood ambience from Pessimist and Loop Faction. Much like the Pess & Karim Maas album from earlier this year, We All Have An Impact is an Isolationist’s dream synthesis of low-slung trip-hop rhythms and suspenseful, blood-vessel-bursting dub-techno pressure – but the range of mood and tone and emotion is much wider here, moving up from the roiling depths of darkside into more numinous, ethereal, cautiously blissed-out climes…a kind of post-apocalyptic soundboy take on New Age?!
Perhaps. Certainly it takes the alternately crisp and MDMA-bleary sonics, and the edgeland pagan spirit, of classic “intelligent” techno – B12, Ross 154, Ae’s Amber, REQ, Future Sound of London’s Life Forms, etc- and brings it bang-up-to-date with cutting-edge drone-logic, field recording and heavy-ordnance sub-bass. More than anything I think it reminds me of Urban Tribe’s Mo’Wax-flattering The Collapse of Modern Culture, that incredible, futureproof cold-fusion of hip-hop and yearning, deep-space-Detroit blooz which still hasn’t REALLY been assimilated.
One of the albums of the year, for sure.
Hark! A Produce’s disgustingly rare and sought-after, ultra-brooding minimal pop epic The Clearing available on vinyl for the first time since its original release in ’88.
A Produce was the late Barry Craig, who formed the Trance Port and Trance Port Tapes labels to showcase his own work as well as that of John Lafia, Afterimage and a select group of other L.A.-orbiting techno-dreamers, and was active well into the 2000s. While exhibiting plenty of the deep ambient trance sound that Craig and TPT would become best known for, The Clearing, released in ’88, is equally indebted to classical American Minimalism and to new wave / synthesized art-rock. ‘Ashes of Love’ is the most potent coming together of these various strands, beginning as uptight, angular pop, complete with Sylvian/Ferry-ish vocals from Afterimage’s Daniel Voznik, before unravelling into a second, instrumental movement of Reich-meets-Global Communication-style tidal ambient drift.
Other personnel include Scott Fraser (Kronos Quartet) and Scott Marc Becker, and there’s a connection to the Independent Project Records scene via Bruce Lichen, who designed the album’s sleeve (and is it just me or does Becker’s death-surf guitar on ‘Farming In Arabia’ have a whiff of Savage Republic about it?). T has a bittersweet, existential quality, full of the stylised dread and hard shadows of an LA noir / film soleil, its sunken drum-machine pulsations refracting shards of ambient guitar shimmer. Along the way we were reminded of My Life In The Bush Ghosts, Mick Karn’s Titles and Dalis Car, Fripp & Eno, Nooten & Brook’s Sleep With The Fishes… but with none of the dodgy bits! I genuinely struggle to think of a single ’80s auteur who made an LP as cohesive or coolly controlled as this “album of conceptual space”. Very special record.
Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them.
One Of The Best Yet is many things. Yes, it’s the first new Gang Starr album in sixteen-years and it is a historic event to be celebrated and rejoiced, but it symbolizes much more than that. One Of The Best Yet further cements Gang Starr’s legacy. This literal gift of an album not only harkens you back to Gang Starr’s seminal work of the past, but it re-establishes their impact in a modern-day perspective. Album includes guest spots from: M.O.P / Q-Tip / Royce da 5’9” / Jeru The Damaja / J. Cole Ne-Yo / Nitty Scott / Talib Kweli / Big Shug / Freddie Foxxx.
“The first full-length album from the legendary folk singer, originally released in 1971. Anne Briggs was a huge influence on the entire British folk-rock movement, especially other female singers such as Sandy Denny, Jacqui McShee, and Maddy Prior. Anne Briggs is a strong collection of traditional folk songs and original material and one of the most important releases of the British folk revival. Despite the fact that Briggs had been on the folk scene since the early ’60s this was her first full-length effort, delayed by erratic behavior and studio fears, and she would record only two more records before dropping off the scene entirely. Thankfully we have this, her first and strongest record, reissued for the first time with the original cover.”
Knitting Factory Records is proud to reissue Fela Kuti’s ‘J.J.D. Johnny Just Drop’ on vinyl. Previously only available as part of the Box Set series, the reissue features original album artwork designed by Lemi Ghariokwu, who created the cover art for around half of Fela’s albums. Originally released in 1977, ‘J.J.D. Johnny Just Drop’ features Fela lampooning Nigeria’s “been-tos,” people who had been to Europe or America to work or study, and then returned (dropped) home with European social pretensions and an inferiority complex about African culture.
Since its original release in 1977, Ragnar Grippe’s seminal debut album entitled “Sand” has been adorned with immense praise and influenced a myriad of ambient musicians and minimalist composers. Grippe’s unique approach of bonding post-modern classical composition into the tape techniques of musique concrète allowed him to be one of the leading experimental electronic musicians of the late 20th century.
Originally trained as a classical cellist, Grippe had relocated to Paris in the early 70’s to study at the famous Groupe de Recherches Musicales (more commonly known as GRM) founded by musique concrète pioneers Pierre Schaeffer, Pierre Henry and Jacques Poullin. Around the same time, Grippe had struck up a close friendship with French avant-garde minimalist Luc Ferrari. It was under Ferrari’s direction and guidance that the young Grippe started to build a shared experimental music studio, aptly named l’Atelier de la Libération Musicale (ALM), in which Ferrari shared his knowledge and instrumental supplies, thus forging Grippe’s implementation of harmonic tone within the confines of musique concrete.
After a brief stint of electronic music study at McGill University in Montreal, Grippe returned to Paris in 1976 to compose with Ferrari at the now fully-realized ALM studio. One of the visiting artists passing through the creative epicenter of the Cité Internationale des Arts during this time was the painter Viswanadhan Velu. Velu’s recent works consisted of various Sand paintings which were to be exhibited at the Galerie Shandar, the avant-garde art gallery and home to the Shandar record label which was the home to minimalist composers Terry Riley, La Monte Young, Cecil Taylor and Charlemagne Palestine.
Grippe was asked to compose a composition that was to be played during the Sand painting exhibition and was then to be released on the Shandar imprint in 1977. This release would be the first official album that would start Grippe’s career as a modern avant-garde composer and electronic musician. After a celebrated release, “Sand” has since been out-of-print on its original vinyl format for four decades and original copies fetch high prices amongst minimalist listeners and collectors.
Dais Records proudly reissues “Sand” by Ragnar Grippe on vinyl for the 40th anniversary of its original release, featuring new liner notes by the artist .
Born in 1973 in Paris, DJ Cam has been one of the most influential artists in the “French Touch” era, thanks to his participation in La Yellow 357 together with Dimitri From Paris.
DJ Cam is back with an instrumental hip hop album – a tribute to his favourite producers and MC’s, and to his childhood spent in New York during the summer of ‘92. Cam’s beat are infused with the cool daisy age vibes popularised by A Tribe Called Quest and J Dilla.
Released in March 1968, and included here, “I Can’t Let Maggie Go” became the third Honeybus single and the one which would ensure their place in the history books. The single hit number 8 in the UK and became a huge hit worldwide. And still Honeybus remain a unique group in so many ways. Their legacy has become cherished more and more, its quiet majesty singling them out from the few contemporaries they had. While plaudits for the group’s sole Deram album, 1970’s exemplary Story continue to roll in as fresh generations of pop connoisseurs discover its charms, and the group’s subsequent ill-starred excursions into the studio in the early ’70s (the long lost Recital album and the rarities companion volume For Where Have You Been: The Lost Tracks, released by Hanky Panky /Mapache in 2018) simply add further depth and kudos to their already Godlike status, their run of half a dozen 45s has been side-lined somewhat. Now for the first time ever the 12 sides released on Deram by the Mk I and Mk II line-ups of the group between 1967 and 1970 have been sourced from the master tapes, assembled in chronological order and presented in album fashion.
Recording at Malcom Catto’s analogue studio has been an ambition of Greg’s for a long time, not only for the studio itself but for Malcolm’s skill using this vintage equipment, very few people can achieve such an incredibly big sound.
Earlier this year we grabbed the chance to get the full Greg Foat group joined by Binker Golding (Binker and Moses) on Tenor Saxophone, Malcolm Catto on drums and Hugh Harris (The Kooks) on Guitar on the session.
Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; ‘Lake Kussharo’ and ‘The Dreaming Jewels’ as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019. A strong year indeed!
Knitting Factory Records is proud to reissue Fela Kuti’s ‘Army Arrangement’ on vinyl, previously only available as part of the Box Set series. ‘Army Arrangement’ is about Nigeria’s attempt at ‘democracy’ in 1979 after more than a decade of military rule.
To call Marcos Valle ‘a legend’ of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the ‘golden era’ of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.
‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio’s Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or ’Os Grilos’ in Portuguese, which would also be re-recorded with vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records. The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically. Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art.
Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.
Released in 1982, the album “Waka Juju” marks a return to Afrosound. We hear titles like “Douala Serenade” or “Ma Marie”, a tribute to his wife.
“Waka juju” is an ode to juju, the traditional Yoruba music that has become Nigeria’s most popular style.
Emmanuel N’Djoké Dibango (born 12 December 1933) is a Cameroonian musician and song-writer who plays saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. He is best known for his 1972 single “Soul Makossa”.
Reissue of Peter Lüdemann and Pit Troja’s The Now Generation (Percussive Underscores), originally released in 1983. They say: “Documentary and industrial underlays for current themes of modern life”. Be With Records say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop. The record comes galloping out the gate with a pair of rapid synthy-Euro disco bombs — the title-track and “Panama” — before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favorite of Prins Thomas. Indeed, it was used to great effect on his seminal “Cosmo Galactic Prism” mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys. For some listeners, though, it’ll be all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the three-minute mark… The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set. This is a library masterpiece in no uncertain terms, full of synth funk, Afro beats, exotica, leftfield madness, dancefloor dynamite, and all-around greatness. As with Be With Records’ KPM and Themes reissues, the audio for The Now Generation comes from the original analog tapes and has been remastered for vinyl by Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory. 140 gram vinyl.
Reissue of Breath Of Danger (Themes), originally released in 1974. They say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”. Be With Records say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing. Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan, and Ray Cooper. Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year. Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy-second riot of sound and color from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper. Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger — 45 years old — truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching. As with all of Be With Records’ other Themes reissues, the audio for Breath Of Danger comes from the original analog tapes and has been remastered for vinyl by Simon Francis. Sleeve reproduction duties by Richard Robinson, the current custodian of KPM’s brand identity. 180 gram vinyl.
Hospital Productions present a reissue of Akitsa’s Goetie, originally released in 2001. Repressed 20th anniversary edition with updated layout. Classic debut album that has influenced a generation since with its stunning and inimitable mix of black metal, punk, funeral doom, and industrial ascension. Juvenile black metal madness. Double-LP in wide spine jacket.
N0!zy blighter Russell Haswell returns to Diagonal five years after his label debut with a spontaneously combusting follow-up to 37 Minute Workout (2014) generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of intersingularity and transclusion chimed with the direction recordings took. There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His second volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the first volume of 37 Minute Workout, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 37 Minute Workout Vol. 2 is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of seething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed. Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into seven wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of “The Wild Horses Of The Revolution Have Arrived Without Knight” to steel-hoofed clatter in “Central Crisis Management Cell” and the lacquer-eating dynamics of “Painful Memories From The Past Need To Be Acknowledged”, before toning a proper nasty acid special in the UR inversion “Dancing On The Head Of An Eagle”, and seemingly sucking your brain out through a straw with “Starting Something You’re Not Able To Finish”, with the dry witted, skeletal jazz-funk squirm of “Diplomatic Cocktail Circuit” closing the party down in style. Artwork by Guy Featherstone. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 300.
Especial is delighted to welcome Alphonse back to the label for a third EP to again show his deep knowledge of the past to make a future. After the debut dub-breaks-poem of Same For Me and success of his warrior afro-dance Smokey 12”, Alphonse made new friends with acclaimed releases for Klasse Wrecks, Hypercolour and Tone Dropout, before here returning like a chosen one with four sun kissed blessings.
Before the fields of Letchlade, hills of Castlemorton or beaches of Skegness had witnessed Alphonse exploring the sounds of many a free party sunrise, summers were misspent travelling the “disco” buses of Europe, tripping the light fantastic from Spook to Amnesia, Disco Piu to Euritimia.
The music, shared experiences and inclusion all led to an acute understanding apparent in his production skills. Ambient dreamscapes, warm bass lines, 808 breaks, 909 kick, piano, flute and horn melodies atop all lift to the heavens. In Moan Up and White Pepper Alphonse takes, reshapes, rebuilds and rewrites to create anew, expanding minds and hearts like never before.
Long stories, short stores, a nod and wink, at its heart Stolen Sunrise is an EP of wonderful expression, a producer peaking, providing a soundtrack to share for those that look to the future horizons with love.