Genres

Genres2020-03-13T23:33:27+00:00

Electronic

Thundercat “It Is What It Is” (Brainfeeder)

Thundercat “It Is What It Is” (Brainfeeder)

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).

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Matt Karmil “STS371”  (Smalltown Supersound)

Matt Karmil “STS371” (Smalltown Supersound)

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.”

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The Greg Foat Group “Girl And Robot With Flowers” (Jazzman)

The Greg Foat Group “Girl And Robot With Flowers” (Jazzman)

‘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.

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Gagarin Kombinaatti “83-85” (Sahko)

Gagarin Kombinaatti “83-85” (Sahko)

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.

Container “Scramblers” (Alter)

Container “Scramblers” (Alter)

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.

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Rock

Various Artists “Garland Records: Pacific Northwest Jukebox” (Sundazed)

Various Artists “Garland Records: Pacific Northwest Jukebox” (Sundazed)

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.

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Peel Dream Magazine “Agitprop Alterna” (Slumberland)

Peel Dream Magazine “Agitprop Alterna” (Slumberland)

Peel Dream Magazine is the musical vehicle for NYC’s Joe Stevens, who launched the band in 2018 with the critically acclaimed album “Modern Meta Physic,” a mysterious, liminal tribute to the hazy end of ‘90s dream-pop that found its place on numerous “Best of 2018” lists. Now Peel Dream are back with “Agitprop Alterna,” an album that pays homage to sonic and spiritual influences ranging from early Stereolab and Broadcast through stateside groups like Lilys and Yo La Tengo.. “Agitprop Alterna” finds Stevens channeling the collaborative spirit of the band’s live incarnation in the studio, deepening the connection between the existential and the interpretive first explored on “Modern Meta Physic.” It is a rejection of manipulation in all its forms and a buzzsaw against complacency; it’s a rare trick to agitate without being obvious, and perhaps that makes “Agitprop Alterna” the most Peel Dream Magazine-like statement yet.
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Tindersticks “See My Girls” (City Slang)

Tindersticks “See My Girls” (City Slang)

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.

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Sorry “925” (Domino)

Sorry “925” (Domino)

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.

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Daniel Romano “Okay Now” (You’ve Changed)

Daniel Romano “Okay Now” (You’ve Changed)

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.

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Jazz

The Greg Foat Group “Girl And Robot With Flowers” (Jazzman)

The Greg Foat Group “Girl And Robot With Flowers” (Jazzman)

‘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.

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Matao and Atilla Engin “Turkish Delight” (Arsivplak)

Matao and Atilla Engin “Turkish Delight” (Arsivplak)

Arsivplak present a reissue of Matao with Atilla Engin’s Turkish Delight, originally released in 1979. It’s a Turkish jazz-funk delight! Some hard-hitting rhythm section blending into a prime example of the swingin’ sound of the cool influences of jazz, funk, and folk music, with a Turkish flavor. Its fantastic funk jazz groove built on a titanium synth bassline! An instrumental library of traditional Turkish jazz session reaching a great climax in drums and percussion sets, plus electro-bass breaks with Moog and synthesizers from the beginning to the end. Traditional Turkish songs based on drums and synth bass over moody 5/8 fuzz guitars… Album recorded and released in Denmark, 1979, and it has never been released in Turkey. Hard cardboard sleeve; obi.

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Mystery Kindaichi Band “The Adventure of Kohsuke Kindaichi” (WEWANTSOUNDS)

Mystery Kindaichi Band “The Adventure of Kohsuke Kindaichi” (WEWANTSOUNDS)

Repressed; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band’s The Adventures of Kindaichi Kosuke, originally released in 1977. The “imaginary” soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best ’70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo’s first novel in the series and solved mysteries until the late ’70s under Yokomizo’s pen before the death of the writer in 1981. Yokomizo’s novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi’s cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who’s featured on Haruomi Hosono’s Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who’s on Akiko Yano’s landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu’s Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.

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Moses Boyd “Dark Matter” (Exodus)

Moses Boyd “Dark Matter” (Exodus)

Dark Matter is a landmark record, a producer album by a young auteur, threading several thrilling musical traditions into a bold new tapestry: the raw energy of grime and afrobeats and the rolling club rhythms of the London underground, combined with the freewheeling creativity and collaborative spirit of his jazz training. With that mentality in mind, it’s no surprise that his talents have trickled over into fashion, producing original compositions for the Louis Vuitton Foundation x MoMa Archive film (2017) and most recently scoring the Men’s Dunhill Paris Fashion shows in both 2018 and 2019

A double MOBO and Jazz FM Award winner, Boyd’s live and studio collaborations have been as varied as they have been prolific, from touring with Sampha and Kelsey Lu, to drumming on Sons of Kemet’s Mercury-nominated album, to his recent collaboration with South African Gqom king DJ Lag, which made its way onto Beyonce’s official soundtrack for The Lion King. He produced Zara McFarlane ‘s 2017 full-length, Arise, in its entirety, for Gilles Peterson’s Brownswood label, and released several acclaimed solo projects though his Exodus record label. Boyd has produced original scores for major Paris fashion shows, and with saxophonist Binker Golding, he’s co-leader and co-producer of the ferocious semi-free group Binker and Moses.

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Ratgrave “Rock” (Black Focus)

Ratgrave “Rock” (Black Focus)

Max Graef and Julius Conrad are Ratgrave. ‘Rock’ is their second LP ~ ongoing transmissions of Electronic P-Fusion from Earth. It follows a stellar debut on Funkineven’s imprint Apron. The duo’s sound pallette draws inspiration from 80’s funk, soul, rock and electronic but through a contemporary lens from two versatile multi-instrumentalists. In their own words: “Rock is the essence of energy and vibration we felt in different styles of music, almost like a parallel component connecting all things we like. In the process of recording the new album we kept coming back to this essence no matter what style the original idea was. There was the raw and brutal energy of Jazz-Rock, a lot of video game influences that somehow adhered this essence just as well as quieter Pop and Psychedelic passages that we recorded. Among other things we absorbed a lot of heavy music during the time of the recording like Blue Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and realized while writing our own music how much impact they had even on quieter songs. This is why “Rock“ felt like the perfect title although the music ranges from P-Funk and Spiritual Jazz to various styles of Pop and beyond.“ Max Graef has previously collaborated with Glenn Astro on records for Ninja Tune and both artists have previously released on Tartelet. This marks the fourth official LP on Black Focus, a London label founded by Kamaal Williams

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Punk/Metal

Acrimony ‎”Hymns To The Stone” (Burning World)

Acrimony ‎”Hymns To The Stone” (Burning World)

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.

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Burzum ‎”Thulêan Mysteries” (Back On Black)

Burzum ‎”Thulêan Mysteries” (Back On Black)

2020 album from the legendary and notorious Burzum. Soundtrack to Burzum mastermind Varg Vikernes’ own fantasy playing ‘MYFAROG’ (Mythic Fantasy Role-playing Game). Comes on black vinyl.

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Paul Chain “Ash” (Blood Rock)

Paul Chain “Ash” (Blood Rock)

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.

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D.R.I. “Greatest Hits” (Back On Black)

D.R.I. “Greatest Hits” (Back On Black)

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.

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Nasty Savage ‎”Wage Of Mayhem + Rarities (1983-1985)” (FOAD)

Nasty Savage ‎”Wage Of Mayhem + Rarities (1983-1985)” (FOAD)

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.

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Hip-Hop

UGK “Dirty Money” (Get On Down)

UGK “Dirty Money” (Get On Down)

After the release of UGK’s third studio album, the wildly influential, and critically acclaimed Southern hip-hop classic Ridin’ Dirty, the duo of rapper Bun B and rapper/producer Pimp C took a five-year hiatus from releasing albums. This is not to say that the pair didn’t keep busy during their time away from putting out records; if anything some of their highest profile appearances occurred during this period. Through guest slots on now iconic tracks like Three Six Mafia’s “Sippin’ On Some Syrup”, and Jay-Z’s Billboard smash “Big Pimpin’” UGK managed to greatly increase their profile, and build even greater anticipation for a fourth studio album.

This album, titled Dirty Money, would arrive in November of 2001, after having been shelved by their label Jive Records since 1998. Across 14 tracks of syrup-soaked, drawling Southern hip-hop tracks, UGK stretched their creative chops and showed that in the five years since Ridin’ Dirty they hadn’t lost their step in the slightest. Bun B’s and Pimp C’s rhymes were free-wheeling, clever, and irreverent as they had ever been, while the production was classic Texas rap, courtesy of Pimp C and Southern hip-hop legend N.O. Joe, who shared production duties. Guest contributions from Juicy J & DJ Paul of Three Six Mafia, Big Gipp of Goodie Mob, Too $hort, Devin The Dude, and more helped bolster the duo’s codeine-drenched witticisms, over samples from the likes of BB King, Barry White, and The Staple Singers among others.

Riding on UGK’s newfound mainstream fortunes, Dirty Money managed a remarkable #19 debut on the Billboard 200 chart, as well as reaching #2 on the R&B/Hip-Hop Albums chart. In spite of this, Jive failed to capitalize on the attention the duo was receiving; with a lack of promotion and marketing behind it the record left just as quickly as it had arrived. We at Get On Down haven’t forgotten this album’s greatness though; we now present to you this color vinyl reissue of Dirty Money, an under-appreciated and oft-forgotten relic of Southern hip-hop, one that has never before been committed to wax.

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The Professionals “The Professionals Instrumentals” (Madlib Invazion)

The Professionals “The Professionals Instrumentals” (Madlib Invazion)

Madlib is a highly regarded and influential hip-hop producer and occasional rapper, who has left his distinct and stylized sound on classic tracks and critically beloved albums by the likes of MF DOOM (Madvillain), J Dilla (JayLib), Talib Kweli (Liberation), Georgia Anne Muldrow (Seeds), and more. Madlib’s collaborations with rapper Freddie Gibbs (Pi ata & 2019’s Bandana) are some of the most acclaimed hip-hop records of the past decade, and his various DJ mix compilations (Madlib Medicine Show, Beat Konducta) have earned high praise from a vareity of journalistic sources. On The Professionals, Madlib joined forces with fellow rapper/producer and biological brother Oh No, unleashing thirteen tracks of trippy, frequently psychedelic underground hip-hop, upon an unsuspecting public to great acclaim from fans and critics. Now, Madlib’s own imprint Madlib Invazion proudly presents the instrumental tracks for this anomalous record, which puts every twitchy, paranoid, and anomalous beat from the legendary beatsmith on full display.

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Edan “Beauty & The Beat” (Lewis Recordings)

Edan “Beauty & The Beat” (Lewis Recordings)

While Edan’s critically acclaimed debut, Primitive Plus, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; Hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art.
In 2015, FACT placed it at number 30 on the “100 Best Indie Hip-Hop Records of All Time” list. In 2013 NME placed it at number 392 on the “500 Greatest Albums of All Time” list.

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Helter Skelter

Helter Skelter

Tracy Lynn Curry, better known by his stage name The D.O.C., is an American rapper, songwriter, and record producer, who released his second studio album Helter Skelter in 1996. After a 1989 car crash accident which damaged his vocal cords, this was his comeback album. His voice had changed a lot, but with a fantastic live band the gangsta rap comes alive. His lyrics are still great and worthwhile to listen to. Helter Skelter is available on vinyl for the first time and the package includes a 4-page booklet.

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1988

1988

In Stock March 17, 2020

1988 is the follow up to Knxwledge’s official debut album Hud Dreems (Stones Throw, 2015). The same year Hud Dreems was released Knx worked with Kendrick Lamar on To Pimp a Butterfly, earning the producer his first Grammy. A duo with Anderson .Paak called NxWorries was formed around the same time. Their single  “Suede” became a viral hit, vaulting the singer to R&B stardom, and their album Yes Lawd! followed through on that song’s immense promise. Knx and Paak have quietly continued collaborating, and some of the new work is heard on 1988.

A prolific artist in the extreme sense of the word, Knxwledge continues to redefine instrumental hip-hop almost in real-time with a stream of beat tapes numbering in the hundreds on Bandcamp, and video remixes on Instagram.

This prolific output began early. 1988 takes its name from the fact that much of the new record was created that very year, when Knx was an infant. As the story is told, little baby Knx was left alone by his mother for just a few moments and crawled to a family member’s vintage SP–12 sampler. When his mother returned he had already produced his first beats and nearly mastered the machine. These tracks, all produced before nap time while rocking a Nike diaper, were stored over the years on floppy discs, then brought to his studio in recent months where they were finished up, mixed, and mastered.

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Reggae/Dub

Derrick Morgan “Derrick Morgan And Friends” (Music On Vinyl)

Derrick Morgan “Derrick Morgan And Friends” (Music On Vinyl)

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.

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Seke Molenga & Kalo Kawongolo “Seke Molenga & Kalo Kawongolo” (Antarctica Starts Here)

Seke Molenga & Kalo Kawongolo “Seke Molenga & Kalo Kawongolo” (Antarctica Starts Here)

“Over the years, they would come to say that the Africans just appeared one day in Jamaica. That two Congo men somehow materialized on the streets of Kingston sometime in 1977, almost as if by magic, speaking not a word of English or patwa. The duo, they say, were musicians brought in by a Jamaican promoter—a woman who ditched them, leaving them to fend for themselves, stranded in a strange land. “What really happened is harder to fully divine. The two young Africans—Molenga Mosukola (aka Seke) and Kawongolo Kimwanga (aka Kalo)—were musicians from the Democratic Republic of the Congo, then known as the Republic of Zaire, and had indeed been brought to Jamaica by a woman. But she was not a Jamaican promoter; she was a Frenchwoman named Nadette Duget, an executive at CBS France. “Seke and Kalo were both vocalists and guitarists who also played percussion; one of them also handled the saxophone. Initially, Duget had intended for the recording to take place at Byron Lee’s Dynamic Sounds studio. Somehow, though, the project instead ended up at Lee ‘Scratch’ Perry’s Black Ark. “When Seke Molenga and Kalo Kawongolo arrived at the Black Ark, Perry was wrapping up the sessions for the Heart of the Congos. He was immediately enamored with the two Congolese visitors and did regard their presence as a fortuitous sign. As he later said in 1992, ‘I know they were sent from Africa, because Africa wanted to make that heart connection in the Ark Studio. So African have to appear in the Ark Of The Covenant to manifest the African drum.’ “Perry eventually completed the work with Seke and Kalo: a deeply rootsy and rugged album under the working title Monama (which in Lingala means ‘Rainbo’). He submitted it to Island, but as they had done with Heart of the Congos, they passed on releasing it. “While it has remained relatively obscure, even as Perry’s Black Ark oeuvre has been rehabilitated and lionized over the past two decades, the album has nevertheless been quietly influential. Its groundbreaking amalgamation of African music and dub anticipated similar experiments by producers like Adrian Sherwood, Bill Laswell and Jah Wobble who would ride to critical acclaim in the ’80s and ’90s.” – Uchenna Ikonne (excerpt from the liner notes)

The Uniques “Absolutely The…Uniques” “(Antarctica Starts Here)

The Uniques “Absolutely The…Uniques” “(Antarctica Starts Here)

Long before the fusion of dancehall and reggae, there was a time when vocal trios dominated Jamaica’s music scene. From the early ’60s, three-part harmony ensembles peppered the charts with driving ska hits. By the time the lilting rhythms of rocksteady emerged in late 1966, an outfit made some of the most popular and enduring music ever issued on the island. They were, of course, The Uniques. The Uniques’ classic line-up of Slim Smith, Lloyd Charmers and Jimmy Riley would record a series of superior sides with legendary producer Bunny Lee, most notably The Impressions’ “Gypsy Woman,” the soulful original “Speak No Evil” and the haunting “My Conversation” (which may be one of the most “versioned” tracks of all time). Charmers produced the cover of Buffalo Springfield’s 1967 hit “For What It’s Worth” (aka “Watch This Sound”), which was originally released on the group’s own Tramp label. As 1968 drew to a close, these recordings (along with the remainder of their best-known songs to date) were compiled for The Uniques’ debut album, Absolutely The Uniques, which unusual for the time was released as a full-price collection by Trojan in the UK. Antarctica Starts Here presents the long out-of-print domestic release of Absolutely The Uniques. Reproducing the original sleeve design, this reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by Laurence Cane-Honeysett.

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Various Artists “The Best Of Jicco Funk – Vol. 1” (Dig This Way)

Various Artists “The Best Of Jicco Funk – Vol. 1” (Dig This Way)

Possibly the best thing a compilation can do is open the door to a world of music that aside from being unknown to you, is high grade in quality, diverse and open to interpretation in as much as you are left with some if not many questions… particularly when the selected tracks are all from the same record label… When did they start? Why did they start? Who was behind it? Where did the artists come from? What was their inspiration? These are only a few… by the time you get to the end of the eight tracks included on ‘Jicco Funk Volume One’ there may be more. Some background or at least as much as we know: in the early 1970s thru to the ’90s, Onitcha was one of Nigeria’s most important cities sat on the banks of the river Niger about half way between Benin City and Enugu. Aside from the commerce Onitcha was also an important centre for music production, live music thrived and in turn the city had a nightlife which embraced music. It’s where labels like Tabansi and many other smaller companies had their headquarters. It’s where in the late ’60s, the label Jicco was established, an enterprise which would commercialize Kenyan and Congolese music in Nigeria. By the mid to late ’70s Jicco opened itself to new projects, launching a number of sub-labels, from Vox Africa to Guy, more specialized in highlife, native and soukous music to Jicco Funk which was producing small local groups playing reggae, rock and funk. Dig This Way realised they had found something special after discovering the first few releases on Jicco Funk. It’s less about a particular style of music and more about a raw emotive production quality that runs through each of the records. There is a mood and feel to the delivery that expresses a consciousness that’s rooted in a deep soul. The origins of which with hindsight would be near impossible to determine. It’s known that many of the records were produced at the same studio. There are a number of musicians who appear on more than one record. Following an extended period collecting music from the label including a number of months in Nigeria trying to trace family and friends of former band members including the Jicco family, Dig This Way decided to produce a compilation highlighting some of the near unknown music released by Jicco Funk. On the first volume in the series the focus is reggae and funk, particularly the intersection where the two genres converge as a hybrid production that at times is neither one nor the other. Limited to 500 copies.

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Various Artists “Moonlight Groover” (Music On Vinyl)

Various Artists “Moonlight Groover” (Music On Vinyl)

Showcasing the very best of Duke Reid’s Treasure Isle late rock steady and early reggae productions, ‘Moonlight Groover’ is today regarded as an essential requirement for all serious fans of late sixties Jamaican sounds. Comes on 180 gram vinyl.

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World

Ranil “Ranil Y Su Conjunto Tropical” (Analog Africa)

Ranil “Ranil Y Su Conjunto Tropical” (Analog Africa)

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.

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Matao and Atilla Engin “Turkish Delight” (Arsivplak)

Matao and Atilla Engin “Turkish Delight” (Arsivplak)

Arsivplak present a reissue of Matao with Atilla Engin’s Turkish Delight, originally released in 1979. It’s a Turkish jazz-funk delight! Some hard-hitting rhythm section blending into a prime example of the swingin’ sound of the cool influences of jazz, funk, and folk music, with a Turkish flavor. Its fantastic funk jazz groove built on a titanium synth bassline! An instrumental library of traditional Turkish jazz session reaching a great climax in drums and percussion sets, plus electro-bass breaks with Moog and synthesizers from the beginning to the end. Traditional Turkish songs based on drums and synth bass over moody 5/8 fuzz guitars… Album recorded and released in Denmark, 1979, and it has never been released in Turkey. Hard cardboard sleeve; obi.

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Master Musicians Of Jajouka “Apocalypse Across The Sky” (Zehra)

Master Musicians Of Jajouka “Apocalypse Across The Sky” (Zehra)

Zehra present a reissue of Apocalypse Across The Sky by The Master Musicians of Jajouka featuring Bachir Attar, originally released in 1992. Available on vinyl for the very first time. Produced by Bill Laswell, remastered for vinyl by Helmut Erler at Dubplates & Mastering, Berlin. No matter if you consider the Master Musicians of Jajouka a “4,000 year-old rock n’ roll band” (William S. Burroughs) or even “6,000 years old” (Ornette Coleman) — without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism, and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today’s ensemble leader Bachir Attar, and till today every year at the end of Ramadan a fire in honor of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute), and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties. In the 1950s, Brion Gysin along with Paul Bowles were among the first westerners to witness such a ceremony, and it was Gysin who invited the Master Musicians of Jajouka to play in his restaurant in Tangier, and who later (in 1967) brought Brian Jones to the small village of Jajouka where the Rolling Stones guitarist recorded the ensemble for what became the first “world music album” and that raised interest in the Master Musicians of Jajouka in the western world. Since those days, a wide number of creative minds like William S. Burroughs, Ornette Coleman, Marc Ribot, Flea, Talvin Singh, or the Rolling Stones have worked with the Master Musicians of Jajouka who are now performing regularly outside Morocco. In 1991, iconic producer Bill Laswell also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his Axiom label — Apocalypse Across The Sky is, unlike other Laswell projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks among the essential recordings according to the world music magazine Songlines. 180 gram vinyl; gatefold sleeve; includes download code.

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Seke Molenga & Kalo Kawongolo “Seke Molenga & Kalo Kawongolo” (Antarctica Starts Here)

Seke Molenga & Kalo Kawongolo “Seke Molenga & Kalo Kawongolo” (Antarctica Starts Here)

“Over the years, they would come to say that the Africans just appeared one day in Jamaica. That two Congo men somehow materialized on the streets of Kingston sometime in 1977, almost as if by magic, speaking not a word of English or patwa. The duo, they say, were musicians brought in by a Jamaican promoter—a woman who ditched them, leaving them to fend for themselves, stranded in a strange land. “What really happened is harder to fully divine. The two young Africans—Molenga Mosukola (aka Seke) and Kawongolo Kimwanga (aka Kalo)—were musicians from the Democratic Republic of the Congo, then known as the Republic of Zaire, and had indeed been brought to Jamaica by a woman. But she was not a Jamaican promoter; she was a Frenchwoman named Nadette Duget, an executive at CBS France. “Seke and Kalo were both vocalists and guitarists who also played percussion; one of them also handled the saxophone. Initially, Duget had intended for the recording to take place at Byron Lee’s Dynamic Sounds studio. Somehow, though, the project instead ended up at Lee ‘Scratch’ Perry’s Black Ark. “When Seke Molenga and Kalo Kawongolo arrived at the Black Ark, Perry was wrapping up the sessions for the Heart of the Congos. He was immediately enamored with the two Congolese visitors and did regard their presence as a fortuitous sign. As he later said in 1992, ‘I know they were sent from Africa, because Africa wanted to make that heart connection in the Ark Studio. So African have to appear in the Ark Of The Covenant to manifest the African drum.’ “Perry eventually completed the work with Seke and Kalo: a deeply rootsy and rugged album under the working title Monama (which in Lingala means ‘Rainbo’). He submitted it to Island, but as they had done with Heart of the Congos, they passed on releasing it. “While it has remained relatively obscure, even as Perry’s Black Ark oeuvre has been rehabilitated and lionized over the past two decades, the album has nevertheless been quietly influential. Its groundbreaking amalgamation of African music and dub anticipated similar experiments by producers like Adrian Sherwood, Bill Laswell and Jah Wobble who would ride to critical acclaim in the ’80s and ’90s.” – Uchenna Ikonne (excerpt from the liner notes)

Tony Allen nd Hugh Masekela “Rejoice” (World Circuit)

Tony Allen nd Hugh Masekela “Rejoice” (World Circuit)

Rejoice is a very special collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz. Having first met in the 70s thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018. With renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Hugh Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

Rejoice can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with its roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland / The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

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Techno/House

Matt Karmil “STS371”  (Smalltown Supersound)

Matt Karmil “STS371” (Smalltown Supersound)

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.”

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Container “Scramblers” (Alter)

Container “Scramblers” (Alter)

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.

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Vatican Shadow “Opium Crop Airstrikes” (Hospital Productions)

Vatican Shadow “Opium Crop Airstrikes” (Hospital Productions)

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.

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Flamingo Pier “Flamingo Pier” (Soundway)

Flamingo Pier “Flamingo Pier” (Soundway)

2020 repress. Following their self-released debut EP, Flamingo Pier (DJ residents Luke Walker, Dominic Jones, and Bradley Craig) have crafted four dance floor-worthy tracks influenced by the boogie, disco, Afro and classic house. Slick, rolling disco synths and punchy drum machines are woven in with Afro-centric percussion and dreamy vocal chants, for an exotic disco-boogie journey from start to finish. Early support for the EP is already coming from Bill Brewster, JD Twitch (Optimo) and Ray Mang. The EP is being released to coincide with the Flamingo Pier Festival in Waiheke, New Zealand.

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Yasuko Agawa “Lowdown” (Studio Mule)

Yasuko Agawa “Lowdown” (Studio Mule)

One of most popular jazz singers in Japan, Yasuko Agawa’s late ’80s release was originally released as a promo only. It’s finally reissued here on 12″ with remastering by Kuniyuki Takahashi. “Lowdown” is a house cover of Boz Scaggz. It’s a Japanese house classic. “You Bring The Sun Out” is a super mellow electric lovers rock.

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Soul & Funk

Thundercat “It Is What It Is” (Brainfeeder)

Thundercat “It Is What It Is” (Brainfeeder)

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).

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Various Artists “Instrumental Gems Vol. 2: Spanish Funk & Groove 1973/1977” (Adarce)

Various Artists “Instrumental Gems Vol. 2: Spanish Funk & Groove 1973/1977” (Adarce)

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.

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Various Artists “Instrumental Gems Vol. 1: Spanish Funk & Groove 1973/1977” (Adarce)

Various Artists “Instrumental Gems Vol. 1: Spanish Funk & Groove 1973/1977” (Adarce)

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).

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Decadence “On and On (Fears Keep On)” (Mannequin)

Decadence “On and On (Fears Keep On)” (Mannequin)

Mannequin Records present a new press of Decadance’s “On And On (Fears Keep On)”, one of the most iconic underground Italo-wave tracks ever. Produced by Franco Rago and Gigi Farina, the masterminds behind cult Italo disco projects ‘Lectric Workers, Wanexa, Expansives, Atelier Folie, Peter Richard, and many more, the single was originally released in 1983 by Proto Records. Permeated by a dark and eerie synths, a perfectly programmed Roland TR-808, and an outstanding analog production, “On And On (Fears Keep On)” belongs to dark Italo disco or Italo wave. Remastered by Rude 66, 2018, Berlin.

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Flamingo Pier “Flamingo Pier” (Soundway)

Flamingo Pier “Flamingo Pier” (Soundway)

2020 repress. Following their self-released debut EP, Flamingo Pier (DJ residents Luke Walker, Dominic Jones, and Bradley Craig) have crafted four dance floor-worthy tracks influenced by the boogie, disco, Afro and classic house. Slick, rolling disco synths and punchy drum machines are woven in with Afro-centric percussion and dreamy vocal chants, for an exotic disco-boogie journey from start to finish. Early support for the EP is already coming from Bill Brewster, JD Twitch (Optimo) and Ray Mang. The EP is being released to coincide with the Flamingo Pier Festival in Waiheke, New Zealand.

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Country/Folk/Blues

Robbie Basho “Songs of the Great Mystery–The Lost Vanguard Sessions” (Real Gone)

Robbie Basho “Songs of the Great Mystery–The Lost Vanguard Sessions” (Real Gone)

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!

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Daniel Romano “Okay Now” (You’ve Changed)

Daniel Romano “Okay Now” (You’ve Changed)

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.

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Arbouretum ‎”Let It All In” (Thrill Jockey)

Arbouretum ‎”Let It All In” (Thrill Jockey)

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.

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The Edgar Broughton Band ‎”The Edgar Broughton Band” (Timeless)

The Edgar Broughton Band ‎”The Edgar Broughton Band” (Timeless)

Repress! The most conventional of the band’s albums, 1971’s’ ‘Edgar Broughton Band’ finds the group dispensing with the no-holds-barred psychedelic blues stoned rock.

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Levee Camp Moan “Levee Camp Moan” (Sommor)

Levee Camp Moan “Levee Camp Moan” (Sommor)

Sommor Records present the first legitimate reissue one of the rarest private blues-rock albums from the UK, Levee Camp Moan’s self-titled release, originally released in 1969. In 1969, Bracknell-based blues rock outfit Levee Camp Moan released what was destined to become one of the most sought-after UK private pressings of the period on the County Recording Services label. This LP marked their status as one of the most exciting bands to emerge out of the thriving local underground scene in the Bracknell Delta. The group had taken their name from the old blues number and the band members, manager and assorted roadies took up residence in a local farmhouse known as Peacock Farm. It was there that LCM would rehearse into the small hours, thumping out a mixture of blues standards as well as their own compositions until they had become a tight unit ready to “take on the world”. Influences ranged from the urban blues of Otis Rush, Buddy Guy, and Junior Wells to Muddy Waters, Skip James, and beyond. The more or less contemporary white blues of the time, Canned Heat, Savoy Brown, and Paul Butterfield also served as a major source of inspiration. From their humble roots LCM quickly built up a following on the British Blues circuit, frequenting the likes of the Marquee, Crawdaddy, Klooks Kleek, Eel Pie Island, and Rikki Tik club. On the college circuit they toured extensively with Chickenshack, Canned Heat, and Muddy Waters with performances being of a high enough standard to generate record company interest. Unable to secure a record deal, they had no other choice but to do it themselves. And so, in the winter months of early ’69 that LCM entered Virgin Sound in nearby Windsor to lay down eight tracks recorded on a four-track machine. With no record company interference, the archetypal private pressing, raw, under-produced, and thrillingly primitive. The project successfully captured the spirit and aggression of an exciting new band and the original artefact is now a zeitgeist of that remarkable era. After Levee Camp Moan, Ian Campbell went on to carve out a busy musical career performing with, amongst many others, the Nashville Teens, Arthur Brown’s band and Mungo Jerry. Bassist Dave Stubbs played with a host of notables, including Eric Clapton’s band and Uli Jon Roth (ex-Scorpions). Original artwork. Includes insert with rare photos and full band history by Pete Sarfas.

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Experimental

Nils Frahm “All Encores” (Erased Tapes)

Nils Frahm “All Encores” (Erased Tapes)

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.

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Lightning Bolt “Hypermagic Mountain” (Lightning Bolt)

Lightning Bolt “Hypermagic Mountain” (Lightning Bolt)

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.

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Gagarin Kombinaatti “83-85” (Sahko)

Gagarin Kombinaatti “83-85” (Sahko)

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.

Stephen O’Malley “Auflosung” (Editions Mego)

Stephen O’Malley “Auflosung” (Editions Mego)

“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

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NYZ “Millz Medz” (Important)

NYZ “Millz Medz” (Important)

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.

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Soundtracks/Library

Hareton Salvanini “Xavana, Uma Ilha Do Amor” (Mad About)

Hareton Salvanini “Xavana, Uma Ilha Do Amor” (Mad About)

Mad About Records present the first worldwide reissue of Hareton Salvanini’s soundtrack for Xavana, Uma Ilha Do Amo, originally released in 1981. Rare Brazilian album of the obscure film Xavana, Uma Ilha do Amor mixes elements of jazz, bossa nova, and psych. Hareton Salvanini creates a record full of groovy guitars, refined strings, and delicate orchestral sounds. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. In this case, Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack. No wonder many consider him a lesser-known Arthur Verocai. Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs. Deluxe reissue in thick carton cover; obi.

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Victor Cavini ‎”Japan” (Be With)

Victor Cavini ‎”Japan” (Be With)

Be With Records present a reissue of Victor Cavini’s Japan, originally released in 1983. The first Be With foray into the archives of revered German library institution Selected Sound is one of Be With’s favorites on the label. Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness! Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occasional contemporary twist. Contemporary for 1983, of course. These “Pictures Of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures Of Japan XII” is just drums. And then “Pictures Of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures Of Japan XIV”. This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Recalling both Rino de Filippi’s 1973 album Oriente Oggi (CNLP 042LP) and Giancarlo Barigozzi’s Oriente also from 1973, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late-70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983. Audio remastered for vinyl by Be With regular Simon Francis. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve.

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Broken Lamps “Metropolis” (Electric Nerve Music)

Broken Lamps “Metropolis” (Electric Nerve Music)

Introducing Eric Bowr’s third installment to the Broken Lamps music catalog. Like its predecessor Kaleidoscope, Metropolis continues its journey through 70s production music by experimenting with sounds reminiscent to British music libraries like KPM, Chappell and De Wolfe. While maintaining a feel for retro urban counterculture, the album weaves its way through various film genres like Crime Drama, Eurospy,Exploitation and more! By combining bass driven rhythms and funk horns with organ fueled 60s surf tones, Metropolis transports you to the “odd corners” of a vintage film set with an atmosphere soaked in nostalgia. Consider this record to be the soundtrack to your next need-to-know-only mission or late night rendezvous. Brought to you on 180 gram vinyl by Electric Nerve Music in association with Two Headed Dog.

Ennio Morricone “Themes: Western” (Music On Vinyl)

Ennio Morricone “Themes: Western” (Music On Vinyl)

Music On Vinyl presents Ennio Morricone Themes, a wonderful and unique collection of the greatest music ‘The Maestro’ composed for movies over the past 70 years, divided into different Themes. Each Theme centers on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. Western is the first in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. It contains a selection of defining Morricone songs, featured in legendary (Spaghetti-) Western movies like “Once Upon A Time In The West”, “A Fistful of Dollars”, “The Good, the Bad and the Ugly”, “A Pistol for Ringo”, “The Return of Ringo” and many more, selected on 2 LPs. Available February 28th as a limited edition of 3,000 individually numbered copies on gun-smoke colored (transparent with black marbled) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano.

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Original Soundtrack “La Comtesse Noire / Des Frissons Sur La Peau” (Omega Productions)

Original Soundtrack “La Comtesse Noire / Des Frissons Sur La Peau” (Omega Productions)

Two obscure soundtracks for equally obscure films directed by Euro-sex maestro Jess Franco – laid out here back to back on a single set! La Comtesse Noire has music that moves slowly, but with a nicely slinky vibe – and a fair bit of wordless female vocals that are maybe in an Edda Dell’Orso style, but also have some warmer currents too – almost jazzy at times, echoed by some jazzy paino work on one track – which makes a very surprising sound for a movie like this! Titles include “La Mort A La Bouche”, “Eromantic Jazz”, “Eromantic Lounge”, “Eromantic Piano”, “Vox Intima”, and “La Comtesse Noire”. Des Frissons Sur La Peau follows with more great wordless vocals – but also maybe has more piano lines in the lead, too – echoing a very nice main melody that’s both sad-tinged and sexy – a nicely creepy blend! Titles include the funky “Viree Nocturne”, plus a few variations on the “Des Frissons” theme – and some bonus material from the sessions.

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