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Recent Best Sellers
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HJR 060CD
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Between sleep and the void lies the electronic interzone of Actress. Following the noted 2010 album Splazsh (HJR 049CD/LP) (voted #1 in The Wire magazine's "Top 50 Releases Of The Year") South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dream-time rhythms which all carry his unmistakable fingerprint. R.I.P. comprises 15 tracks painstakingly crafted by Cunningham in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion. Right from the debut album Hazyville, Actress' music has carried deep tinges and pockmarks of London's rave music heritage. But after the angular dynamics of Splazsh, R.I.P. heads out into deep space. The rhythms and pulses are smudged or blurred, or are hinted at by their absence. Two-step garage is collided into gamelan, and freeform interludes explore microtonal spaces and imagined string instruments. The fifteen chapters of R.I.P. begin with ascension and the Book of Genesis, played out through gardens, serpents and mythological caves. Appropriately for exploring the myths of creation, the sounds Actress creates are completely sui generis. There are no soft synths or plug-ins, and instead he uses meticulous manual sound-tinkering to create tones, tunings and textures. The ghosted rhythms and free tunings of these tracks live in a parallel universe to the conventional rigors of the dancefloor. Unlike the sterile sound-spaces rendered in so much laptop sound-product, these tracks carry traces of the endless mouse strokes that made them. The album begins with the title track, a short tonal requiem for the dead, before drifting into another beatless meditation, the rippling minimalist structure of "Ascending." "Holy Water" and "Marble Plexus" introduce rhythm, although these percussive tics could be equally sourced from sub-bass speaker stacks or marbles rolling around a bowl. "Jardin" and "Serpent" are origami-like constructions which orbit around what could be pizzicato strings or harps. Last-but-one is "IWAAD," whose pulsing 4/4 rhythms and warm hits of low-end vibration hint at a return to the real. R.I.P. underlines Actress's reputation as one of the most eloquent voices to emerge from the sub-bass nexus of London dance music.
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7"
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SF 070EP
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Hayvanlar Alemi comes smashing out of the gates in 2012 with a jaw-dropping version of Mulatu Astatke's "Yekermo Sew" as the A-side of this single. Side B is an unreleased improvisation featuring the quartet version of the group. This limited one-time pressing vinyl single was made for the band to sell on their European tour, which begins in May of 2012. Limited copies, however, will be available through normal distribution channels. 45 rpm.
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2LP
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HJR 060LP
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SNDW 039CD
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Dancing Time: The Best Of Eastern Nigeria's Afro Rock Exponents 1973-77 by The Funkees is the latest title on Soundway to mine the rich musical output of '60s and '70s Nigeria. For the 5-year period this compilation spans, The Funkees' output crackled with dancefloor fire. Having featured on three of Soundway's most popular titles, across the definitive Nigeria Special compilation series, Soundway felt The Funkees' output deserved closer inspection. Presented here are 18 slices of funky Afro-rock grooves, hand-picked by Soundway's Miles Cleret from a selection of the band's 45s and two full-lengths. In the early 1970s, The Funkees were the #1 east Nigerian band and the only outfit to seriously challenge the popular Lagos-based rock combos MonoMono and BLO. It wasn't long before promoters in the UK came calling and The Funkees packed up their instruments and moved to London, where they quickly established a fierce reputation on the live circuit. Here, they recorded two seminal albums before finally breaking up in 1977 amidst some controversy. This collection features for the first time all of their Nigerian 45s alongside the best of their UK album material and is accompanied by a full interview with original member Sonny Akpan, who still lives in the capital.
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2LP
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SNDW 039LP
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Gatefold double LP version. Comes with free MP3 download code of the album.
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12"
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TEXT 013EP
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One-sided limited 12" from Burial and Four Tet. 2nd pressing now available...
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2LP
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TYPE 107LP
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Not much is known about the shadowy figure of the Head Technician, the man supposedly behind Pye Corner Audio. There are rumors that in another life he was an engineer to the stars, and while that can't be verified, there's certainly an air of expertise in this bumper set of productions. Black Mill Tapes Volumes 1 & 2 were originally released by the Technician himself, and have been picked up for a very special vinyl release. These collect the first handfuls of tracks from the Pye Corner Audio vaults, and are a perfect introduction to the Head Technician's fuzzy Radiophonic funk. While Pye Corner Audio might be loosely associated with the much-lauded Ghost Box collective, his music is more difficult to pin down. At times, the dusty soundscapes bring to mind the flickering intro to mid-'60s Doctor Who, but at others, you're catapulted into a Dodge-driving, neon-flecked U.S. road movie circa 1979. It's an enviable concoction of genres, with the muted 4/4 pulse of Theo Parrish sitting happily alongside the wired electro of The Other People Place and the cracked, home-spun ambience of early Boards Of Canada. Somehow though, our Head Technician uses his technical know-how to pull it off, and emerges with a collection of tracks that is far more than an exercise in retro-fetishism. Black Mill Tapes are a collection of long-lost club records, engineered solely for the woozy drive home -- 4 a.m., long highways and bright lights. Just leave Ryan Gosling out of it. Cut at Dubplates & Mastering and pressed up in an edition of 700 copies only.
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2LP
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SP 016LP
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In 2010, Rachel Evans released Seeping Through The Veil Of The Unconscious, an expansive, magic trick of a cassette which captivated an unsuspecting American cassette underground and made dedicated fans instantly. Digitalis released fine editions of Seeping... as well as the acclaimed follow-up Luminaries And Synastries on LP which packed an equally potent punch and created much anticipation. Evans has since been hard at work on an expansive, definitive 2LP project, carefully arranging sounds to create immense, alchemical side-long tracks which push the boundaries of the project into new territory. These incredible new highs are documented in a clear, spacious fidelity where cerebral sounds gently flow and wash through the stereo-field, creating a beautiful deep-listening situation. Big changes in sound and scope are evident; a shift from the murky, mysterious haze of the older recordings into a highly addictive concentrate of airy tones and gem-like glow, each track forming a universal sky-map . There is, however, no loss of mystique. One of Evans' most charming elements is her ability to create a divine magnetism, and to capture this very magic unfiltered, raw and uncompromised. Very few have the capability to create this powerful energy and make it as accessible as Evans does. This full-length definitive album is a high water mark in Motion Sickness Of Time Travel's discography. An album masterfully crafted with ambition, crystal-clear vision and dedicated focus. Mastered for vinyl by Lawrence English and cut for vinyl at Dubplates And Mastering.
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CD
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TO 090CD
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Icelandic cellist Hildur Gudnadóttir presents a new album, Leyfdu Ljósinu (trans. "Allow The Light"), recorded live at the Music Research Centre, University of York, in January 2012, by Tony Myatt, using a SoundField ST450 Ambisonic microphone and two Neumann U87 microphones (NB -- it was not played in a concert environment and there was no audience). To be faithful to time and space -- elements vital to the movement of sound -- this album was recorded entirely live, with no post-tampering of the recordings' own sense of occasion.
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2LP
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AALP 071LP
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Deluxe gatefold double LP version. Lost sounds are the archives of a forgotten history. The raucously raw, Vodoun-inspired rhythms of Cotonou have confirmed Benin as a mecca of '70s Afro sounds and revived the story of its people, but the unopened vaults housing the country's catacombs of musical riches are endless. With this as a compass, Analog Africa charters its fifth expedition to Benin, traveling far north to delve deeper into the obscured repertoires and tales of the Bariba and Dendi people. Originating from the Kwara state of northwest Nigeria, the Bariba -- a predominantly Islamic people -- now dominate the Borgou department of Benin with the market city of Parakou at its heart. The rhythms of their culture constitute just one domain of the Islamic Funk Belt -- a distinct musical swath of land encompassing northern Ghana, Togo and Benin. Once frequented by Muslim merchants and traders, the belt has yielded a rich harvest of talent. The most powerful band from Parakou is Orchestre Super Borgou, who were first introduced to the West via Analog Africa's defining release, African Scream Contest (AACD 063CD/AALP 063LP). The birth of modern African music in Parakou is inextricably linked to Super Borgou. The progressive-minded father of the band's founder, Moussa Mama, imported modern music -- which he learned while working as a goldsmith in Accra, Ghana -- to the region in the '50s. His return to Borgou and subsequent teachings spawned countless bands from villages across the department. Super Borgou developed their own musical identity by reinventing traditional songs and rhythms. With Benin's foremost drummer, Bori Borro, in their ranks, Bariba and Dendi linguistic folklore -- alongside melodies of an Islamic ilk -- fused with soul, pachanga, breakbeats, rumba and Afro-Beat, Orchestre Super Borgou de Parakou manufactured a sound of penetrating and unpolished directness, blurring the line between the erstwhile rhythms of the devout village and the modern grooves infecting the forward-thinking city. Their reinvention redefines what contemporary audiences classify as the "Afro" genre. Performing live at the bar Congolaise, the high-octane live performances of Parakou's finest troupe also captured the imagination of Celestin Houenou Sezan, co-founder of Albarika Store (Benin's most important music label), and Super Borgou were, in fact, the legendary label's very first EP release. Apart from Albarika, Discadam -- and its sub-labels Impressions Sonores du Nord and Echos Sonores du Borgou -- were the band's major backers who helped galvanize the sound of northern Benin. Armed with a keen sense of philosophical observation, multi-instrumentalist Moussa Mama and rhythm guitarist Menou Roch, through their lyrics, reported on the socio-economic ills of their time -- the rampant inequalities they saw around them -- which established the band as noteworthy commentators on top of their gift of unique rhythm. Analog Africa's Orchestre Super Borgou anthology opens an entirely new chapter of lost and resurrected Afro sounds. Remastered to recreate the energy of their legendary live performances and accompanied by a stunning a full-color gatefold sleeve, the story of this remarkable ensemble and the traditions of the people of Northern Benin are set to be revealed and documented like never before.
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CD
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EMEGO 120CD
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Finally the fifth KTL studio album is ready for release. Whereas their previous album IV (EMEGO 089CD) was recorded and made in a relatively short period in a more traditional rock environment, V turns full circle, takes its time and tackles the complex working processes of the European avant-garde. Rooting themselves in such legendary electronic music studios such as EMS in Stockholm and GRM in Paris, Stephen O'Malley (SunnO))), Khanate, etc.) and Peter Rehberg (Pita, etc.) have delivered a rich set of sound experiments far removed from the harsh metal/noise blizzards of their early albums. They took a step further by inviting Icelandic composer Jóhann Jóhannsson to orchestrate "Phill 2" (performed by City of Prague Philharmonic, conducted by Richard Hein), resulting in a towering storm of monumental classicism. Finally, "Last Spring: A Prequel" turns the whole album on its head with the abstract alien textures of the Gisèle Vienne installation of the same name, with text by Dennis Cooper spoken with devout intensity by long-term Vienne collaborator, Jonathan Capdevielle. With full-color artwork by Mark Fell, V is KTL's most sophisticated work to date. Produced by KTL. Photo by Estelle Hanania. Stephen O'Malley (guitar, bass, modular synthesizer, computer, contact mics), Peter Rehberg (modular synthesizer, computer). Recorded September 2010-October 2011 at EMS, Stockholm; Tinitus, Bergen; Ina GRM, Studio 116, Paris; Smecky, Prague; Centre d'Art Passerelle, Brest; Twisted, Wien. Mixed at Twisted, Wien, May 2011 - January 2012.
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2LP
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EMEGO 120LP
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CD
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BC 003CD
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...1985-1989. Indian film music invariably manages to take you by surprise, time and time again. Hard electro-funk and sweet synth-pop are not genres you would expect from India. Yet, in the late '80s, electronic beats and synths were eagerly embraced by the film industry of South India along with kung fu fights, aerobics, sunglasses and jogging outfits. The rich and funky Tamil grooves of the early '80s transformed into stripped electronic synthesizer music. Composer Ilaiyaraaja aka "The Maestro" used minimal beats and synthetic arrangements to create an addictive and captivating electro synth-pop sound. His experimental mind, unfailing pop instinct and advanced harmonics make the songs a feast for the ears that will grow with every listen. CD includes a 30-page booklet with info on the featured films. Total Play Time: 65 mins.
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LP
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BAM 7005LP
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LP version. Although Ike Reiko was a mere 17 years of age when she recorded 1971's Kokotsu No Sekai, she was already a star in the world of Japanese erotic movies. Despite the tough-gal image, the music is pretty darn life-affirming, so don't think for a second you're getting an easy listening album here -- this is about as sexual as music can get. Throw "French Kiss" out of the window and give a kiss goodbye to your Serge Gainsbourg records, Ike Reiko is more sizzling than a branding iron as it makes its mark on the farmer's herd. The sex is literally dripping from every note on this record -- the style is "Iroke Kayôkyoku" or erotic kayôkyoku (kayôkyoku being a style of Japanese pop) but the sort of naïve jazz and pseudo spy theme movie music is all draped in a shroud of sexual shouts, screams and coos from the clearly excited Reiko. One must assume that she was in some kind of state of euphoria in the recording studio from the evidence on offer here, either that or she's a pretty realistic faker -- it's a smouldering collision, and that's about all that needs to be said. Kokotsu No Sekai has to be one of the finest gifts for the music fan in search of that killer oddity. First 180 gram vinyl reissue.
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LP
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MRSSS 510LP
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Reissue of Sonic Boom's first solo album, recorded between 1988 and 1989 while Spacemen 3 were still active and with the participation of its band members. A captivating, gentle space-rock masterpiece, which includes amazing covers of Doc Pomus' "Lonely Avenue" and Suicide's "Rock'n'Roll Is Killing My Life." Reissued on vinyl for the first time. The beautiful gatefold sleeve is an op-art wonder with two swirly plastic discs. Limited edition of 1,000 copies.
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2LP
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DPROM 093LP
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The first collaboration of Steven Stapleton's Nurse With Wound and composer/sculptor Graham Bowers is now available as a very limited double vinyl LP in a special edition for Record Store day 2012 (well, it was pressed a couple weeks late, sorry). Rupture is an attempt to create a musical illustration of the "goings-on" in the brain during the last hour and three minutes of life after suffering a major stroke. It is multi-layered and is primarily concerned with the internal chaos caused by the loss of control of thought processes, responses and consequential actions, with all types of incoherent disjointed memories and present real-time events -- as well as moments of lucidity, panic and fear -- clashing, merging and evolving. Expertly mastered for vinyl and cut by Noel Summerville at 3345 Mastering. Packaged in a beautiful gloss laminated gatefold sleeve, featuring artwork from both Babs Santini and Graham Bowers, plus a full-color insert. Limited to 500 copies.
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LP
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LOVE 078LP
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For their first release of 2012, Modern Love delivers the second album from Suum Cuique, the analog noise/experimental project from Miles Whittaker, one-half of Demdike Stare. The first Suum Cuique album Midden (YOUNGAM 002LP) was released on Modern Love sub-label Young Americans back in 2010, with these new recordings made in the intervening years and in between sessions for the Demdike Stare album, Elemental. What differentiates this project from all the others Whittaker is involved with is that the material recorded under Suum Cuique was made using analog hardware only, often recorded straight from the mixing desk with no overdubs or edits. The sound veers from the intense shards of noise that make up album opener "Strohtopf" to the padded techno malfunctions of "Kuiper Anomaly," the found sound/shortwave radio signals of "Atlas Levels" to the mystical rotations of "Intonation" and the electrified drones of album closer "Dionysus Decay." Although there are obvious sonic threads running between Suum Cuique and Demdike Stare, the material on Ascetic Ideals is much more stark, at turns recalling the work of Mika Vainio, Eleh, Maurizio Bianchi and even John Carpenter, whose nightmare visions lurk somewhere deep in the mix. Mastered and cut by Lupo at Dubplates & Mastering, limited to 700 copies.
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7"
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CF 006EP
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This 7" was originally released on the legendary German FMP label in 1973. Features Hanns Eisler, Peter Brötzmann, Fred Van Hove and Han Bennink.
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LP
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MRP 011LP
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"First full length album by one of the greatest gospel musicians of all time! Boyd Rivers was an amazing but unfortunately, little known gospel artist. Comparisons could be made to Charlie Jackson, but in the end not too many people sound anything like Boyd Rivers. Side one features Boyd playing stunning electric guitar & belting out 6 incredibly heavy songs. Side two finds Boyd playing acoustic guitar -- a bit mellower but still impassioned. All the material on this album has never been released, with the exception of 'Fire In My Bones' -- the title track of the Case Quarter 3 CD gospel compilation. (It's also on our Last Time Around compilation) It's somewhat unbelievable that Boyd has not been heard more out in the world -- but so it goes. Includes liner notes by Amos Harvey. Old school 'tip on' cover."
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LP
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MRP 017LP
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"Excellent compilation of Greek rembetika/folk/mortika music. Dark and beautiful 78's about love, crime, death, drugs and so on. All songs never reissued on LP before. Extensive liner notes by Ian Nagoski with great photos. A co-release with Canary records. Old school 'tip on' cover. A real winner."
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CD
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SNDW 036CD
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From the sweltering tropical depths of Cali, Colombia, Will "Quantic" Holland's studio band Los Miticos Del Ritmo (trans. "The Mythics Of Rhythm") return with an album of hip-shaking, dancefloor-quaking instrumental cumbias. Assembled using vallenato and cumbia musicians living in Cali, Los Miticos Del Ritmo are a 7-piece studio band put together by British musician, producer and now Colombian resident Will "Quantic" Holland. Covers of Queen's "Another One Bites The Dust," Michael Jackson's "Don't Stop" and Gildardo Montoya's "Fabiola" (as featured on Soundway's The Original Sound Of Cumbia) sit alongside original cumbias on this feel-good, house party cumbia album. Recorded in Will's home studio in Cali, his approach was to produce an album with the aesthetics of 1960s tropical recordings made in Colombia and the Caribbean. Careful attention was made to preserve the analog quality of the recording at every stage. "The idea of the record was to record something that sounded like a lost cumbia classic," said Will in a recent interview with Soundway, "like something dug out of a Barranquilla basement after decades of humidity and dust."
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LP
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B 158LP
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"After the release of their third LP in March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour, playing over seventy dates all around the US. One of these included a stint at the 'End Of Cole Avenue' club in Dallas--one of the Velvets few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to Mercury's use of third or fourth generation tapes. However, the first generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one. This version also features a few songs, like 'I'm Set Free' and 'One Of These Days', not found on the original LP." Clear purple vinyl in a transparent PVC sleeve with yellow lettering; edition of 500 copies.
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LP
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HC 020LP
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LP
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VHSX 005LP
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David Orphan's Devon Folklore Tapes is a research and cultural heritage-based community label in the vein of Smithsonian Records, founded by Finders Keepers' David Orphan. Although the label has been releasing music on special edition/customized books and cassettes for some time, this contribution to the Pre Cert Home Entertainment label sees Orphan deliver his long-awaited vinyl debut. The soundtrack to Hannah Henley sees a mechanical hybrid of old Soviet electronic organs, looped field recordings and found vocals lost in an immediate and tensely hypnotic narrative to an account of opposing forces that is as unsettling as it is captivating. Field recordings were utilized and integrated within these pieces, adding more flesh and providing a sense of place. The LP becomes a sound portrait blurring the lines between documentary, music, and artefact. The cover art features an inverted letter-press coded graphic using the text from the story of Hannah Henley as its visual source along with a bone found and utilized within the recording itself. The words to the tale are included in the accompanying sleeve notes, for those interested in those dark details. Cut at Berlin's Dubplates & Mastering, limited to 500 copies only.
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CD
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KOMP 099CD
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It's no secret that Kompakt pioneers Wolfgang Voigt and Jörg Burger have maintained a long and steady friendship outside the studio. There's Wolfgang Voigt, a confirmed radical, a stalwart, analytical, mind-bombing sensualist who famously transformed techno into a state of matter and lifted the Art Brut club canvas. His material spans from Mike Ink and Gas to Protest or Kafkatrax, and within this contrast-rich portfolio, each new oeuvre transports the serial anarchy which is the artist's trademark. And then there's Jörg Burger aka The Modernist -- a highly-focused music-smith, galvanizing each bassline to a regal shine and buttoning-up dancefloors with his maximally minimalistic precision funk. As Burger/Ink and later Burger/Voigt, this is a fruitful collaboration which produced among others the 1996 album Las Vegas. Mohn is a new trip through the Burger/Voigt multiverse. Pendulating between analog mysticism and digital hieroglyphics, Mohn makes a composition of the continental drift, creating an electrically-charged atmosphere of tension and post-human textures staged as roadkill on the information highway, never forgetting the need for harmony in the chaos of the unheard. Call it wallpaper music for Petri dishes or call it goth-ambient, but the most prominent feature of the music of Mohn is also the most obvious: the close integration of mutually-exclusive elements. The opposition of hot and cold, of soft and hard, of abstract and concrete, all dissolve in favor of an acoustic funhouse mirror in which one's stylistic past is never directly quoted, but is always present. Mohn infiltrates foreign sound spaces, flatters motifs into pieces, and leaves broad strokes in a barren landscape recoded into monolithic anagrams, a frozen idol of procedural thinking. Mohn is likely producing the best music that Vangelis never wrote, the lost soundtrack to a Kölsch version of Blade Runner, a space opera in slow-motion conducted by a hypnotized Caspar David Friedrich in orbital transit. As music it gets extremely close, obscuring the sun, whispering loudly, slowly, and furiously, both a fascinating trip into the interior of an inverted electron-scanning microscope and the meticulous recreation of a Mandelbrot fractal, all in album format. Whether synthesizers dream of electric sheep, Wolfgang Voigt and Jörg Burger may not be able to say for certain, but as Mohn, they seem to have a fairly accurate idea of how it might sound.
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LP
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SNDW 036LP
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CD
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SR 334CD
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Previously-unreleased electronic music from original The Mothers Of Invention keyboardist, Don Preston. "We're coming to the beginning of a new era wherein the development of the inner-self is the most important thing. We have to train ourselves so that we can improvise on anything: a bird, a sock, a fuming beaker. This, too, can be music. Anything can be music." --Don Preston, extracts from Uncle Meat, 1969, The Mothers Of Invention
One could hardly not see in Don Preston a key musician within Frank Zappa's oeuvre. He is not only that, but his presence has marked The Mothers' major records from 1966 to 1974. His touch was already there before the arrival of Ian Underwood, and it continued after Ian left. You all remember "King Kong" (its magnificence as interpreted by Dom DeWild) from the second Uncle Meat suite. A certain form of jubilation emanates from this track, thanks to Preston's fluid style and lightly astringent tone on the Moog synthesizer -- that instrument never sounded quite like that before or after. This might have to do with his double training, his twin interests, since he had been simultaneously working with Gil Evans and listening intensely to Luciano Berio, Karlheinz Stockhausen, and Tod Dockstader. Immersed in jazz music, he was imagining secret ties with the nascent electronic music. In the mid-'60s, Preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. Out of this instrument came "Electronic Music" (1967), his first piece. Two years later, he became a close friend of Robert Moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. Nowadays, you can't mention the Mini-Moog without thinking of Preston. Bob Moog himself said about his solo in "Waka/Jawaka": "That's impossible. You can't do that on a Moog." Filters, Oscillators & Envelopes features the other side, the hidden side of Don Preston: the composer of purely electronic music.
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LP
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MRP 023LP
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"A compilation of Georgia bluesmen who play all in a style of their own. Truly great recordings made by George Mitchell between 1979-1981. Features the hypnotic sounds of John Lee Ziegler, the incredibly rockin' drumand guitar music of James Davis, the hair-stands-up-on-the-back-of-your-neck voice and guitar of William Robertson (also known as Cecil Barfield!), the unique doaist playing of Jimmy Lee Williams and the ragged and beautiful music of Jim Bunkley. Really just the best blues music you could ever hope to hear. Another testament to the brilliant ear of George Mitchell, who traveled the south in search of the real stuff and found it. Old school 'tip on' cover."
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CD
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R-N 140CD
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Winterreise is the audio soundtrack to a series of photographs with the same name produced by Atom TM. The series was exhibited during 2011 in Tokyo and Frankfurt (excerpts included in the packaging of the Winterreise CD edition). The Winterreise soundtrack may be considered a sequel to the Liedgut (R-N 099CD) album, in the sense that the resulting photo series was conceived as a consequence of the contextual framework which Liedgut both initiated and provided. Winterreise, though, is a far more abstract piece of work, with its accent in soundscapes and textures. With a balance between the romantic and the scientific, this album evokes, not just accompanies, the visual aspect of the Winterreise project in a perfect manner, by painting grainy sonic images that visualize the tradition and the future of the romantic subconscious.
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DIGI 043LP
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Paco Sala first came to fruition sometime in 2011 as producer Antony Harrison began developing a totally different side to his usual musical explorations as Konntinent. Following up a debut cassette, Radial Sundown, that introduced Paco Sala as a new solo vehicle for Harrison's love of hip-hop, Italo-disco, & synth-infused pop music, Harrison joined forces with vocalist Leyli -- and everything changed. Leyli's voice became the perfect vehicle for Harrison's squashed productions, adding an elegance and airiness to his dark, introspective tropes. This is most evident on the show-stopper, "Spiral" -- Leyli's vocal is divine, streaming skyward as it twists into endless, delicate shapes, with a hypnotic beat and Tropicália-infused loops acting as the perfect backdrop. Leyli slowly takes over the album's first single, "Gifts Of The Bloom," with layer-upon-layer of wordless murmurs. Along with B-side opener, "Tre's Future First," they show off Paco Sala's Italo influence with stunted beats and catchy, yet minimal synths. It's the vocals, though, that continually push Ro-Me-Ro to another level. Ro-Me-Ro is as striking a debut as any on the esteemed Digitalis label over the last few years, tapping into that emotional, sparkling intersection where followers of Nite Jewel, Chromatics, Not Not Fun and Julee Cruise will find much comfort. Original art by Marie-Pascale Hardy. Mastered by Brad Rose and cut to vinyl by Rashad Becker at Dubplates + Mastering, Berlin. Limited to 500 copies only.
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SR 334LP
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LP version. Previously-unreleased electronic music from original The Mothers Of Invention keyboardist, Don Preston. "We're coming to the beginning of a new era wherein the development of the inner-self is the most important thing. We have to train ourselves so that we can improvise on anything: a bird, a sock, a fuming beaker. This, too, can be music. Anything can be music." --Don Preston, extracts from Uncle Meat, 1969, The Mothers Of Invention
One could hardly not see in Don Preston a key musician within Frank Zappa's oeuvre. He is not only that, but his presence has marked The Mothers' major records from 1966 to 1974. His touch was already there before the arrival of Ian Underwood, and it continued after Ian left. You all remember "King Kong" (its magnificence as interpreted by Dom DeWild) from the second Uncle Meat suite. A certain form of jubilation emanates from this track, thanks to Preston's fluid style and lightly astringent tone on the Moog synthesizer -- that instrument never sounded quite like that before or after. This might have to do with his double training, his twin interests, since he had been simultaneously working with Gil Evans and listening intensely to Luciano Berio, Karlheinz Stockhausen, and Tod Dockstader. Immersed in jazz music, he was imagining secret ties with the nascent electronic music. In the mid-'60s, Preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. Out of this instrument came "Electronic Music" (1967), his first piece. Two years later, he became a close friend of Robert Moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. Nowadays, you can't mention the Mini-Moog without thinking of Preston. Bob Moog himself said about his solo in "Waka/Jawaka": "That's impossible. You can't do that on a Moog." Filters, Oscillators & Envelopes features the other side, the hidden side of Don Preston: the composer of purely electronic music.
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LP
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SRLP 005LP
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"High-quality reissue of holy grail '70s Ghana Funk LP available for the first time in 30 years. Includes the classics 'Peace On Earth' and 'Atwer Abroba', one of the best records to have come out of Ghana in the '70s. Unique sound! Strictly limited to 1000 copies! Superfly Records are proud to present a fully licensed high-quality reissue, pressed on 180 gram vinyl with authentic paste-on covers printed in Japan!"
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2LP
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WEAVIL 047LP
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2LP version. Having played together in Æthenor for the last couple of years, Steve Noble and Stephen O'Malley came together to play as a duo at Café OTO in 2011. These recordings are the result of these two hot and sticky nights in East London. Noble is a regular at Bo' Weavil Recordings, having appeared on over nine recordings for the label, and a linch pin in London's improvising community. So it was bound to be a memorable night of music to see these two meet. Steve Noble studied with Nigerian master drummer Elkan Ogunde in the early 1980s and over the last 20 years has played with most of the great players from all four corners of the globe. Stephen O'Malley is predominantly a guitarist, producer and composer who has been at the center of avant-garde/drone metal, best known for his group Sunn0))), and also a prolific collaborator with many of the finest improvisers. Noble sets the recording off with a full tribal charge, while Stephen, instead of firing off a shard of ecstatic notes and chords, coaxes his guitar into singing a slow, ever-growing roar. But soon the two are off into some wild, creative rampages -- exciting drum and guitar territory sounding at times not too dissimilar to Haino's Fushitsusha, brutally beautiful, shredded riffs from O'Malley meet with Noble's exuberant rhythmic force . On St. Francis Duo, the memory of these two nights can be heard in full violent sonic attack.
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7"
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SV 005EP
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"The Avengers emerged as one of the best bands from San Francisco's first wave punk scene in 1977. Their first 7" remains an essential artifact of punk rock in the late '70s. Originally released on the seminal Dangerhouse label, the EP's three tracks feature visceral sonic attacks, lyrical manifestos of self-reliance, and classic anthemic choruses. Cover photography by Marcus Leatherdale on two unique picture sleeves - the rare 'crucifix' and 'target' designs. Limited edition Record Store Day release of 1,000 copies (500 each of two original covers) pressed on blue vinyl."
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CD
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MORR 111CD
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The courtship of ambient music and traditional songform has been a long and tenuous one, almost to the point that their differences seem irreconcilable. Spanning decades with only a few points of obscure intersections, the occasions on which the two styles have met and crossed into the pop culture lexicon have often yielded a contrary, oil-and-water form. The abstract nature of the "ambient" genre and instant gratification of the "pop" song require deft hands for successful cohabitation, thus it is little wonder that there are so few practitioners of its delicate equilibrium. Orcas -- comprised of haze-pop auteur Benoît Pioulard and post-minimalist composer Rafael Anton Irisarri -- is an imaginative return to that narrative. Theirs is a style deeply rooted in personal variations on songform and ambient craft, and as a duo they bridge the furthest outlying aspects of their previous solo work published on Kranky, Touch, Miasmah, Room40, and Ghostly International. Here, song and abstraction become one entity, condensing the spaces between to generate an arching trajectory. This co-mingling of contrasts is even coded into their moniker; Pioulard and Irisarri have chosen an iconic symbol of the American Pacific Northwest, a methodical sea hunter that is also a totem of the open oceans' expanse. The so-called "wolf of the seas" that evokes a quiet, stately, yet powerful nature. Appropriately, their music is a careful balance of chiaroscuro elements, where pop hook and spatial ambience converge. In its environs, lyricism flows as a time-distended dynamic, rising and falling, proceeding almost antithetically to pop's typical gratification ethos. Orcas has taken an immersive, fluid vector for their passions; a resonant call, like sonar from the depths.
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LP + 7"
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JMAN 048LP
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LP version with bonus 7".
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CD
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HC 020CD
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Hot Casa Records is proud to present this Holy Grail of Afro-Funk and rare gem from the '70s Lagos music scene. Reissued for the first time outside Nigeria, including an interview and photos of the original band members. The three core BLO band's members were "B" for Berkely "Ike" Jones on guitar, "L" for Laolu, "Akins" Akintobi on drums, and "O" for Mike "Gbenga" Odumosu on bass. BLO was formed just as a trio in late 1972 and split up in 1982. They developed their music on tour before they recorded their first album, Chapter One in 1973 on EMI Records. They built something unique, original and different than any other young African group at the time, blending rock with its African roots and transmuting it into soul-fusion. They left an indelible impression on the Nigerian music scene and became an institution for worldwide music lovers. From Clusters to Afrocollection alongside with the Lijadu Sisters, they'd been involved in many various acts. They also toured with Ginger Baker, the famous English drummer of both power trio Cream and Salt, whose influence has been considered by Laolu Akins as "another major player in the development of BLO." After their highly inspiring worldwide tour with Salt, leading them from Munich's Olympic Jazz Festival to the USA, BLO decided to work on their own concept album with the main ingredients of Afro, rock and dance. Immediately preceding their disco period, Step Three is a real and beautiful definition of Afro soul music.
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7"
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CZ 015EP
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Mika Vainio, currently based in Berlin, is one-half of the groundbreaking minimal electronic duo Pan Sonic. Before starting Pan Sonic in the beginning of the '90s, Mika Vainio has played electronics and drums as part of the early Finnish industrial and noise scene. His solo works, under his own name and under aliases like Ø, are known for their analog warmth and electronic harshness. Producing either abstract drone works or minimal avant techno, Vainio always creates unique, physical sounds.
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7"
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MONKEY 021EP
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"This" is the final single from the most successful Modeselektor album to date. The song, like "Shipwreck" co-written by Radiohead's Thom Yorke, was produced in Modeselektor's studio in Berlin in a 3-day recording session in summer 2011. Once again released as a traditional single in 7" format, the release is limited to 1,000 copies and comes in yellow vinyl this time. The B-side "All Buttons In" is an experimental rework of Thom Yorke's vocals.
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LP
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PATHWAY 004LP
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"Through the unending fog and beyond the impassable door, a voice emerges. Charlemagne Palestine, writhing in uncontrollable terror, moves to ward off the demons for the sake of the listener by howling through the void. Janek Schaefer bellies a haven, a cocoon for the listener to hide in, to grasp some semblance of life that remains and hold on to it dearly. Bells chime ominously to help dispel the haunting and are yet another stark reminder of the impending doom. What hath wrought them? What can be done against them? On this day, Charlemagne Palestine and Janek Schaefer have faced the darkness surrounding us, traversed through the fog, waded into the murky waters, and encountered demons that have surfaced from the dark recesses of the earth. Herein lies the hope that was gained through facing the horror that was left unchained. Each LP comes with a demon mask that is full color and custom die cut on 12 point card stock with elastic straps."
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CD
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WEAVIL 047CD
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Having played together in Æthenor for the last couple of years, Steve Noble and Stephen O'Malley came together to play as a duo at Café OTO in 2011. These recordings are the result of these two hot and sticky nights in East London. Noble is a regular at Bo' Weavil Recordings, having appeared on over nine recordings for the label, and a linch pin in London's improvising community. So it was bound to be a memorable night of music to see these two meet. Steve Noble studied with Nigerian master drummer Elkan Ogunde in the early 1980s and over the last 20 years has played with most of the great players from all four corners of the globe. Stephen O'Malley is predominantly a guitarist, producer and composer who has been at the center of avant-garde/drone metal, best known for his group Sunn0))), and also a prolific collaborator with many of the finest improvisers. Noble sets the recording off with a full tribal charge, while Stephen, instead of firing off a shard of ecstatic notes and chords, coaxes his guitar into singing a slow, ever-growing roar. But soon the two are off into some wild, creative rampages -- exciting drum and guitar territory sounding at times not too dissimilar to Haino's Fushitsusha, brutally beautiful, shredded riffs from O'Malley meet with Noble's exuberant rhythmic force . On St. Francis Duo, the memory of these two nights can be heard in full violent sonic attack.
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LP
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PIL 6001LP
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LP version. This legendary early psychedelic band are best-known for featuring the guitar wizardry of Randy Holden (who went on to join Blue Cheer and record a shattering solo LP). Based in Los Angeles, they gigged regularly in San Francisco, sharing stages with many of the city's best-known acid-rock bands throughout 1967. Their sole LP -- a mixture of singles and newer material -- appeared in March 1968, by which time Holden had departed. Brilliantly showcasing his innovative playing, it's a psychedelic classic, and is issued here complete with five bonus tracks culled from rare 45s and a French EP.
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12"
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REC 065EP
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Taken from the Drive original motion picture soundtrack. Since the film's release, the YouTube video for "Nightcall" has climbed to over 11 million views, and has been on repeat across an expanse of playlists, always fueling the after-after party with the slow burn of glossed synth echoes. Now Kavinksy emerges from this late-night haze with the helping of friends, bearing a collection of covers, remixes, and second takes for yet another drive through the midnight hours. Remixes from Dustin N'Guyen and Jackson.
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CD
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WLM 002CD
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The wisdom of Soul Clap has been beamed down to Earth in the form of EFUNK -- Everybody's Freaky Under Nature's Kingdom -- their debut album on Wolf + Lamb. Soul Clap delivers a galactic renaissance to fill our ears with interplanetary consciousness and emancipate our booties from the androids of dancefloor repetition. The days of EFUNK are upon us, restoring dopeness in the universe, as we groove on and move on together in intergalactic harmony! Limited to 13 songs over 45 minutes to fit on one 12" record and operate the mothership control-panel. The album also tells the story of Soul Clap's journey so far in a concise musical statement that could only be accomplished with the skills of master DJs. Along their path returning from the outer-reaches to save dance music from the eclipse of darkness, Soul Clap's pop sensibility captured the hearts of many earthlings. Help in the transformational process is obliged from their close-knit Wolf + Lamb family, who have shared and shaped their journey into the consciousness of the terrestrial. The young Jules Born of the Voices Of Black duo injects his raw-funk stamp into "Let's Groove On." Baby Prince aka Gadi Mizrahi of Wolf + Lamb features alongside other members of the family on "The Clapping Song." Charlie also plays kazoo, guitar and keys. Greg Paulus of No Regular Play beams in his magnificent trumpet on the serene closing broadcast, "Islands In Space" as Charlie sings in cosmic frequencies and Eli's father Gary Goldstein strums the bass. Goddess deities lead EFUNK's transmission further into the light. Franceska unveils her Janet Jackson-like powers on "Take It Slow" and Mel Blatt of All Saints fame wrote and sang the lyrics for "Ecstasy." Hijacked by a UFO to study the effects of the spotlight over a decade, Mel recently returned with divine powers. Her lucid voice returns for "Need Your Lovin'." Originally an edit Charlie created from an intense love for the original, when they shared it with Mel over stargazing, her mutual feelings led to them recording her vocal and replaying all the parts, becoming a reinvigorated fresh interpretation of the rave classic. Further into un-charted territory, "The Alezby Inn," a cover of legendary West Coast electro don Egyptian Lover, features Genevan Heathen, who shares a Boston connection and unleashes an EFUNK masterpiece, a mischievous jam that speaks its own truth. "Let It Go" was resurrected from an early demo Roldy Cezaire gave to the guys during their legendary mid-week parties in Boston. Lazarus Man's epic "When The Soul Claps" is a staple a cappella in Soul Clap performances, and the EFUNK formula for it beams a powerful skyrocket to the stars. Soul Clap's training goes beyond history lessons to master all the elements of the DJ: knowledge, mixing, programming, performance and experience. As true conquerors, their EFUNK mission shares timeless frequencies, bringing new levels of consciousness through time and space to be shared for many moons to come.
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LP
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GET 54038LP
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2012 repress; now including a 24" x 24" poster of the cover art. "It's not often that an album disavowed by its own author at the time of release goes on to become considered a modern classic. Yet that's exactly what happened with Chicago blues legend Howlin' Wolf's 1969 LP The Howlin' Wolf Album, a release that has since attained mythical status due to the controversy behind it. Released on Cadet Records, a subsidiary of legendary imprint Chess Records, The Howlin' Wolf Album was a radical experiment for a well-established artist: attempt to integrate electric instruments and psychedelic arrangements into his revered signature blues sound. The result was an album that Wolf himself initially disregarded on the now infamous cover, but one that has won a special place amongst dedicated music aficionados thanks to its unique mix of traditional blues and electric rock elements. Get On Down's reputation for high quality reissues continues with The Howlin' Wolf Album, which features a special Stoughton vinyl pressing with audio remastered from the original analog tapes for optimum sound quality and comes packaged in a paste-on style jacket featuring the album's famous original artwork."
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6CD
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PTYT 011CD
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New lower pricing. Limited edition of 3000, 6CD set. Audio verité recordings (mastered by the incomparable Denis Blackham) of Suicide playing live from September 1977 to August 1978. These recordings cover most of their early shows at CBGBs and Max's Kansas City, plus their first-ever tour across Europe and the UK, these being their dates outside the USA. As you will hear, a crucial year in Suicide's development as both musicians and performers and their mission to stretch the label of punk rock to the very limit. The package includes a 40-page booklet of Suicide & Red Star Records memorabilia (including very rare Red Star press releases) from the personal archives of Howard Thompson, the A&R man that signed Suicide to UK label Bronze Records. Only the infamous 23 Minutes Over Brussels has been legally released before. From soundcheck and post-gig snippets to crowd noise to a radio advertisement for Our Price Record Stores, these recordings are raw and real. From the liner notes: "This set of recordings are not for the faint hearted, nor is it the ideal place to start for those first time listeners seeking an easy entry into the dark and decidedly queasy world of Alan Vega and Marty Rev's proto-futuristic, low- tech sci-fi musical that they launched on a mostly uncaring world as music group Suicide. Howard Thompson's archive was originally made purely for his personal reference based on a joyless recognition that he was right there seeing history in the making. We've presented the gigs in the order they happened, all the better to hear how the Suicide live experience develops. If you want homogenized, sanitized, tweaked and combed, P.C.'d 'punk,' put this baby back on eBay and sell it for profit to one who maybe really wants the use of these leather black skrying mirrors." --Paul Smith, Blastfirstpetite (2008)
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2LP
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BORNBAD 039LP
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Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.
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LP
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BB 097LP
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LP version. Pyrolator's Inland (originally released in 1979) provides musical commentary on the late '70s in West Germany, with its undercurrent of paranoia and violence. Inland is one of the most radical, modern and unconciliatory albums of its, or any other, time. The cover for Inland illustrates this atmosphere: tones of grey and brown instead of '70s bliss. The political situation in West Germany is at its most volatile. The war between the Rote Armee Fraktion (RAF) and the State escalated two years before. The spirit of departure which characterized the early years of government by Willy Brandt and the socialist-liberal coalition, dissolved in the so-called "years of lead." Taking part in a demonstration against occupational bans could lead to the very same, and the chances of falling into a terrorist manhunt or staring a gun in the face were not so slim, particularly for young people. Pyrolator's aim was to make a protest album, one detached from all convention. A total absence of common musical structure and an unfiltered rush of sound recordings create a nightmarish, claustrophobic atmosphere. Pyrolator used a Korg MS20, SQ10 sequencer, B20R home organ, a Davolisint synthesizer, a Logan string orchestra and a dual-channel tape machine. Inland is both a rejection of the new form of protest song, the throaty, despairing scream of punk rock, and a rejection of the traditional form of protest song as nurtured far into the 1980s by the bards of the green, alternative milieu. Furthermore, there is another side to Inland: a desire for something new, a passion for experimentation, seeking to extend one's own horizon and that of others. This desire runs through all of Pyrolator's work, from his Inland debut to his 2011 release Neuland (BB 084CD). Thus Inland remains, in spite of its protests and rejections, a positive album. For inherent in every "no" is a "yes" to something else. Maybe something better.
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7"
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SV 007EP
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"'Teenage Rebel' remains the anthem for every disaffected youth on the planet. Not included on the infamous Pink album, this song is a two-minute package of pure adolescent vitriol. Backed with 'Friends of Mine,' a declaration of solidarity for the punks of San Francisco. Recorded in 1978 at the famed Iguana Studios on Folsom Street. Limited edition Record Store Day release of 1,000 pressed on orange vinyl."
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LP
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MVD 5368LP
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