Two raw, ecstatic, face-melting guitar solos recorded in one take in the Ambarchi "Stacte tradition." This time around, Ambarchi is backed up by a badass rhythm section from Texas, and together they ride the endless riff into the goddamn sunset.
"Within Sun Ra's vast-as-outer-space discography, the album that orbits the furthest away from the known jazz universe is Strange Strings. Calling it a 'study in ignorance,' Ra directed his Arkestra stalwarts to pick up unusual stringed instruments and homemade percussion with which they had little familiarity, and improvise without any guidelines or direction; the resulting record is one of Ra's best. Now, Roaratorio is proud to issue a satellite around that lonely planet: Other Strange Worlds, recorded in Ra's NYC apartment in May of 1965, dates from the same era and employs the same methodology as Strange Strings. But while the latter album featured the full Arkestra, Other Strange Worlds pares the players down to a core quintet of Ra, John Gilmore, Marshall Allen, Art Jenkins, and Ali Hasaan. There's plenty of freewheeling collective improvisation in the Ra catalog, but rarely in a small-group setting such as this. Half of the pieces are texture-over-tonality string experiments, while the rest feature exotic reeds and percussion. Other Strange Worlds is a significant addition to Sun Ra's body of work, and a brilliant example of free improv from the days before it had a name. Download coupon included." "There's always more Ra being issued than anyone can keep up with. But this one's essential. Don't skip it." -- Byron Coley
An expanded double vinyl edition of Ralph Cumbers aka Bass Clef's acclaimed 2013 cassette Acid Tracts, originally released in late 2013 via Cumbers' own Magic + Dreams label, its seven dense and immersive club tracks comprising his most expansive and multi-faceted work to date. They meld his modular synthesizer's hard-edged tones with grinding drum machine rhythms, traveling from the anarchic techno of 2012's Reeling Skullways album still further outward into the void. Acid Tracts represents the latest stage in the ongoing evolution of Cumbers' music. He first cut his teeth in Bristol mid-last decade, crafting scuzzy takes on dubstep with an arsenal of analog hardware and a trombone -- an approach quite distinct from the software-based sub-bass experimentation of his then-contemporaries. In the years since, he's continued to follow a highly individual path, even as he's taken stylistic divergences towards cosmic techno (with Reeling Skullways and its subsequent singles) and the free-flowing improvised modular synth jams released under the Some Truths pseudonym. Acid Tracts is his first Bass Clef release to unite those two strands of his work, drawing the fluidity and instinct-led feel of his Some Truths music into tightly structured club tracks. With punning titles like "Strings of Death" and "Apathy Flash," they play cheeky tribute to Cumbers' personal history and ongoing love of the atmosphere and attitude of rave, acid house and jungle. Throughout Acid Tracts, the high-pitched, wriggling tones of his modular reimagine the TB-303's signature acid splatter in crisp hi-def, making for a dazzling and mind-altering listen. For Alter's expanded vinyl edition of Acid Tracts, the original limited cassette release's six tracks are joined by an additional track recorded during the same sessions -- the taut and drone-laden house of "Music Sounds Better Without You." Its full release on vinyl is an appropriate way to open what looks set to be a busy and important year for Cumbers.
"Recorded inside a parked rental car during the 2012 High Zero festival in Baltimore, MD, Preggy Peggy brings you kooky growls, gargles, burps, sneezes, Donald Duck impressions, half-poems, unintelligible squeaking, and even a couple of overdubs achieved by using her phone as a poor man's delay pedal. The human body is kind of a disgusting instrument, but it does have one huge advantage in that it goes everywhere you do. Here is a record that tickles with whispers if you listen quietly, but squabbles like a ticked-off witch if you crank it up loud. If you enjoy sound poetry, Joan LaBarbara, or that one record by Margaret DeWys, this oughta do the trick. Peggy is AKA Angela Sawyer, who owns a tiny, insanely specialized record shop in Cambridge, MA."
LP version. Includes a CD copy of the album. First a roar steadily builds, then we hear the first piano tone of The Unknown -- along with the voice of Dominique Dillon de Byington. There it is again, the unique timbre of the young Berlin-based artist who captivated the music press and arts critics alike with her 2011 debut album on BPitch Control, This Silence Kills (BPC 244CD/LP). This Silence Kills was sweet and enticing enough to establish itself as a pop record with singer-songwriter passion and experimental enough to be taken seriously as an art project. It was described as chanson-pop, sensuous electronic music featuring a voice comparable to Feist, Björk, or Joanna Newsom. There followed two sold-out tours and numerous festival gigs all over the world -- a life on the road. For Dillon this was completely unexplored territory. "The Unknown" is not only the first song she wrote for her eponymous second album, it is how Dillon evokes that thing in life that has no name, no description, no boundaries. The unknown can be anything: longing, love, loss, transience, fear or desire. In keeping with the cover art for The Unknown, the 12 new tracks have a more direct, natural and candid feel: "The lyrics are a lot more abstract and open, although they are just as personal and introverted," says Dillon. Tracks like "In Silence" and "4ever" are sometimes pensive, they exude this profound contemplation which must not always be characterized as melancholy. Whereas the majority of the debut album, with all its melodies and arrangements, had been written before it was recorded, The Unknown came about more as a conceptual work. Yet despite the new approach, it should still be understood as a sequel to This Silence Kills. The foundation for album number two was laid within three weeks at the same studio and even in the same room of Clouds Hill Recordings in Hamburg. Once more she worked with Thies Mynther (Phantom/Ghost) and Tamer Fahri Özgönenc (Mit), and the result of these creative exchanges is a narrative gem that is eager to retain some malaise around the edges. From the ballad-like lead single "A Matter of Time" to the chamber music style "Forward" -- Dillon's impressive voice comes even more to the fore on The Unknown. The piano is not only present on almost every song, it also conveys an incredible depth that complements the playful naivety of the debut album. Although the bass drum makes its presence felt as a silhouette on "Into the Deep" and the club-infused "Nowhere" develops this electronic substructure further, The Unknown is more puristic, more enigmatic and certainly not a dance album. The Unknown is a dense, compact work from an extraordinary artist whose journey has only just begun.
LP version. Sleaford Mods started out sometime during 2006 while Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he met Andrew Fearn and the Sleaford Mods became a duo. Fearn's first work was on the production of Wank -- the Mods' fifth CD-R album. Soon after, he started stalking the studio and stage with Williamson. Just after the release of Wank, the duo were invited to play a three-day festival curated by Nottingham's Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which -- a year later -- resulted in the release of Austerity Dogs. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden, the interest in the Mods continues to spread.
A New Line (Related) is the latest venture from Lancashire-based Andrew Johnson (Hood/Remote Viewer/Moteer). Utilizing tools from the early days of home-produced underground dance music (such as SK5 sampler keyboards and vintage drum machines), Andrew has unearthed a beautiful album of downbeat, lamp-lit techno, industrial-grade ambience and sonic experimentation which at times recalls early Warp Records, Gescom and raw, 313 area beatdown house, as well as the more modern breed of electronic and techno travelers such as Actress, Mark Fell, and even Theo Parrish. Despite (or maybe because of) the antiquated sound sources, these tracks pull and tug at the emotions. Rattling drum machines pick out rhythms while underneath, warm, carefully-played synths and a mesh of samples slowly emerge, introducing melody and texture into the pieces, all culminating in a spacious, evocative and unhurried work. Includes a download card.
LP version. Tapper Zukie's Man from Bozrah (1978) album still stands up today many years after its initial release, as only great music seems to do. Tapper was one of the few Jamaican artists in the late 1970s that crossed over with the emerging punk/new wave audience. Punk poet Patti Smith had practiced her poetry over the rhythms from Tapper Zukie's Man Ah Warrior album before reworking them as songs with her band. Acknowledging this influence, she brought Tapper on stage with her at the Hammersmith Odeon, October 23, 1976 and introduced Tapper to a whole new audience -- an audience that accepted reggae as a music that also dealt with struggle and oppression. The great cover shot shows Tapper standing at the back gates of the school yard in Trench Town, which was opposite his own yard, so sit back and hear what was happening back then that made this such a time-defining album.
Mote Evolver kicks off 2014 with the Future Modular EP from Luke Slater's Planetary Assault Systems alias. Never a stranger to forward-thinking sound aesthetics, P.A.S. packs the EP with three tracks that spark with Futurism and energy. The title-track is powerful and playful with its groovy bass drum and acid infusing an ample dose of funky rhythmic variations. "Riot in Silo 12" slips into the darker side, keeping the hats just below the surface and layer by layer uncovering the electrifying suspense throughout the track. "Serc" pops open with the bursting energy of a kick drum then takes you to the uncharted realms of cold minimalism.
Mule Musiq proudly announces the debut release of Romanian artist Petre Inspirescu on the label. They have been following his releases and always love his work, whether under his own name or as Pi Ensemble. There are two excellent, simple, minimal, and hypnotic house tracks on this 12". His avant garde ambient stuff is also forthcoming on Mule.
Limited artist's edition of Emptyset's 2013 album Recur on heavy 180 gram vinyl, handmade cardboard box, art print (30 x 30 cm) signed by James and Paul, plus a CD; limited to 200 copies. James Ginzburg and Paul Purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. Recur is presented as Emptyset's third studio album -- continuing on from their work with Demiurge (SUB 001CD/010LP), the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. The album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analog processing. The work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.
Gatefold double LP version. A stone thrown, just to watch it fly. A projectile launched for the sole purpose of drawing a ballistic trajectory in the sky. The Solens Arc is what remains after the subtraction of the goal; a simple parabolic curve defined by gravity, impulse and starting angle. No target to hit, no catharsis to wait for, just the beauty of the flight. Solens Arc is Kangding Ray's fourth album on Raster-Noton and the follow-up to The Pentaki Slopes EP. The twelve tracks of this record are assembled in the form of four "arcs." The different sequences are arranged seamlessly into dense, evolving compositions, while keeping their autonomy, and their role in the global dramaturgy. Pointillist serial loops and disintegrated melodic textures morph into abrasive rave anthems, broken club rhythms are refitted into uneven patterns, like deconstructivist sound architectures. Industrial techno stompers dissolve into granular sound waves and filtered space pads, before being overtaken by cinematic drums and rising arpeggios.
"Early '70s Scottish underground heavy rock recordings from this group who were stomping around the UK with the likes of Black Sabbath, Hackensack, Pink Fairies, Juicy Lucy and others from the time, but never released a proper album. Their name was taken from the first line in King Crimson's song '21st Century Schizoid Man.' In the beginning, Iron Claw probably became the world's first Black Sabbath tribute band, as they incorporated the entire first Black Sabbath LP and single into their set. As they went on, their live sets included many originals as well as covers such as 'War Pigs,' 'Fairies Wear Boots,' 'Wicked World,' 'Green Manalishi' and 'Lady Whisky.' This collection of sixteen original studio recordings documents their existence from 1970 thru 1974 and was re-mastered for vinyl by Tony Reed and includes lyrics, liner notes and photos. Housed in heavy gatefold cover with a 12" x 12" insert and an 11" x 17" poster inside. Will appeal to those into heavy psych, hard rock, downer rock and proto-metal sounds from bands like Jerusalem, Necromandus, May Blitz, Hard Stuff, Budgie, Hackensack, Ancient Grease, Incredible Hog, and Leaf Hound."
Soulful deepness & hypnotic house for fans of Moodymann, Ron Hardy, and Theo Parrish. 180 gram heavyweight vinyl deluxe packaging. Includes a remix by Rondenion.
Four Tet and Terror Danjah, on Text. Limited.
The Small World of Sammy Lee (Original Motion Picture Soundtrack)
LP version. This is the beautiful unreleased British jazz score to the classic Anthony Newley '60s Soho underworld thriller. Recorded in 1963 and never issued, the master tape was discovered in the loft of Kenny Graham's daughter's home by Jonny Trunk. Don't ask what he was doing up there, but he found the tape. Little is known about this jazz score, apart from the fact that it comes from one of the great early '60s London movies, and was written and performed by one of the more important jazz mavericks of modern times. Kenny Graham was a jazz musician like no other. He'd formed an Afro Cuban band in the early 1950s, made an album of Moondog covers in 1957 (Moondog and Suncat Suites), been commissioned for advertising music, library music, jazz compositions and film scores, too. But he got little in return, so he'd turned his back on music by the late '60s, never to write or perform again. A true maverick and simply too far ahead of the jazz crowd to get noticed, this charming little score demonstrates just what a great composer he really was. The opening theme alone is one of the more sublime, early morning jazz numbers you could ever wish to hear. Available here for the first time ever on vinyl. The vinyl will probably sell out really fast and get stuck back on the market by those horrid record flippers for about four times the price.
LP version. John Matthias is a musician, composer, and physicist. In 2008, he won the PRS Foundation New Music Award (The "Turner Prize" for music) with Jane Grant and Nick Ryan for the development of a huge sonic installation across the UK entitled "The Fragmented Orchestra." Also known for his collaborations with Radiohead, Matthew Herbert and Coldcut, Mattias combines ambient, post-classical pieces with heartfelt folk songs for his third studio album. Geisterfahrer is made up of 13 stunning tracks that were recorded in two sessions with John Matthias performing on piano, violin and guitar, with all of his vocal performances being recorded live alongside the guitar parts. For fans of Nico Muhly, Max Richter, Sam Amidon and Arvo Pärt.
Bush Taxi Mali: Field Recordings from Mali
Bush Taxi Mali: Field Recordings from Mali is an aural tour through the heart of Mali. These field recordings were made by Tucker Martine in 1998 while traveling throughout the West African country. This blend of bluesy ngonis, clamoring street sounds, the stunning voice of Jalimusa Amanita Diabaté (of the famous Diabaté family), passing radios, Fulani flutes, runaway sound systems, and chants from the Dogon country creates a unique portrait of Mali's rich musical heritage. Eventually Martine found himself in the backseat of a beat-up Peugeot on his way to the village of Kela, a Jeli village, where the songs and traditions of the Mande people have been scrupulously preserved. Some of the musical performances heard on this LP were made during that visit. Bush Taxi Mali is a strikingly original tapestry of the ancient traditions of Mali in the modern era. Limited edition LP reissue of the original 2005 CD in a heavy-duty tip-on jacket with gorgeous, redesigned front and back cover photos, including a two-sided insert featuring liner notes by producer Tucker Martine and his photographs of the musicians.
The early works by Bo Anders Persson presented on this record were written between 1965 and 1967, before he started the experimental rock band Pärson Sound. The CD version is housed in a digipack sleeve including a booklet with in-depth, informative liner-notes and pictures. All but one track is previously-unreleased. What is the origin of this strange, un-place-able music? What is its place in history, in the unfolding of important conceptual ideas, turning musical modernism into something wider, more mysterious and blurred? From where comes the lightness of touch, and how does the transient nature of the sounds correspond to the sense of mourning hidden within the music? What makes the music so exciting and loaded is the feeling of change, both in the actual performances and in the atmosphere of the rooms where the pieces are played. The sounds move freely within the minimal, repetitive structures. There are spaces for breathing and dreaming, turning inside and outside, and a sense of being in between positions. Suddenly, the doors are wide open and radical experiments can take place.
Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded-out persuasion. Indeed, when the great book of dub music is written, the names Scott Monteith and Paul St. Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St. Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album-length venture is a tour de force of dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a dreader-than-dread Kingstonian logic, hi-hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bear witness shall escape their fiery judgment. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad infinitum.
Double LP version. Housed in a deluxe gatefold sleeve and pressed on white vinyl. Dirt Crew presents a the debut album from Detroit Swindle aka Lars Dales and Maarten Smeets. Their tremendous rise in the house scene was noted in DJ Mag's "Making a splash in 2013" section and from there it just went off. They have been laying it down across the UK, Ireland and the European mainland every weekend for the past two years, gaining much respect with both their DJ and Live sets. 2014 is going to be even busier, with tours planned in the USA, Australia, Asia and South Africa, where they have an exceptionally large fan base. After some very successful EPs on Freerange, Tsuba, their own label Heist and of course Dirt Crew Recordings, plus numerous remixes on labels like Greco Roman, Club Mod, Jalapeno and Room With A View, Dirt Crew felt that now is the time for the Detroit Swindle debut album. So here it is: a 13-track symphony of DS flavors. It has everything you would expect from the Swindles, some slow-burners with a hint of disco, some deep house, some banging club monsters and hey, even some leftfield hip-hop jams. The album opens with "B.Y.O.," a track that balances nicely between the DS shuffle and an old school New York-style block party. The track is a taste of things to come for the rest of the album, hinting towards a big party vibe, but mellow enough to make it a really interesting listen. The one thing Detroit Swindle are known for best is their knack for picking the right vocals. For Boxed Out, they came up with some perfect partnerships. They recorded "64 Ways" with none other than one of America's finest soul singers: Mayer Hawthorne. The track has a lazy shuffle, a bunch of catchy Rhodes chords and a few well-placed layers of synths that give this track a hint of "Detroit Experiment," wrapped up in an almost poppy house jam. One of the other vocal tracks is "Thoughts of She," that effortlessly samples the voice of UK soul singer Alice Russell from the track "Pushing On" by The Quantic Soul Orchestra. There's also the gorgeous track "Center of Gravity" that has Berlin-based, Ghanese-Canadian soul singer Sandra Amarie on vocals. It's particularly this track that reflects the true spirit of Detroit Swindle's music, a mixture of soul and UK garage meets Detroit house slowed down to a sexy groove with some of their trademark pads and stabs. They pushed themselves to explore different tempos as well, which not only resulted in some slow house burners, but also in two hip-hop tracks. "For the Love of..." is a homage to the old school sounds of J. Dilla, A Tribe Called Quest and The Pharcyde, combining off-beat shuffles, a gritty bass line and a warm cut-up soul sample. "You, Me, Here, Now" is almost a love song, disguised in a s(w)ing-a-long downtempo type of track. "Huh, What!," "Shotgun," "The Fat Rat" and "He's Just This Guy, You Know?" are all relentless dancefloor monsters, pushing the tempo to match old school Chicago and New York house cuts from the late '80s and early '90s. The album has a little bit of everything in exactly the right dose, making it both a good listen, and an extremely infectious club album.
Kassel Jaeger is a Swiss-French artist based in Paris, France, and is a member of the GRM (Groupe de Recherches Musicales). Toxic Cosmopolitanism is his second full-length release for Editions Mego -- a release which explores and questions the very nature of the material experiments contained within. Each side consists of two clearly-defined sections based on the same material. Side A comprises of "Toxic Cosmopolitanism," a large-scale work based on distinct sounds of different cultures, instruments such as the balafon, tremolo, gnbri, gee, Tibetan gongs, pan flutes and the like are all deployed but rendered of the sonic properties identifying them to a specific region. The question that lies at the heart of this experiment: is such a swirl a creative process or a destructive one -- this is the ambiguity of toxic cosmopolitanism. "Exposure Scales 1-4" use sounds exclusively derived from the "Toxic Cosmopolitanism" material. Whereas "TC" is more about subjecting sounds to structure, "Exposure Scales" builds almost static textures. The results are an honest exploration of both culture and form. At once cerebral, enlightening and immensely rich in scope and sonic vision.
David Moufang is an unassuming heavyweight in house music, as a producer for countless forward-thinking labels, a collaborator and a truly original selector. On Fabric 74, Move D has created a master-class in emotive selections, which displays the length and breadth of what deep house is and can be, and does so in a way that manages to be both slick and dynamic. Magic, as ever, from Move D. Artists include: Roy Davis Jr., Liz Torres, Liberty City, M.ono, Jamie Trench & Angus Jefford, Earl Jeffers, Darkman, MD III, Dom 877, Juju & Jordash, Christo, Last Magpie, Move D/D-Man, Willow, Smallpeople & Rau.
"First released in 1970. A British, dark-acid folk classic. Sounding like Tom Rapp on a horror trip, Finn sets out on a nightmarish journey that knows no appeasement. The mania shining through is greatly enhanced by the talent of multi-instumentalist David Toop, who plays several different songs simultaneously, seemingly without relation to the songs the other musicians are playing. Guitars appear in the wrong key, song structure is blissfully ignored. Originally released on Mushroom records. 500 copies, with liner notes by John Olson of Wolf Eyes/American Tapes."
In late 1969, legendary Canadian psych band Reign Ghost recorded their second album, released the following year just when the band had ceased to exist and some of their members had formed prog/psych band, Christmas. This is a fine example of West Coast-styled psych-rock with reverberating/fuzz-wah guitar and male/female vocal harmonies, including absolute psych classics like the monster 9-minute long "Enola Gay." One of the rarest and most expensive Canadian psych albums ever, officially reissued on vinyl for the first time. Newly remastered sound from the original tapes. Includes a fold-out insert with rare photos, memorabilia and detailed liner notes by band member Bob Bryden.
The Baby Huey Story: The Living Legend (Colored Vinyl) LP
The Beat Generation Boxed 5CD BOX
The Legend Of Cool Disco Dan DVD
I Dream Of Wires: Hardcore Edition DVD
Trance-Formations I: Ancient Minimal Meditations LP
Her Fellow's Reluctance 12"
The Infinity Dub Sessions 2LP
Compost Black Label 109 12"
Music for Balearic Gabba Dreams 12"
Strings Hoe (Wen Refix)/Signal 12"
National Geographic EP 12"
You've Got a Twin in the Attic (You Lunatic) 12"
Relatively Clean Rivers LP
Ich Bin Meine Maschine 12"
Recur (Special Edition) LP+CD
La Ritournelle (The Remixes) 12"
Come Up from the Darkness 12"
Les Couleurs de la Nuit LP
Friend of All that Lives 12"
The Small World of Sammy Lee (Original Motion Picture Soundtrack) LP
A Short Visit to the City That Bleeds LP
Has God Seen My Shadow? An Anthology 1989-2011 2CD
''Second Poem to Karmela'' or Gypsies Are Important CD