Dead Cert collect three unique and chilling electro-acoustic compositions by the pioneering head of Belgium's Institute of Psychoacoustic and Electronic Music, dating between 1958-1971. Born in 1904, in Roeselare, Belgium, Louis De Meester was a self-taught musician who, after travelling widely as a professional player, professed himself an autodidactic composer by 1945 and proceeded to become "Music Modulator" at The BRT (Belgian Radio and TV broadcasting company) and later head producer and artistic director at IPEM in Ghent between 1962-1969. His work, covering chamber music, lieder, cantatas, and concertantes has been subject of renewed focus recently, thanks to reissues such as Metaphon's 50-year anniversary compilation of IPEM recordings, and now thanks to the efforts of Andy Votel and Demdike Stare's Dead-Cert imprint, we're presented with three of his finest pieces plucked from the archive of Alpha Brussels and carefully transferred from tape with little to no further processing by Andy Popplewell. They include "Incantations" (1958) and the string-heavy "Spielerei" (1970), plus a very necessary reissue of the outstanding "Mimodrama" (1971), which was also reissued by Keith Fullerton Whitman's Creel Pone in 2008 and was last available on vinyl in 1974. "Mimodrama" is the record's biggest attraction; a 26-minute composition for magnetophone, patching elements of previous works into a sort of biographical account, travelling from oneiric electronics to more defined concrète shapes and textures to almost arcane Mittel European folk melodies and rhythms. Remastered by Gareth Mallinson and Matt Colton. Limited edition pressing of 500 copies.
"Seminal techno album Enter finally gets the definitive reissue it deserves. First released in 1983, Cybotron's debut LP has long been considered a landmark release in the storied history of Detroit music and an invaluable seed that sprouted countless branches of electronic dance music from house to techno. Founded by visionary Vietnam veteran Rik Davis and teenaged future funk freak Juan Atkins, Cybotron combined a fondness for electronic gear as favored by groups like Kraftwerk and Yellow Magic Orchestra with a dark lyricism that echoed the urban blight of Detroit and advanced prophetic environmental concerns. This long-overdue reissue has been carefully curated to satisfy the most discerning fans, and to provide an accessible entry point to one of the most influential electronic music releases ever. This edition features the original full-length album, including the sought-after initial mix of the mega-hit 'Clear,' replaced on earlier issues with its better known remix. That remix, sampled famously for Missy Elliot's 'Lose Control,' leads off the bonus tracks -- a collection of singles, B-sides and alternate mixes that provide a complete picture of Cybotron's enormously trend-setting style. The original artwork is supplemented by band photos and rare label images, plus a powerful essay by noted scribe Dave Tompkins (How to Wreck a Nice Beach) that explores the roots of the group's sound."
180 gram LP version, housed in a gatefold sleeve. Includes a CD copy of the album. Bamako Nights captures the incendiary genius of Lobi Traoré, a soulful singer/songwriter and blazing electric guitarist from Mali, who died too young -- just 49 years old -- in 2010. Lobi produced five studio albums during his career, as well as four live releases, including the solo acoustic session Rainy Season Blues (Glitterhouse, 2010). But Bamako Nights offers the deepest and most intimate record of this artist's astounding power onstage in a small Bamako nightclub. In 1995, the Bar Bozo was a unique destination. Mali's democracy was just a few years old, and people were finding new ways to exercise freedom. The bar was an unglamorous downtown nightspot, dark and often crowded. It didn't cater to elites, but working people, who came to drink and dance and enjoy a live band long into the night. Lobi Traoré was still emerging as a popular artist in Bamako. His earthy blend of Bambara roots and edgy electric guitar, and his philosophical songs concerning social life and the challenges rural people face in the city, were made-to-order for Bar Bozo. No wonder he packed the place on a weekly basis -- Lobi had begun recording albums by that time, and performing in Europe with an acoustic ensemble. But at Bar Bozo, he and his small electric ensemble were developing a new, rawer sound, one that would make Lobi a staple of Bamako's live scene, and a legend of African blues celebrated around the world. You can hear in this smoldering session Lobi's joy at having recently acquired a flanger pedal. His solos build to soaring, ecstatic heights, as unhinged as anything in African rock since. The set starts out slow and meditative with "Ni tugula mogo mi ko," conjuring a trance atmosphere that Lobi elevates systematically with his keening vocal and eloquent picking. You can almost feel the weight of a sweltering Bamako night as Lobi forcefully guides his band though musical catharsis. By the time they kick into high gear on "Sigui Nyongon son fo," the weight has lifted and spirits are flying. It's hard to say enough about Lobi as a guitar stylist. His sound echoes older Malian pentatonic guitarists, notably the iconic Zani Diabaté, whom Lobi accompanied briefly. And there are clear rock echoes; Lobi was a fan of AC/DC's Angus Young. But in the end, Lobi's guitar voice is his own -- unmistakable, deeply informed by tradition and graced with sparkling personal epiphanies -- even with the flanger set to 110%. A few weeks after this recording was made, Bamako authorities closed down the Bar Bozo, and Lobi had to move his joyful party to an obscure venue on the outskirts of town. Bamako Nights is a time capsule recording. It evokes an artist, a time, and a place that came together with amazing potency, and can never be recreated.
Danny Kroha is a founding member of The Gories, who released two albums and a handful of singles containing influential blues/punk between 1986 and 1992. From 1993-2006, Kroha co-led the Demolition Doll Rods through five albums of primitive glam/roots scorch, touring the U.S. and Europe several times both as headliners and as openers for the likes of The Cramps (on a full U.S. tour) and Iggy Pop (for several West Coast shows). Now, Kroha comes full circle with his latest combo, Danny And The Darleans. They play what Kroha describes as "garage rock," a style of American folk music which is blues-based and is played with electric guitar, electric bass, and drums. He goes on to say "I'm really into the idea of garage rock as folk music. It was the folk music of '60s teenagers. Anybody can do it." What becomes evident after one listen to the band's debut LP on Nero's Neptune, however, is that not just anybody can do it like the Darleans do it. With the explosive rhythm section of sometime-Detroit Cobra Richie Wohlfeil on drums and Colleen Burke on bass and vocals, the band storm through 12 numbers with the raw energy and toughness one would hope for from Detroit's best rock and roll band.
Partly inspired by the true story of the Salton Sea, a failed river redirection to assist Californian agricultural development at the turn of the 20th century, Rafael Anton Irisarri's The Unintentional Sea mimics the ideas of transformation of place. During the 1950s, this ecological disaster was seized and rebranded by corporate land developers, flipping it into a dream getaway destination for West Coast elites. Before long, record temperatures and a rising level of water mineralization led to the mass death of fish and other wildlife, and in turn, the resort town's population vanished, leaving behind a vast post-human deserted wasteland. This unintentional sea had given life and now has taken it away. The follow-up to the much acclaimed The North Bend, this album continues Irisarri's development of landscape-inspired musical renderings. Like the Salton Sea of today, his latest edition is a gently churning portrait of fluidity. It's a record that sounds like staring at a vast ocean in light breeze. Layer upon layer of currents swirl below the surface, while gentle surges and waves coalesce, creating fleeting patterns and moments of intermeshed sonics. As these elements meet and break away again, a sense of motion -- both micro and macro -- is created, a rendering of the ocean calm before the inevitable storm. Coated in a thick blanket of bass tonality, flickers of light catch on the crests of these waves, uneasy jewels of sonic light that appear as quickly as they disappear.
The Ecstasy of Gold: 26 Killer Bullets from the Spaghetti West Vol. 4
Volume four in this essential and peerless series. Selected from one of the most complete Spaghetti Western audio archives, this five-volume series showcases the most inspired tracks in this legendary genre. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, Ecstasy of Gold is the definitive series for aficionados of Euro-Western films and the music that they created. Loud gunshots with reverb and echo appear with the first image of a lawless killer riding a horse... a punchy and trebly bass guitar seeps into your brain as he draws his pistol, a hair-raising scream half-melodic, half-banshee spews forth from the speakers as blood splatters yet again onto the desert floor. The audio soundtrack to the Italian version of the American West is flamboyant, brutal, intense, and unforgiving. Songs composed for the Italian Westerns of the 1960s and 1970s have become a genre all unto themselves. There were hundreds of European Westerns during this period and the majority of them were made by Italian directors and scored by Italian composers. Crying trumpets, exploding surf guitars, thundering drums, droning organs, dramatic vocal performances, and innovative special effects were woven into a wild and violent desert backdrop creating that undeniable Spaghetti Western sound heard on this record. The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns and this compilation presents transcendent, brilliant and challenging tracks from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Nico Fidenco, Piero Umiliani, and many others. 2LP gatefold in a limited edition pressing of 750 copies.
BJ Nilsen's fourth solo album for Touch is a surreal audio rendition of the sounds of the city of London recorded and mixed 2012-2013. A sound and recording artist born in Sweden, Nilsen primarily uses field recordings and electronic composition as a working method and has worked for film, television, theatre, dance and as sound designer. "In 2012 I received a scholarship from the Leverhulme Trust for a one-year Artist in Residency at the UCL Urban Laboratory in London, to introduce sound as an art practice to urban scholars and students. As part of my research I decided to dérive the city. I spent full days and sometimes nights sweeping the streets and its interiors for sound - walking and listening with no route or intention. A city without sound does not exist. Every location, passageway, alley, road, park, and pub contains its own world of isolated sound events and patterns - the sound of a shopping bag caught by the wind on the asphalt of a busy street when a bus passes by. What seems to be merely a bus is also a cacophony of sounds, a sound world in itself: hydraulics, breaks, interior noise, honking, public announcements, humans, rolling bottles, cell phones, mp3 players. The rattle of an air-conditioning unit in an old pub toilet gradually develops its broken down sound over many years, creating a raga for it own demise. Nobody seems to hear it. Is it there? The choice of sound varies; its a personal selection, some sounds made it into this composition, many hours of recording didn't. Sound composition can alter space and time and transform a specific location and experience into an imaginary world." -- BJ Nilsen
Retrieval is the debut collaborative album from Faith Coloccia and Alex Barnett. Artist and composer Coloccia was a founding member of Everlovely Lightningheart, and is perhaps best known as one-half of Mamiffer. She has contributed to recordings by House Of Low Culture, Boris, and William Fowler Collins, among others, and collaborations with Circle and Daniel Menche are forthcoming. Alex Barnett played in Oakeater, but since 2009 has been active primarily as a solo artist, with releases on Catholic Tapes, DRAFT, Nihilist, and others. Following an initial exchange of ideas, the bulk of Retrieval was recorded over three intensive days at Otic Sound in Vancouver, with Coloccia contributing treated vocals, tape-manipulated acoustic recordings and AM radio sounds, and Barnett adding an array of synth instruments to create further loops, drum sounds and other rhythmic elements. A grave, deeply introspective work, pastoral in essence but cosmic in scope. Opening with the stately, medievalist sequences of "Harbor," Retrieval's narrative takes in subdued techno abstraction ("Hallway"), chrondritic psychedelia ("So, How Much Do You Know About Me?"), saw-mill gear-grind ("Repeating Pit") and eldritch noise invocations ("Retrieval," "Bird's Eye"). Throughout, it invigorates without consoling. Mixed by Randall Dunn at AVAST!. Mastered by James Plotkin. Vinyl cut by Noel Summerville and pressed at Optimal. Housed in a full picture sleeve with an 8.5" x 11" photocopy insert. Recorded at Otic Sound by Joshua Stevenson in Vancouver, Canada, using: EMS Synthi AKS, A, and 100; Sequential Circuits Prophet 5 and Pro One; Roland Vocoder Plus VP 330; Korg Polyphonic synthesizer PS3300; EDP Wasp; Korg Lambda; Moog Opus 3 and Prodigy; Farfisa Synthorchestra; tape cassette recorder; voice.
Deadbeat's dub credentials by this point are as solid as they come, and being asked to remix two of the genre's heaviest hitters, not once, but twice, is just about the greatest complement anyone in said position could ever hope to receive. Originally released on CD as part of the deluxe package for the mind-blowing collaborative The Orb and Lee "Scratch" Perry albums via Cooking Vinyl, BLKRTZ are over-the-moon excited to commit these two dub monsters to wax for the first time. Without a doubt, this limited vinyl-only 12" release is an essential purchase for any and all archivist of all things dubwise.
Boysnoize Presents: A Tribute to Dance Mania
Double LP version. Includes a CD copy of the album.
"How do you play the wind chimes? I hear crickets pulse; it sounds like breathing. If it seems that the elephant of memory plays the piano, it's because the speed of the pulsing notes punctuate each moment before sounds vanish in a bright, gray haze. There is a sweetness beyond melancholy in the natural tones of the sounds as if Durand had bumped into an old calliope and discovered that its steam whistles had punctured the keyboard with the sap of new seedlings. The firefly language is based on roots of light. The music dawns on you, in you, all over you. And then you forget who you are and just listen because you are not just listening but experiencing. The sounds of birds blend with the raindrops of piano notes until it seems the birds are singing while playing the piano, or the piano is accompanying the birds."
2011 release. After Rema-Rema split, Gary Asquith, Mick Allen, and Mark Cox formed arty UK post-punk outfit Mass with Danny Briottet. The quartet debuted in 1980 with the single You and I/Cabbage, following it up a year later with their sole album, Labour of Love. The group subsequently split into two halves: Asquith and Briottet formed Renegade Soundwave, while Allen and Cox remained with 4AD for their new project, The Wolfgang Press. Desire is extremely proud to release this long-deleted album. Fully licensed from 4AD, it's the first time in 30 years these recordings are available on vinyl. Labour of Love is a classic post-punk album with bitter and dark tones that still sounds modern 30 years later. Limited edition of 500 copies only, pressed on black vinyl.
Double LP version. Pressed on 180 gram vinyl. Presented in a bespoke PVC sleeve with spot varnish pattern. Following on from a pair of highly sought-after white labels and the superb Navigate EP, Akkord return to Houndstooth with their self-titled debut album. Akkord began as a shadowy collective with an espoused passion for mathematics and sacred geometry, crafting intelligent and beautifully oppressive electronic music. Eventually revealed as a collaboration between experienced Mancunian bass producers Synkro and Indigo, Akkord blurs the lines between junglist revivalism, smoky ambience, and suctioned dub, with a consistently engaging pulse linking the styles. Carefully arranged and achieving maximum impact on a proper soundsystem, Akkord have turned in an ominous and daring debut. Cut and mastered by Matt Colton.
"Steve Gunn and Mike Gangloff (Pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo for a gorgeous collection of improvised compositions. The two artists took it pretty far off the beaten path for Melodies for a Savage Fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer Joseph Dejarnette (Carolina Chocolate Drops, Bruce Greene, Curtis Eller) in the countryside of Floyd County, Virginia. Pressed in an edition of 500. There in the tiny community of Topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and Indian instruments, plus the banjo Gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation."
"Agitation Free are one of the most highly acclaimed bands in the field of krautrock music. This fourth vinyl edition (after the successful releases of Malesh, 2nd, and Last) comes from Made in Germany and is limited to 1000 numbered copies."
Live at Carnegie Chapter Hall - New York City November 4, 1961
"The night of November 4, 1961 marks one of the most important performances of the legendary Bob Dylan's early career. Coming just 10 months after he arrived in NYC, and a mere 10 days after he signed a recording contract with Columbia Records, Bob Dylan ventured north of Greenwich Village to play a concert for the first time. The fact that only 50 or so people were in attendance or that it took place in what amounted to a rehearsal room on the sixth floor of the storied Carnegie Hall only adds to the mystique. Could you imagine being one of those 50 lucky souls to witness America's most celebrated songwriter at the brink of stardom? Featuring 22 songs, a mix of traditional folk, blues, Woody Guthrie covers, and originals -- including many tunes that would be included on his debut album released early the following year -- Mr. Suit is pleased to present this legendary concert in its entirety on a deluxe 2LP set."
Following a trio of hard-to-obtain releases for his own Cotton Goods CD imprint, Craig Tattersall (The Boats/Remote Viewer/Hood) returns with his first-ever vinyl transmission as The Humble Bee. The project makes subtle use of field recordings and analog overlays in a manner that anyone familiar with Tattersall's work over the years will know and love. On Henrietta, recordings made in Cornwall during November 2011 are enhanced by the warm fuzz of a vinyl pressing, in places reminding us of Pole's seminal first album with its loose adherence to broken fidelity. Sharply contrasting with Other Ideas' relatively radical aces from The Mistys and The Boats, it offers quieter, more contemplative sentiments, capturing and playing around with the autumnal atmosphere of rural Cornwall. Scuffed, sepia-toned field recordings are filtered through Tattersall's patented fuzz boxes and rubbed like leaf drawings against music box tinkles and keys that dapple the surface like fading, late afternoon November light on a fresh puddle. If Bellows came from Lancashire and holidayed in the south west, this is the sort of music they might make; haptic, melancholic, just-out-of-focus, like hearing musical composting in action. Edition of 300 copies pressed on yellow wax and housed in a custom-made sleeve in a PVC outer. Mastered and cut by Matt Colton at Alchemy.
After the huge success of DJ Koze's remix for Matthew Herbert's classic "It's Only" (#1 on the Resident Advisor charts for two consecutive months), Herbert insisted on returning the favor, delivering an instant classic. His 10-minute remix of "Magical Boy" featuring Matthew Dear is magical, fired by the fantastic voice of singer Rahel, who transforms the track into a song and gives it a whole new drive. In Efdemin's remix of "La Duquesa," the deep house legend delivers a deep, subtle, galactic sound spectacle. A powerful cosmic trip with an elegant, futuristic sound design, tons of heat and unexpected twists.
Fumiya Tanaka, now in his second musical decade, delivers this new four-track double 12".
Fair is the first release for Bryce Hackford on new experimental label PRAH Recordings. Against the warehouse-wrecking "Another Fantasy" and luminous synthesizers of "I Want More," are the chiming spirituals of "Heart to Beat" and "Slow Motion." Bryce's atomized formulation of electronica and dance echoes the classic Detroit house of Moodymann and Theo Parrish. Since 2007, Bryce has been making experimental recordings and collaborating with visual artists. One of his first recordings was the 27-minute electric guitar performance "Modern Propeller Music." Constructed with guitar, effects, and tape loops, it gets a re-release here as a bonus track with another long-form soundscape, "Run-On Cirrus."
Terrence Dixon as Population One turns it up even higher. Chiming, melodic, and magnificent abstractions from the depths.
Live Ballroom Ritual
Gatefold double LP version. In August 2012, Swedish collective Goat released their debut album, World Music (LAUNCH 048CD/LP). The record went on to become one of the most talked-about albums of the year, topping many "Best of 2012" lists and the following year, the band took the album on the road. Footage, audio, and photos of their sold-out U.S. shows streamed across the Internet and revealed a band at the top of their powers. They had taken the magic of World Music, extended it, psyched it out, and explored its groove, further representing it in a mesmerizing live performance. Rocket Recordings realized that they needed to capture and document this much-hyped set for all the world to experience. On July 27, 2013 they appeared at Camden's rElectric Ballroom in London to celebrate the recent launch of their single "Stonegoat." The show was incendiary; the 1,100-plus crowd either danced furiously to the band's psyched grooves or stood there, mouths open, gazing in awe at the spectacle they couldn't believe they were witnessing. Goat went on to wow more people across Europe when their onstage rituals visited the cream of the summer festivals at Primavera, Roskilde, Flow, Way Out West, etc. After a long but successful summer of 2013, the band are now back in Korpilombolo, writing the follow-up to World Music.
"Two big cover stories dominate this issue. Top of the bill, a brain-searing interview with Andrew Loog Oldham, the brilliant '60s Svengali of Immediate Records and Rolling Stones infamy. The cover features an exclusive '60s era photo of Andrew by famed photographer Gered Mankowitz. Next, 13 years in the making: the strangest, deepest, darkest tale ever told in UT. Mike Stax goes on the trail of Craig Smith a.k.a. Maitreya Kali, the mysterious figure responsible for the loner psych mega-rarities Apache and Inca. An epic-length story you will never forget. Also the stories of The Haunted and The Radiators from Space continue, plus UK freakbeat legends Sands and Sundragon, The Motions, and The Dream from Holland, Manzanita Jungle, and an interview with Britain's 'King of the Beatniks,' Royston Ellis. Cyril Jordan's outrageously popular column relives the year 1966, and, as always, there's our extensive review sections covering all the latest reissues, rock'n'roll books, and DVDs."
Young Turks 2013/3
The third EP in Young Turks' series of uniquely artworked limited edition 12"s. Each vinyl features two exclusive new tracks by artists affiliated with the label in 2013. At the end of the year, fans will be able to purchase a box set designed to house all of the 2013 series releases. Number three features a track by Short Stories split with a track from Pional's Invisible/Amenaza EP. Young Turks was established in London in 2007 and has released records by SBTRKT, Chairlift, Holy Fuck, Sampha, The xx, and many more.
LP version. The late '70s found Turkey in an economic slump, and there was a huge rise in political violence. Bariş, who so often put out collections of singles, rose to the occasion by spending six months holed up with his long-time backing band the Kurtalan Ekspres. The result was this studio album of Anatolian bummer psychedelia, often unfairly overlooked because it came out in the rather un-cosmic year of 1979, but also considered his best work by many. Yep, there are still electrified versions of Turkish folk songs, and the spaceshot ARPs and Korgs of 2023 (GUESS 038CD/106LP) are here too, but don't expect a happy swing around the ceiling of a planetarium. The real star of the album is the keyboard player, whose name translates to "Sword Agent." Yeni Bir Gun is viciously funky and brilliantly arranged, with tidbits stolen out of the latest disco hits, and lean, mean synthesizers that emerge from the beats like carbonated bubbles. First time ever reissue, this release comes in the same gorgeous gatefold cover as the original, has a repro of the original poster as well, and includes an extra insert with extensive liner notes.
Has Anybody Seen Our Freedoms? CD
Has Anybody Seen Our Freedoms? LP
Oya Indebure/Tough Break 7"
Tropicalbacanal (Deluxxxe Version) CD
Best of Jeffree's Vol. One 2CD
Quatermass Sessions 1 12"
J. Rocc Enjoyed the Experience 12"
Cosmic Machine: A Voyage Across French Cosmic & Electronic Avantgarde (1970-1980) (Standard Gatefold Edition) 2LP+CD
El Idioma de las Luciérnagas LP
Just Like a Flower When Winter Begins CD
Danny and the Darleans CD
Danny and the Darleans LP
The Secret Tapes of Dr. Eich CD