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Search Result for Label TRUNK
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10"
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TTT 007LP
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This 10" record brings together two very rare and early EPs made by these pioneering electronic musicians. Both records have not been in print since 1962. Each musician has one side each, and the artwork brings together the original sleeves (beautifully reproduced), with one side each. There is also an insert with sleevenotes. On side one is Daphne Oram's first complete commercial recording which was released in the UK as part of Vera Gray's Listen, Move and Dance series. Basically, this was music made for school children to throw shapes and improvise along to during drama and creative lessons. It was Vera's hope that these new and exciting sounds would lead the children into some "imaginative situations." Side two represents a whole different country of electronic creativity, with the exceptional sounds of Dutch electronic pioneer Tom Dissevelt. A multi-instrumentalist and jazzman, Dissevelt was invited to work at the legendary Natlab (Philips Physics Laboratory) studios. There he spent time working alongside composer and theorist Dick Raaijmakers (aka Kid Baltan) producing new electronic sounds and interpretations of popular music. This four-track sampler was issued at the same time as the Oram work and its comprehensive sleevenotes hinted at the music being "attractive," "dizzy" and "mysterious." Limited to 500 copies.
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CD
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JBH 047CD
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An album of unreleased music made by Jeff Keen, one of the UK's great avant garde artists. This is music found on cassettes in his studio after his death. It was made by Jeff (throughout the 1980s) using field recordings from his local amusement arcade: radio, TV, films, an Atari, a ZX Spectrum, a delay unit and a WASP synth. This is the first Jeff Keen album ever issued. Jeff Keen is one of the great undiscovered artists of our times. A missing link between the Dadaists, Cocteau, Warhol, Picasso, Jack Kirby, and just about anyone else you can think of. Jeff made art every day of his life. Art seemed to explode from him, and he worked across all mediums with boundless creativity and very much his own style. He developed his own graphic, visual, and spoken art language. The BFI (British Film Institute) have issued a 4DVD set of his films. His collages and paintings are currently being exhibited in Brighton, New York, and Paris. The Tate has started buying his work. He's now dead and his stock is quickly rising. The music on this release was made in and around the 1980s, using methods unique to him; in his ramshackle studio he'd have a mic, a radio, an Atari, a ZX Spectrum, a WASP synth, effects units and his own very unusual mind. He mixes field recordings with his very own language ("Bltazwurds") and takes on the characters he developed over his artistic life. This is very much an art/music release. The sound is a little like the industrial albums made in the late 1970s and 1980s, intense, odd, other-worldly, unpredictable. Includes notes by Jonny Trunk, and an important essay by David Toop and recollections by Will Fowler of the BFI, who worked closely with Keen.
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LP
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JBH 047LP
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Very limited repress. LP version. Each 100 unit block will have a different color vinyl, different screen-printed sleeves (using unseen images from the Jeff Keen sketchbooks), and different inserts. These vinyl colors have been selected by Stella Keen as they represent the comic book palette most used by Jeff Keen in his work. Each LP has a standard 11" x 11" full color insert with an essay by David Toop. Each album will also have another insert taken from the Jeff Keen music notes found in his studio. There are five of these, one for each color of pressing. The LPs and their various bits are all being hand-assembled at the Trunk HQ. One per customer.
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CD
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JBH 046CD
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Limited repress. Privately pressed in Scotland in 1979, this illusive and quite wonderful percussion album is like no other. Played by a group of 11 girls with an average age of 14, the group included Evelyn Glennie, who was destined to become one of the world's greatest percussionists. This is her first-ever record. The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid-1970s. The ensemble must have one of the best group names of all time. To many, it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic, too. They are certainly two of those but the use of the word "Cults" here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis. Reminiscent of Carl Orff and peculiar library music, we now have a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed. The music here is really quite unique, with a celestial, swirling, hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute or freezing glacial icecaps the next. The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. Sleevenotes also include a letter from Ron Forbes: "I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well-known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany -- hence the "Erlangen Polka" -- and Autun in France -- hence the "Autun Carillon." During these visits we were often asked if we had any recordings and so it was decided to make an LP." Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble.
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LP
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JBH 046LP
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LP version. Privately pressed in Scotland in 1979, this illusive and quite wonderful percussion album is like no other. Played by a group of 11 girls with an average age of 14, the group included Evelyn Glennie, who was destined to become one of the world's greatest percussionists. This is her first-ever record. The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid-1970s. The ensemble must have one of the best group names of all time. To many, it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic, too. They are certainly two of those but the use of the word "Cults" here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis. Reminiscent of Carl Orff and peculiar library music, we now have a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed. The music here is really quite unique, with a celestial, swirling, hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute or freezing glacial icecaps the next. The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. Sleevenotes also include a letter from Ron Forbes: "I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well-known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany -- hence the "Erlangen Polka" -- and Autun in France -- hence the "Autun Carillon." During these visits we were often asked if we had any recordings and so it was decided to make an LP." Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble.
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CD
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JBH 045CD
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Thirty rare and fabulous cues celebrating the last year or so of Trunk Records activity: music from 1945 to last month, artists including Basil Kirchin, Terry Thomas, some hip jazz people, some rare film music, children, a doctor, an announcement from a train buffet car and a letter to a porn star. What else do you want, eh? Recently, Jonny Trunk was talking to Rough Trade records. They were asking if Trunk had any copies of the Now We Are Ten sampler in stock. The answer was no, so Jonny decided to put together a more recent sampler. So here it is, 30 cues all from the recent 12 months of Trunk Records activity, but many of the cues here have only been released digitally. They cover a wide range of musical styles from experimental to classical, from exotic to bizarre. Also in the mix are some intriguing spoken-word numbers, a bit of strange folk and a few cues that have never been released before. Sleeve notes include an excuse that the album has not been properly mastered as the Trunk mastering man is away on holiday. This would explain why overall it sounds a bit like an old mix tape with fluctuating sound, but the music is quite superb and what more could you wish for such a bargain price. Running Time: about 79 mins, or 1.2 hours.
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LP
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JBH 044LP
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CD
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JBH 044CD
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"There's no one quite like Bob Chance. He's a California man who makes his own music. And here he is, on fire. It's a privately-pressed album that has become a cult item in recent years. DJ Shadow calls it 'hairy forearm disco,' I think it walks a fine line between the dancefloor and the asylum. Originally recorded and issued by himself in 1980, It's Broken represents Bob Chance's creative juices flowing and then possibly overflowing all over the place. He's a multi-talented multi-instrumentalist who writes his own songs. Trunk first came across the album in the USA, and decided to feature it as one of the strange slabs of vinyl I write about for my 'weird record' column in Mojo. I described it as the musical equivalent of Curry House DIY, an unusual and unexpected flow of ideas that maybe shouldn't work together but actually do in a most unorthodox and functional way. And if I have to describe the album musically to people I explain it has a touch of Giorgio Moroder, a bit of the Beach Boys and a sprinkle of Glen Campbell as a serial killer. How can you not love a nine-minute post-disco oddity called 'It's Broken?' Why would you not want to thrill at a five minute instrumental journey into Bob's jungle? And how about a short trip inside a stalker's van? Exactly, it's all irresistible. And now, thanks to this reissue, more of us can enjoy the genius that is Bob Chance and his very unique music." --Jonny Trunk
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CD
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JBH 043CD
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At long last the rarest and most peculiar of all Radiophonic Workshop albums is available. Originally issued in 1969, The Seasons has become almost mythical over the last few years. With its mix of unexpected electronics, percussion, tape manipulation and austere poetry, it sounds like no other. The Seasons has also become a major influence on bands such as Broadcast and a key reference in the development of Ghost Box and the whole "hauntology" soundscape. It is seen and heard very much now as an important and lost classic. And after over one year of detective work and rights investigation (which is a lot in this modern world of instant communication), this impressive, strange and wholly unique album is seeing the light of day once again. Originally made as part of the BBC's Drama Workshop broadcasts, this album was meant for educational purposes. Coming in the later period of what is commonly known and remembered as "Music and Movement" or "Movement and Mime Classes," the album was issued briefly as a teaching aid for the modern thinking 1960s classroom. The idea was to play the album and get the school children to dance, improvise, think and create to the sounds and words. The music was originated by one of the early pioneering Radiophonic musicians, David Cain. Very little of his music has ever been made available (except on the classic BBC "pink" album) but to some followers of early British electronics, he is the forgotten master. And for this release he has been interviewed by Julian House (The Focus Group) with a fascinating Q&A, which will appear in the new sleevenotes. As for the poet Ronald Duncan, he is now deceased, but had an interesting and inspired life. A born pacifist, he famously wrote the libretto for Britten's opera The Rape Of Lucretia, wrote the script for Girl On A Motorcycle, and started the English Stage Company at the Royal Court Theatre. His poetry was published by Faber And Faber by T.S. Eliot, who became a friend. Duncan's 16 featured poems were specially written in 1969 just for this project. The album sold in tiny quantities when it came out and was quickly deleted by the BBC. Even the BBC Archive doesn't have a copy. In fact the album's scarcity has only added to its mythical status. A handful of originals started appearing in bargain bins throughout the mid-1990s, and as interest in British electronics and the Radiophonic Workshop started to grow, the album's reputation began to gain a little momentum. The album rarely surfaces, but Jonny Trunk and fellow collector Martin Green found three copies at back in about 1998, one of which was passed on to Jarvis Cocker. Jarvis has subsequently played a track at the start of each month ("January" in January etc.) on his 6 Music radio show over the last year. The album also appeared on the Trunk Recommendations pages back in the Spring of 2003 and as a result requests to hear the album started slowly coming in. These requests became regular, and the album started popping up on want lists, on blogs, even on YouTube. Prices for original copies of the album then started to hit three figures. So, in 2010, Jonny Trunk started looking into a reissue. It has taken one and a half years and has been a labor of love for all involved. Sleevenotes include contributions already mentioned, a piece by Jon Brooks (The Advisory Circle), and Trunk has even traced two of the four mysterious slides mentioned on the original sleeve, that could be ordered back in 1969 via the BBC as a further aid to dance and projection. These slides are featured in the CD booklet. Also worth noting is that this album has been remastered from the original Radiophonic Workshop tapes.
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LP
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JBH 043LP
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LP version, repressed. At long last the rarest and most peculiar of all Radiophonic Workshop albums is available. Originally issued in 1969, The Seasons has become almost mythical over the last few years. With its mix of unexpected electronics, percussion, tape manipulation and austere poetry, it sounds like no other. The Seasons has also become a major influence on bands such as Broadcast and a key reference in the development of Ghost Box and the whole "hauntology" soundscape. It is seen and heard very much now as an important and lost classic. And after over one year of detective work and rights investigation (which is a lot in this modern world of instant communication), this impressive, strange and wholly unique album is seeing the light of day once again. Originally made as part of the BBC's Drama Workshop broadcasts, this album was meant for educational purposes. Coming in the later period of what is commonly known and remembered as "Music and Movement" or "Movement and Mime Classes," the album was issued briefly as a teaching aid for the modern thinking 1960s classroom. The idea was to play the album and get the school children to dance, improvise, think and create to the sounds and words. The music was originated by one of the early pioneering Radiophonic musicians, David Cain. Very little of his music has ever been made available (except on the classic BBC "pink" album) but to some followers of early British electronics, he is the forgotten master. And for this release he has been interviewed by Julian House (The Focus Group) with a fascinating Q&A, which will appear in the new sleevenotes. As for the poet Ronald Duncan, he is now deceased, but had an interesting and inspired life. A born pacifist, he famously wrote the libretto for Britten's opera The Rape Of Lucretia, wrote the script for Girl On A Motorcycle, and started the English Stage Company at the Royal Court Theatre. His poetry was published by Faber And Faber by T.S. Eliot, who became a friend. Duncan's 16 featured poems were specially written in 1969 just for this project. The album sold in tiny quantities when it came out and was quickly deleted by the BBC. Even the BBC Archive doesn't have a copy. In fact the album's scarcity has only added to its mythical status. A handful of originals started appearing in bargain bins throughout the mid-1990s, and as interest in British electronics and the Radiophonic Workshop started to grow, the album's reputation began to gain a little momentum. The album rarely surfaces, but Jonny Trunk and fellow collector Martin Green found three copies at back in about 1998, one of which was passed on to Jarvis Cocker. This limited edition LP comes with the original 1969 BBC sleeve and an insert of all the poetry. Also worth noting is that this album has been remastered from the original Radiophonic Workshop tapes.
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