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viewing 1 To 10 of 116 items
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OEP 1003CD
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"180 Proof Records continues to bring new life to the Strata Inc. catalog with Larry Nozero's 1975 passion project, Time. The last album to be released on Strata Inc., Time is a dreamlike mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard 'All the Things You Are' to the brooding melancholia of 'Tony,' Nozero's Time is destined to become known among aficionados as a classic of 1970s jazz. Working with his cousin and collaborator Dennis Tini, Time is unlike many albums of the era in that it truly feels like a work fueled by freewheeling expressionism. The pieces are funky, soulful, strange, and soothing all at once. Tini's stand-out contribution to the album is 'Tune for L.N.,' a funk-fueled piece of rhythm-centric jazz. A distinguishing feature of the album is the use of wordless vocalise. The scat work on part two of 'Chronicle of the Murdered House' adds a distinct counterpoint to Nozero's reed work, while the high pitch bebop of 'Baubles, Bangles and Beads' closes out the album with a carefree and buoyant groove. Time has been remastered from the original reel to reel masters, along with the artwork, which has been restored and printed on top heavy stock tip on gatefold jackets. The record is numbered and pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos."
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OEP 1003LTD-LP
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Double LP version. Comes numbered in a heavy stock, tip on gatefold jacket. Pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos.
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N 033CD
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The rectangular fields surrounding, shaping, and defining the upper Bavarian village Joasihno call home turned out to be a significant influence and defining factor during the duo's recording sessions for their sophomore effort A Lie. Former sole mastermind Christoph "Cico" Beck (Aloa Input, Ms. John Soda) and his new bandmate Nico Sierig (Missent To Denmark) have referred to them before, and apparently these fields work pretty much like blank sheets -- just waiting to be filled with Joasihno's shapeshifting, rather circular, meandering, and free-floating tracks that are full of surprising little twists and turns. The opening track of Joasihno's second album feels a bit like a plane's smooth landing at sundown. The air is shimmering, and suddenly there's this new thirst for action upon touchdown. Further down those fields, they present a sound that seems to bolt and shoot off into the wind -- "Oh Boy!" -- but also staying true to its melancholy undercurrents reminiscent of the Matt Marque. Elsewhere, Joasihno even live up to Cico's last name when "Some Light" indeed sounds a bit like Beck Hansen trapped in the garden of intricate beats. Over the course of the LP, the duo weaves a vast array of influences ranging from world music to minimal and back -- Cico mentions Reich, Glass, Ligeti, and Nancarrow when asked about his key influences -- into an electro-acoustic tapestry of sound that includes hypnotic layers, surprising melodies almost reminiscent of The Strokes, and some fine home-made soundtrack material that would make any super-8 collection look even better. On this album sonic snapshots and moments hum like an old-school slide show -- in fact, you can almost feel the shimmering air against your skin.
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END 007CD
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Albidaya in Arabic means "the beginning," which in the case of Rabih Beaini's, might be the return to the beginnings, or the start of the path. The album is conceptually a revisiting of the traditional and early psychedelic Arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. Includes musicians from Upperground, Piero, Bittolo, Bon, and Tommaso Cappellato. Commissioned by Annihaya in Lebanon, by Sharif Sehnaoui, Raed Yassin, and Hatem Imam -- includes artwork by Maria Kassab. "Dips into the ethnically charged concepts and neo-traditionalisms of Annihaya, traversing through a panorama of sounds and textures. Eastern twang, Middle Eastern thematics and jazz all play a role in Albidaya, as do tribal drums and marketplace noise with the introduction of live and off-the-cuff synth experiments, arpeggiated space transmissions and eerie Wu-Tang-like vocal samples entrapped in a gurgling soup of analog beef." --Juno Plus Blog
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LP
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END 007LP
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BAL 008CD
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Matt "Radio Slave" Edwards is one of electronic music's true experimentalists; a man rooted in house and techno whose oeuvre reaches much farther beyond. From the downtempo gloss of his Quiet Village project to a half-hour-long remix of Diddy to the audio-visual soundscape immersions of The Machine, he continually strives to push his music forward and keep himself on his toes. His concoction for Balance comes in two distinct parts. CD1 begins with a dash of found-sound, taken from Edwards' daily routine, segueing into the emotive strains of DJ Bone's "Change" a cappella. Stephan G & The Persuader's 1997 roller "Kaos" begins the groove, with dainty melody shimmering subtly atop a throbbing, deep bass line. Dystopian grooves characterize CD1's first half, fragments of otherworldliness permeating his rolling, hypnotic grooves. It's in the backwards pianos of his remix of Ian Pooley & Spencer Parker's "Lurchen und Eulen" and the warped, dubby stabs of Svek's Brommage Dub (another '97 gem). Timeline's "Ghosts of Greystone" jets into space from a Detroit launch pad, joining the dots between techno and jazz, and we're gradually drawn into more organic sounds via the hazy keys of Fred P's remix of Nina Kraviz's "Voices" and to long-forgotten late-'80s Afro-house from No Smoke. Rasta vocals on Brotherhood's "Memorial Smith" give way to a handful of classic and classically-styled house tracks. This uplifting crescendo concludes with Prins Thomas whipping up Edwards' "Tantakatan" into a rousing Balearic anthem, and Larry Heard's sumptuous "First Call of the Morning," giving a Muzak-inflected nod to the selector's laidback work of years gone by. CD2 travels through the deeper recesses of his record collection, soaking up ambient, downtempo and experimental flavors that are bound by a sense of melody and atmosphere. Beatless soundscapes eschew in the mix's beginnings before we emerge at the hazy beats of Theo Parrish remixing Skooby Laposky's "Lighthouse" and the abrupt piano twinkles and stomping beats of the Slum Village track. Low-slung funk carries us through the next phase, into the illustrious Balearic disco glamour of Linda Law's "All the Night" from 1978 and the sumptuous strings of his Quiet Village beauty "Can't Be Beat." It's into bleeps and bass next with a vintage F-Communications workout from D.S., then somber contemporary jazz from Portico Quartet before Edwards cleverly segues into Herbie Hancock's seminal, minimalist 1974 workout "NoBu" -- one of the earlier meetings of synths and jazz. The classic, ethereal twinkling of Software's lush "Present Voice" rounds off this engrossing collection, with a final snippet of a week in the life of Radio Slave serving as an auditory bookend to the proceedings. With this masterful collection of tracks from five decades of record collecting, he has undoubtedly succeeded in presenting a vision that's a million miles away from the generic sounds filling up so many floors in this day and age. Other artists include: Julien Perez, Delano Smith, Makam, Frost (Of), Rhadoo, Jeremy, Vadim Svobada, Sandy Rivera, Joe Claussell, Melchior Productions, Larry Heard, Ryuchi Sakamoto, Vince Watson, The Machine, and Jay Dee.
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BAM 7007CD
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Keyboardist and former member of the Far East Family Band, Akira Ito embarked on a solo career making what has been described as "floating electronics," using a medley of analog synths, guitar, bass, drums, and choral vocals. He released Japanesque in 1981; an album considered to be illusionary mind music at its finest and rarest. It's a gorgeous, mellow, floating, cosmic album, perhaps like a more organic Kitaro. Ito lends his sonic signature sounds of cosmic rock to full effect on Japanesque, reminding us why the Far East Family Band were considered to be the foremost innovators of early electronica.
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BAM 7009CD
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Truly a Japanese psychedelic female acid-folk masterpiece. Released on July 25th, 1976, Mikkô was Sai Yoshiko's second album, a wonderful acid-folk album on which she gets assisted by a string of big name musicians such as Kuni Kawauchi (of the Happenings Four, amongst others) to arrange the songs. Mikkô features Sai's original songs, making it her first real complete album. At times the disc draws in Middle Eastern influences (sitar and tabla), but once she gets to singing, the listener is lulled into her own private, mysterious sonic world, through which one gets sucked in by her wide-ranging vocalizations. At the time of this recording, Sai Yoshiko was merely 23 years-old. Totally obscure, much in-demand by Japanese psych heads, and rather hard to track down. One of Sai Yoshiko's biggest fans is Jojo Hiroshige from Hijokaidan and Alchemy Records, who eventually, 25 years after she recorded this stunning album, dove in the studio with her for the Crimson Voyage CD on which she merely attributed some sighs and moans. This album is really a stunner and a must for people into some more advanced Japanese underground historical recordings. Includes the English translation of the original Japanese LP insert. Digitally-remastered.
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PTYT 077LP
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A toe-tapping contemporary Dublin-based electronic duo who sculpt guitars and found objects into thumping f-buttons and live pulse-fests delivered at heavy metal volume. The track "Billions" is one of those once heard, never forgotten anthems for a salmon-pink, shakey phone-movie, dawn come-downs. The verdant soundtrack to your own mystery worlds.
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BB 129CD
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Retrospectively, it makes perfect sense that Der Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plan's music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® and Pyrolator were not slow in responding to their old friend Rainer Kirberg's request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspector's sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldly's search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the ruler's empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm.
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