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viewing 1 To 25 of 79 items
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ALP 100CD
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2022 restock. Recorded 2/28/2008 in Italy. "Glenn Branca's work as a composer spans music for experimental rock bands, large ensemble instrumentals for electric guitars, 16 symphonies, chamber ensemble pieces, an opera, a ballet, choral works and music for film, dance, theater &installation art. Now considered by many to be one of the most influential living composers (both in the fields of alternative and experimental rock, as well as contemporary classical music), Branca's work has inspired and influenced two generations of composers and musicians, major rock stars, Academy Award winners, and Pulitzer prize composers. His animated style of conducting has recently begun to change perceptions about the role of the conductor in serious music performance. Branca is the inventor of The Harmonics Guitar and a theory of music based on the Harmonic Series as well as various tuning systems. He has designed and/or built many of the instruments used in a number of his pieces. He is also a founder of The No Wave Movement that started in downtown NYC during the late 70's that has now become, after many decades, an international movement in the underground music scene."
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ALP 257CD
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2021 restock. "Intense FMP Archive Reissue On Atavistic's Unheard Music Series, Featuring An Incredible, International Line-Up Led by Brotzmann, ESP Records Reed-God Frank Wright & ICP Mainstay Willem Breuker (saxes), The Inimitable Alex Von Schlippenbach (piano), South African Legend Louis Moholo (drums), Harry Miller (bass), Toshinori Kondo (trumpet), And Hannes Bauer & Alan Tomlinson (trombones)."
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ALP 144CD
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"A complete reissue of the long out-of-print masterpiece, and 4th release by '70's L.A. punk icons, The Flesh Eaters! Atavistic's Hard Road to Follow reissue also includes 5 bonus tracks & deluxe artwork in an oversize lyric booklet. Excerpted from Byron Coley's liner notes: 'Although it was not the last album to be issued under the name of The Flesh Eaters, Hard Road to Follow occupies a unique and special place in the band's pantheon. Released in 1983, by Chris D's own Upsetter label, it was the fourth annual and final installment in the original sequence of Flesh Eaters' albums. Hard Road was also the first to have the same line-up as its predecessor, forever came today. The band's fourth corrosive masterpiece in as many years, hard road is the best evidence of a band that had achieved a still unequaled massiveness of sound. For my money, this particular version of The Flesh Eaters represents the greatest rock band ever. They were it. Their live shows (of which I missed only two or three) were uniformly mind-melting, and while the records they left cannot convey everything that The Flesh Eaters were, they remain among the best albums ever.'"
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ALP 143CD
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"A deluxe reissue of the seminal, long out-of-print debut release by '70s L.A. punk icons, The Flesh Eaters- featuring 10 bonus tracks & deluxe artwork! From Byron Coley's liner notes: 'Of all the great bands that the L.A. underground produced in the 70s, none were more corrosively poetic, more explosively visionary than the Germs and The Flesh Eaters. The major early recordings of the Flesh Eaters have been unavailable for many years; a cultural wrong finally being righted by this excellent package. The lyrics are bleeding collages of B-movie dementia, Mexican Catholicism & Dionysian punk-spurt poetics. The vocals are powerful cat-scratched patterns of night-ripping fear, huge bursts of raunch-vomit, and cascades of pure and toxic love. Just as The Birthday Party took basic punk dynamics into new corridors of rhythmic/dynamic gloom, so do the Flesh Eaters. This is the meat that lies at the beginning of the Flesh Eaters' trail. Lap at its essence. Revel in its power. And rejoice!'"
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2CD
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ALP 191CD
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"The Sweet Meat Love And Holy Cult is the long awaited release from former Swans maven, Jarboe." "The Sweet Meat Love And Holy Cult was conceived as a showcase for songwriters referencing folk rock, and primarily based in the Southeastern United States." --Jarboe
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ALP 502CD
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"A 'Marriage Made in Hell' between living legend and eternal Truth-Teller Lydia Lunch and her longtime compatriot of the night, Rowland S. Howard (formerly of The Birthday Party & Crime And The City Solution). This deluxe reissue features re-designed packaging & re-mastered audio, and represents the definitive version of this often referenced summit of dark splendor." With 5 bonus live tracks, plus their cover of "Some Velvet Morning."
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ALP 501CD
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"Queen of Siam, Lydia Lunch's solo debut, was originally recorded in 1980. Featuring the noted talents of guitarist Robert Quine (Lou Reed, the Voidoids), multi-instrumentalist Pat Irwin (B-52's, Eight Eyed Spy), and the big band sound orchestra of Billy VerPlack (of Flintstones theme fame), the work proved to be a slap in the face to those critics awaiting a new Teenage Jesus-type of album from Lunch. Dirty, sophisticated, literary and raw, the album is today seen as the jewel in the crown of the no wave underground movement. Lunch created a sensual and hard-hitting musical landscape that startled even the most hardened of critics. After being out of print for years, Lunch's masterpiece returns with the original LP cover 'breasts of nails' pic for the first time on CD. Enhanced features on the disc include a live video performance of 'Knives in the Drain,' recorded live in London in 2004. Also included is a rare video of 'Gloomy Sunday' directed by Linda Di Franco, filmed in 1980."
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ALP 190CD
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"Brian Harnetty is an Ohio-based musician, educator and artist, whose work involves typically overlooked elements of sound. Many of his pieces transform found materials -- including field recordings, transcriptions, and historic recordings into personal and often socio-cultural worlds. His music and installations have been performed and exhibited in the U.S. and Europe. Silent City is the follow-up to his incredible '07 work American Winter (ALP 180CD), which is rooted in recordings and transcriptions made available to Brian through a residency with the Appalachian Folk Archive (Berea, KY). The result often feels like a gently compelling collision of pure, real-deal 'Holler Music' and the deftness of Morton Feldman. Very much in a kindred-spirit, Silent City features Will Oldham (Palace Brothers, Bonnie 'Prince' Billy, Boxhead Ensemble) on vocals, and is a fascinating, compelling collaboration that mixes the last three centuries into one beautifully haunting, cryptic flow of idea-sound."
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ALP 192CD
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"Faust were certainly among the leaders of Germany's Krautrock movement back in the early '70s. Ensconced in 'The Pantheon' forever as truly visionary artists, their early records still sound light-years ahead of their time 30+ years later. From The Frozen South features original Faust mainman Hans Joachim Irmler joining forces with the iconic 'scape artist/percussionist Z'EV at Faust Studios. The topologically-charged results range from spacious and soothing, through full-on digital brutality; each piece is subtly tinged with both artist's distinct and respective take on the out-rock they helped create. Frozen South offers a glacial essence of the sounds these two legends have created and incorporated over the last 30 years, plus new ideas and experiments -- each distilled through a once-in-a-lifetime collaboration. An incredible sonic journey made by two of the genre's pioneers to be sure; a monument to the avant garde, perhaps... but steadfastly, as always: of and for the People!"
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ALP 259CD
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"The Unheard Music Series is proud to (finally) reissue 1978's refreshingly unique duo recordings from Kees Hazevoet (The Unlawful Music & Pleasure reissues on UMS), and legendary Dutch percussionist/Dada enthusiast Han Bennink (Nerve Beats, Balls, Fmp144 & much more on the UMS)."
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ALP 187CD
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"To say (Full Blast) is a powerhouse is an understatement. These three men don't just rattle the house, they bring it down. They don't simply shake the eardrums, they pierce them right through. They don't mess around with subtleties... they electrify the air with the sound of music that is here and now." -Tom Sekowski, Gazeta. "Shades of Last Exit (sans guitar) are evident, and Full Blast also frequently conjures the essence of Brotzmann's landmark early free recording Machine Gun in it's visceral intensity. Herr Brö himself refers to Full Blast as 'The Trio.' Black Hole lives up to its moniker -- and as such, is not recommended for the faint of heart. And after sensational performances at Brotzfest Tokyo and the hallowed Berlin & London Jazz Festivals, more high voltage is undoubtedly on the way."
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ALP 267CD
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"A long-lost '60s treasure from the East Coast rescued and produced by Ken Vandermark's father, Stu, The Peace Concert, as performed in 1964 by living legend Joe Maneri (alto) and Peter Dolger (drums) has finally been exhumed and properly buffed for public consumption. This never-before released recording has been mastered from the original tapes, and includes an in-depth interview with Boston's elder statesman of improv, conducted by Stu Vandermark. For those caught unawares, Mr. Maneri is the father of violinist Mat Maneri, and is highly regarded as one of the true pioneers of the 'language' of the alto saxophone (in fact, Joe has also created a surreal, intense spoken dialect all his own, that often accompanies his musical performances). Mr. Vandermark is a long-time co-conspirator, contributor and fixture on Boston's jazz and improvised music scene; he possesses a formidable 'lifetime of listening' knowledge base on these matters. Check into this outer-orbiting destination in the Unheard Music Series galaxy (and find out why these two men's sons turned out so well!) Excerpted from Stu Vandermark's liner notes: 'There are two eventually simultaneous but not always parallel paths to the Joe Maneri musical journey. First, of course, there is the jazz path. It is the trail of the crash and burn Phoenix, somehow always arising. The path of the composer of concert music, initiated with the guidance of Josef Schmid, was not filled with stops and starts as the jazz path was. Here, Joe pursued several theoretical directions in sequence more or less continuously to this day. Separate as the paths have been, they are part of the same musical map. Although the performance in the middle of the night at St. Peter's Church is profoundly predictive of developments in Joe's music in the 1970s and later, it is important to keep the historical context of the duo performance in mind. Among the recordings documenting the new music at that time in New York were Coltrane Live at Birdland (Impulse 50) three years before Interstellar Space (Impulse 9277), Ornette Coleman's At Town Hall 1962 (ESP 1006), and Albert Ayler's My Name Is Albert (Debut 140). Some of this new music was produced via community connections among the pioneers, as in the case of Ornette Coleman and Steve Lacy or Albert Ayler and Cecil Taylor. But many of the new developments were taking place in relative isolation. Joe in 1963, for example, knew virtually nothing of the work of the other pioneers. And yet, what he and Peter Dolger created on that night in St. Peter's Church is certainly of the fabric of the time.'"
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ALP 183CD
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"A tempest of e-jazz-noise erupts on the Atavistic debut from Fire Room, a new project between longtime collaborators Ken Vandermark, Lasse Marhaug & Paal Nilssen-Love. As core members of the initial lineup of (((Powerhouse Sound))) -- as well as an array of other adventurous small & large groups -- these cats know each other well. The telepathic vibe necessary to make free music really work is tested & expanded upon throughout Broken Music -- amplified literally AND figuratively by Marhaug's penchant for darker -- yet still explosive -- forays on a gamut of electronic gear. Users are currently invited to investigate the outer reaches of both jazz & electronic frontiers simultaneously with Fire Room."
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2CD
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ALP 185CD
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2021 restock. "Peter & Peeter have once again joined spirits and forces, picking up where their trio with Peter Friis-Nielsen left off -- this time as a reeds-n'-drums duo delivering a blowout double-CD -- whose only remote competition in the field understandably comes from Messrs. Vandermark & Nilssen-Love's two-man implosion unit, Dual Pleasure. A fresh double-dose of soul-purge from free men, presented in a Brötz art-brute package. From Uuskyla's liner notes: 'The liferoad of the one life you have. Been fighting all the time for playing untouchable sounds of simple music. My definition of beauty. Untouchable, therefore powerful, simple, therefore universal, for everyone. But you are notable to keep it only yourself, that's the strength. No amplification, not even monitor speakers or headphones needed for this duo. The punch and the scream -- the foundation of natural music-making!'"
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ALP 184CD
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"KV and Chicago's finest fivesome once again team up with Bob Weston to notch out Beat Reader, the quintet's 12th album for Atavistic over the course of the last decade-plus. Inasmuch as one may contemplate the recorded works of Sonic Youth as a genre unto itself, The V5 may now lay claim to such a distinction: existing simultaneously inside AND outside the realm of jazz. Vandermark's compositions have recently become even more guided by his respect for (and sonic interpretations of) the traditional arts."
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ALP 181CD
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"American Winter = holler musics woven with archival field/radio recordings, meeting the 21st century. The Berea College (Kentucky) Sound Archives holds non-commercial recordings documenting more than 75 years of Appalachian history and culture. In late 2005, the Berea College Appalachian Music Fellowship Program was made possible by a grant from the Anne Ray Charitable Trust, established by the late Margaret Anne Cargill. The Fellowship program supports scholarly research in Berea's collections of traditional music." "Brian Harnetty was among the first Appalachian Music Fellows. Initially overwhelmed by the collection's richness, he quickly immersed himself in field recordings, radio programs, and oral history interviews. We conversed daily about what he'd heard, the concept of tradition, and collections as a type of composition. The resulting pieces take the known, unknown, and forgotten, reworking them into new cloth and exposing new layers of humanity." --John H. Bondurant, Sound Preservation Archivist, Berea College
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ALP 182CD
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"The fifth installment in Atavistic's Out Trios series configures a triad of West Coast heavies on sax & double-drums: Larry Ochs (Rova/Orkestrova), Scott Amendola (Nels Cline Singers & more); and Don Robinson (Cecil Taylor (!), Wadada Leo Smith, George Lewis, Raphe Malik & Glenn Spearman). With absolutely lovely cover art by Emilie Clark & photos by Scott Campbell, Out Trios Volume Five kicks hard, while maintaining an omniscient cool. Other releases in the Out Trios series feature groupings such as Lee Ranaldo/Roger Miller/William Hooker; Jeff Parker/Kevin Drumm/Michael Zerang; Nels Cline/Andrea Parkins/Tom Rainey and Geoff Farina/Luther Gray/Nate McBride. Atavistic's Out Trios series is dedicated exclusively to issuing the most captivating instrumental music available -- as deployed within the context, structure & constraints of the trio format. The series is an open-ended experiment in freedom, interaction & sonic architecture."
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2CD
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ALP 133CD
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"Poem Rocket principals Michael Peters & Sandra Gardner have returned after a multi-year hiatus since the release of their critically-acclaimed Atavistic debut, Psychogeography -- emerging to offer the world a glimpse of their own Invasion! Or, put another way, this is an incredibly sophisticated, expansive and densely layered double-album worthy of your full attention. Invasion! is a truly distinctive, completely realized album. A musical statement thoughtful & powerful enough to increase one's existential comfort zone. This needs to find its way to those who can actually hear it 'out there.'"
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ALP 180CD
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"Chicago's Renaissance man Non-Pareil, Fred Lonberg-Holm and his Trio return with Terminal Valentine, their third proper studio album for Atavistic. With the sympathetically beatific rhythm section of Jason Roebke (bass) & Frank Rosaly (drums), FLH pushes the Trio into a more experimental direction -- yet somehow their signature creation of warmth and intimacy still commands the proceedings. Trump l'oeil treats, an homage to Gainsbourg & props to the real old school complete the atmosphere. We may not have made the Valentine's Day release date, but a dose of Terminal Valentine is certainly good for the restless heart -- any day of the year."
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2CD
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ALP 177CD
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"(((POWERHOUSE SOUND))) formed in the summer of 2005 -- originally with Ken Vandermark on tenor sax, Ingebrigt Haker Flaten & Nate McBride on basses, Lasse Marhaug on electronics and on drums. Vandermark composed tracks with the idea of building the music from the 'perspective' of the bass instead of the more conventional approach of composition construction, 'from the top down,' as he puts it. 'The three major influences I considered when putting the music together were the rhythmic ideas of James Brown, the dub ideas of Lee Perry and the collage ideas of Public Enemy.'"
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ALP 046CD
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"Long rumored, long-awaited and essentially first-time issue of this incendiary Branca masterwork, recorded in 1981 at NYC's Radio City Studios -- during the peaked out early era of Glenn's 'Guitar Army' ensembles -- and shortly after the release of The Ascension EPon 99 Records. Featuring contributions from soon-to-be Sonic Thurston Moore & Lee Ranaldo, as well as Branca mainstays Craig Bromberg, Barbara Ess, Jeffrey Glenn, Sue Hanel, David Rosenbloom and Ned Sublette, Indeterminate also contains two other pieces: John Cage's infamous anti-Branca interview with Wim Mertins, captured at Chicago's Navy Pier back in 1982; and a gorgeous, previously unreleased composition 'Harmonic Series Chords,' performed by The New York Chamber Sinfonia in 1989. This potent, apocryphal missing link in the Master's discography has finally been made available for public consumption!"
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ALP 173CD
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"The Vandermark 5 deliver on the epic promise of 2005's The Color Of Memory with what may well be their most ambitious compositional effort thus far. A Discontinuous Line presents a remarkable range of dynamic musical ideas and influences processed, as Vandermark fully leverages the vast experience & deep well of talent assembled in The V5's third lineup in their decade-plus existence. Call it what you will... post-bop, avant-garde, neu chamber music, free jazz -- it just doesn't matter any more. What DOES matter is the monolithic edifice that has been so meticulously assembled by America's finest working jazz ensemble: an authenticity of materials, an integrity of concepts, the will to improve -- and the courage to change. Ten years of piledriving musical endeavor has resulted in perhaps The V5's most complex and engaging studio album yet."
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ALP 176CD
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Originally released as a limited-edition audio companion piece for the Corbett vs. Dempsey gallery's Musician - Artist opening in Chicago, December 3, 2004, Eye & Ear features otherwise unavailable tracks by internationally reknowned artists such as Sun Ra, Peter Brötzmann, Han Bennink, Michael Snow, Pee Wee Russell & more, ranging from recordings from 1950 to the present. "It's hardly news that artists and musicians are so often one and the same. At one time, to be a well-rounded person of any cultural persuasion meant to be a practicing musician -- and even since the dawn of the more rigorously specialized modernist era, the disciplines of music and visual artmaking have frequently intersected. Consider that composer Arnold Schönberg was an outstanding and active painter, or that artist Wassily Kandinsky used the term "improvisation" to describe his own paintings. The Musician - Artist group exhibition assembles a wide-ranging assortment of artwork by musician-artists and artist-musicians, both historical and contemporary, exploring the many ways that passage between the visual and the sonic can serve as a creative catalyst." -- John Corbett
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ALP 261CD
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"Based in Switzerland, saxophonist Christoph Gallio has been very active in Europe since the 1980s, but remains relatively unknown to American ears -- even though his trio, Day & Taxi , toured the U.S. a couple of times. He performs and writes a wide range of music, from the sleek and elegant modern jazz of the aforementioned group to free improv (with Ensemble Uncontrolled) and Steve Lacy-inspired song cycles. He has recorded for Leo, Slam, Unit, and his own label, Percaso. At age 20, Gallio enrolled in the Höhere Schule für Gestaltung, an art school in Basel; his professional career started at the same time, including experiences with Oskar Giger's Pig Band; the Gulli Group (w/ Günter Müller); the WIM Orchestra (w/ Irène Schweizer and Norbert Möslang); and Tiegel, a trio with pianist Urs Voerkel and bassist Peter K. Frey. The latter project lasted until 1983; he also began to collaborate with dancers around the same time, something he would continue to do throughout his career. In 1989, Gallio went to Paris to study with leading avant-garde saxophonist Steve Lacy. The trio he formed afterwards, Day & Taxi would be very much influenced by his elegance. The early '90s saw him perform with Fred Frith and Phil Minton, and in a duet with Japanese drummer Takashi Kazamaki."
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ALP 174CD
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"The Boxhead Ensemble returns with their fourth proper studio album (fifth in sum) since the inception of the Dutch Harbor project in 1996. The collective's leader Michael Krassner (guitar/organ/FX) joins forces with Fred Lonberg-Holm (Vandermark 5, Terminal 4, Valentine Trio) on cello/harmonica, Frank Rosaly (drums) & Jacob Kolar (prepared piano), generating a meditative aura unlike any other. Nocturnes is a like-minded & appropriately gorgeous follow-up to their Two Brothers and Quartets recordings. What began in as an ad-hoc experimental coalition assembled to generate a lost Alaskan film soundtrack has grown into a familiar yet haunting sonic tapestry, perfectly suited to long drives, private moments and unexamined spaces. The Boxhead Ensemble is a self-propelled Flying Dutchman of a group, adrift in an endless sea of inspiration & freedom, conjuring their otherworldly sounds for us, making music that refuses to be tied to any genre, place, or time."
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