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viewing 1 To 25 of 33 items
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BBLP 074LP
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A collaboration between Makoto Kawabata (leader of the legendary Japanese psychedelic band, Acid Mothers Temple) and the French/British multi-instrumentalist RG Rough. The pair create an unsettling sonic jungle in which Makoto's guitar drones multiply, intertwine, and collide with a wide variety of electronic and concrete sounds and percussion. On two occasions a soft, sleepy sounding voice comes out of nowhere and whispers a strange lullaby which soon disappears under a cascade of strings or fades into a repetitive minimal piano figure... Personnel: Makoto Kawabata - electric guitar; RG Rough - electronics.
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BBRP 082LP
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The last show by this particular Richard Pinhas/Heldon line-up, live in London in 1982, featuring, among others, Magma members Patrick Gauthier, Bernard Paganotti, Clement Bailly, as well as Jean-Philippe Goude (Weidorje). This is a historical document recorded live from the audience which captures an exceptional evening and a great concert. Heldon is undoubtedly one of the most innovative and influential bands in French electronic rock music. This record was produced by Richard Pinhas himself.
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BBCD 014CD
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2011 release. Collaboration between New York beat poet Steve Dalachinsky and French art-rockers The Snobs. Steve Dalachinsky plays with words like models William Burroughs or Allen Ginsberg did few decades ago: using cut-up and automatic writing, he creates new meanings. Not only a writer, Dalachinsky performs regularly with free-jazz musicians and friends to give his text a new life. You can see the poet at work, how he breaks the rules of the language to create his own and how he embodies his words to converse with the sound of a saxophone or a double bass. Massive Liquidity is the result of a Bam Balam Records wish to hear the deep and mysterious Dalachinsky's voice mixed with a more rock and electric oriented music. The Snobs are a French duet formed by brothers Mad Rabbit and Duck Feeling in 2003. They produce records on their own and release them on their website for free. Dalachinsky and The Snobs met in winter 2011 in Paris to record some vocals for the project. With the first coming back to New York few days later, the French duet had the freedom to process with sounds just like Dalachinsky did with words: they used edits, collages and experiment to create the most cohesive work. Duck Feeling plays all the instruments on the record: guitar, bass, sitar, electronic organ, psychedelic effects, percussion instruments made with petrol cans or metal sheets. Massive Liquidity presents two twenty minutes musical suites made of various influences: 1969's Miles Davis instrumental freedom hit, Einstürzende Neubauten's industrial and elegant sense of rhythm. Psychedelic effects are both essential and measured to let a strict groove between James Brown and Arnold Schoenberg happen. Dalachinsky's voice is the narrative element: it can be a gentle whisper at a moment and turn into a wild and menacing raucous noise just few seconds later. Words and music interact, they sometimes hurt each other or simply become one only powerful and moving sound. The records closing belongs to the voice, which seems to clarify the violent and cosmic experience the listener just had: "It's his head now. Pull the trigger."
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BBCD 068CD
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Bam Balam Records present Tribe from the great singer songwriter Mark Enbatta. Mark Enbatta is best known as the lead singer and guitarist of the psychedelic-garage band The Vietnam Veterans. Starting in 1982, an official split with The Vietnam Veterans was declared in 1987, but the members of the band never stopped working together under various names like the Curanderos, the Late Veterans, the Veterans, the Vietnam Chain, the Smiling Droopies, the Gitanes, or even on solo projects. Their audience never stopped calling them the Vietnam Veterans... There was nothing you could do about it! When Lucas Trouble died in 2016, Mark officially declared they wouldn't use the original band's name anymore. Lucas wasn't an original member but he was Mark's friend and partner in crime since the early days. The further psychedelic adventures of the Vietnam Veterans will now happen as the Tribe. Same singer/songwriter, two former members of the VV's and a new bassist. The Tribe's first album is maybe darker than what people could expect but Mark wrote it during Lucas Trouble's agony. Five years after A Fistful of Love (2014), here is another trip inside haunted human minds. Some bad trips give special emotions... Songs about love, friendship, death, secrets, fakes, time, treasons, life, Polly Ticks and (what a surprise!) sex...
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BBLP 064LP
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Duo by two members from Acid Mothers Temple & The Melting Paraiso U.F.O.: Kawabata Makoto "Speed Guru" (electric guitar, synthesizer) and Satoshima Nani (drums, sampler). Nani & Guru is a hyper-experimental, psychedelic astro-trance duo, spontaneously formed in February 2018 by guitarist Kawabata Makoto and drummer Satoshima Nani from Acid Mothers Temple. Their first album, Vovivizm, was recorded immediately and released on CD by the Acid Mothers Temple in March 2018 in a limited edition of 300. In May 2018, they made their live debut on a tour of Mexico, and subsequently played dates in Japan. The group's sound combines the experimental with the ecstatic, the rigorous experimentalism of contemporary classical composition with the groove of dance music. It is impossible to believe that their ultra-high speed, ultra-dense, ultra-massive particle cloud of sound is made by just two people. Vovivizm Episode 2 is the group's second album.
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BBLP 066LP
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Japanese Ethereal drone pop duo of Fuji Yuki (vocals) and 821 (bass). Through Fuji Yuki's softly screamed vocals, gently echoing into madness, and 821's bass, which reaches for the innermost depths of the human heart, Sarry's music -- at times incantational, at times narrative -- explores the occult realm of sound that connects this world to the next. Sarry takes elements from various genres such as Buddhist ritual music, krautrock, dark ambient, drone, hardcore, and noise, and blending them into an original style of performance using only bass and vocals. Sarry stands out even in Osaka's underground scene -- the most unorthodox in all of Japan -- and has received praise from musicians at the forefront of the Japanese underground. The vocal style is including a little unusual singing approach -- minimal phrase repetition, voice drone, etc. Makoto Kawabata (Acid Mothers Temple) presents Fuji Yuki: "If it were possible to project sound through a crystal, it would probably sound something like this. Like a book of prophecy where multiple speculations are blended together, its intimations and allusions left obscure. And at the same time, it's like infringing some taboo by creating a rapport with memories of a distant, past life. Weird hymns that waver between curiosity and dread." For fans of Djong Yun (Popol Vuh), Lisa Gerrard.
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BBLP 068LP
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LP version. Bam Balam Records present Tribe from the great singer songwriter Mark Enbatta. Mark Enbatta is best known as the lead singer and guitarist of the psychedelic-garage band The Vietnam Veterans. Starting in 1982, an official split with The Vietnam Veterans was declared in 1987, but the members of the band never stopped working together under various names like the Curanderos, the Late Veterans, the Veterans, the Vietnam Chain, the Smiling Droopies, the Gitanes, or even on solo projects. Their audience never stopped calling them the Vietnam Veterans... There was nothing you could do about it! When Lucas Trouble died in 2016, Mark officially declared they wouldn't use the original band's name anymore. Lucas wasn't an original member but he was Mark's friend and partner in crime since the early days. The further psychedelic adventures of the Vietnam Veterans will now happen as the Tribe. Same singer/songwriter, two former members of the VV's and a new bassist. The Tribe's first album is maybe darker than what people could expect but Mark wrote it during Lucas Trouble's agony. Five years after A Fistful of Love (2014), here is another trip inside haunted human minds. Some bad trips give special emotions... Songs about love, friendship, death, secrets, fakes, time, treasons, life, Polly Ticks and (what a surprise!) sex...
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BBCD 067CD
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Instrumental psych from Japan. Ken Matsutani was manager of the legendary Captain Trip Records. Japanese guitarist and vocalist, best known as the leader of Marble Sheep, he has also participated in several other Japanese rock underground groups including AOR and Cement Women (1982), Onna (1985), White Heaven (1986). Rinji Fukuoka is a Tokyo-based psychedelic guitarist and violinist, and founder of Overhang Party. The Mickey Guitar Band is: Ken Matsutani - guitar; Inage Louis - bass; Hiroshi Hasegawa - electronics, field recordings; Rinji Fukuoka - drums, percussion, voice.
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BBRP 062LP
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RSD 2019 release. Richard Pinhas, the founder of '70s legends Heldon, is one of France's best-known experimental musicians and is a key figure in development of rock music fusing with electronic music. Live At Bam Balam is solo guitar and processing as well as drone electronics with the use of a Metatronic Delays system: no re-recording. This brilliant collection of solo improvisations was recorded in Bordeaux (France) on April 16th, 2016 and April 21st, 2018. Limited edition vinyl-only release.
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BBLP 061LP
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One of the greatest Japanese psychedelic bands, Acid Mothers Temple & The Melting Paraiso U.F.O. Sacred And Inviolable Phase Shift is in another league from the others. There's a distinct Canterbury/Gong/Can feel about it, with everything that you'd hope from AMT. Acid Mothers Temple & The Melting Paraiso U.F.O. as of 2019: Kawabata Makoto - guitar, synthesizer, speed guru; HIgashi Hiroshi - synthesizer, noodle god; Jyonson Tsu - vocal, guitar, bouzouki; Satoshima Nani - drums, another dimension; Wolf - bass, space & time.
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BBLP 058LP
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At the crossroad between krautrock and psychedelia... Wigwam is the new Signs Of The Silhouette project which presents an exploration of a new phenomenological aesthetics based in a contained potency of sound and ambiance featuring the guitar of Acid Mothers Temple's Makoto Kawabata. Founded in 2012 by Jorge Nuno (guitar), João Paulo Entrezede, and Miguel Cravo (conceptual art and vídeo projections visuals), the band now has a new member: André Calvário (bass). Signs Of The Silhouette translates ontological ambiances into a paraphernalia of psychedelia, trance drone distortion, and clean rock n' roll meditation.
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BBCD 031CD
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2015 release. Four years after Massive Liquidity (BBCD 014CD), New York poet Steve Dalachinsky and French duo The Snobs are coming back with a second collaborative record called ec(H)o - system on Bam Balam Records. Since the eighties, Dalachinsky has published poems inspired by William Blake, Antonin Artaud, and the beat generation. Using some of them on stage, he often performs with jazz musicians. Words become material for improvisation -- both sonic (onomatopoeias, theatrical intonations) and narrative -- mixing the poems and structuring them instinctively. Founded near Paris by Mad Rabbit (singer and producer) and Duck Feeling (multi-instrumentalist), the Snobs have self-produced experimental rock records since 2003 under the influence of Can's instant compositions, David Bowie and Brian Eno's synthetic textures and electric-era Miles Davis grooves. ec(H)o - system takes Massive Liquidity's creative process a step further. The Snobs recorded some riffs and beats for Dalachinsky to hear and perform some poems over them, while in Paris in September 2014. In one afternoon -- first-takes only -- he added his voice to the music ("near death in a concrete plant / language is an organism" and "the rape / particle fever") and performed a series of other poems without music that inspired new instrumental pieces to Rabbit and Feeling during the next months. Lots of overdubs helped shaping the pieces, accompanying the voice and interplaying. The result is a mix between the poet's spontaneity and The Snobs' psychedelic postproduction. From crazy onomatopoeias on "Near Death In A Concrete Plant" to the restrained elegance of "A Promise Is A Promise", Dalachinsky shows great expressiveness -- serious, ecstatic, mad -- and influences the music's ambitious developments. Choosing electronic sounds to compose -- beats programming, synthesizers sequences and chords -- The Snobs are willing to add some noisy guitar, romantic piano, free saxophone, and funky bass here and there. With three musical suites divided in eight poetic segments, ec(H)o - system is the sound of mutual listening and trust between Steve Dalachinsky and The Snobs. Cover art by poet and painter Yuko Otomo. Includes 44-page booklet containing all Dalachinsky's poems used for the record and a selection of his collages.
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BBLP 057LP
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Rough & Wojtyla Featuring Richard Pinhas is Rough & Wojtyla's second album. Richard Pinhas, the founder of '70s legends Heldon is one of France's best known experimental musicians and is a key figure in the fusion of rock with electronic music. Drones are supported by a tentative jazz drum beat and Pinhas's guitar. In perfect harmony, the three musicians don't take themselves seriously. They saturate their sonic world with long abstruse silences, before returning more furiously into the barely hidden chaos. The listener is constantly pushed around, always looking for something to hang on to without ever finding it.
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BBCD 060CD
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Acid Mothers Temple & The Melting Paraiso U.F.O. return with Sacred And Inviolable Phase Shift. One of the greatest Japanese psychedelic bands has a new studio album.
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BBLP 055LP
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RSD 2018 release. Richard Pinhas, the founder of '70s legends Heldon, is one of France's best known experimental musicians and is a key figure in development of rock music fusing with electronic music. In 1977 Heldon played three unreleased tracks during this tour -- these titles have never been recorded since. Bam Balam Records thought that these three tracks were lost forever, but luckily they were found recently. The sound is rough, but it's a rare document. Live In Metz '77 was produced by French guitarist and producer Richard Pinhas. All tracks side A are unreleased versions and have never been edited before. Color vinyl; Edition of 1000.
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BBCD 056CD
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Founded near Paris by Mad Rabbit (singer and producer) and Duck Feeling (multi-instrumentalist), The Snobs have produced experimental rock records since 2003. After two collaborative albums with New York poet Steve Dalachinsky (BBCD 031CD, 2019) the French duo is coming back with A Life Aglow. Full of analog synthesizers, Rickenbackers, pianos, sitars, and Mellotrons, this new album is a psychedelic journey loaded with colorful influence.
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BBLP 044LP
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Fuji-Yuki is a Japanese female vocalist known as a member of the ethereal drone pop duo Sarry. She is influenced by ancient music, Buddhist ritual music, krautrock, progressive rock, noise music, and abstract experimental music. Her vocal styles include unusual singing approaches: minimal phrase repetition, voice drone, etc. Her voice works as one of a number of great instruments. Many artists have played with her original abstract sounds. Makoto Kawabata (of Acid Mothers Temple) on Fuji-Yuki: "If it were possible to project sound through a crystal, it would probably sound something like this. Like a book of prophecy where multiple speculations are blended together, its intimations and allusions left obscure. And at the same time it's like infringing some taboo by creating a rapport with memories of a distant, past life. Weird hymns that waver between curiosity and dread." For fans of Djong Yun (Popol Vuh) and Lisa Gerrard. Edition of 200.
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BBLP 045LP
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Electronic experiments and free saxophone -- Recorded in studio at Nagoya in 2014 and 2016 by Gakusei Jikken Sitsu (GJS). The title Hekizan comes from the poem "Sanchu Mondo" by Ri-Haku. GJS means "experiment room". Gakusei Jikken Shitsu (GJS) is: Ryoko Ono (saxophone), Hiroki Ono (electronics), and Yuko Oshima (drums). Ryoko Ono, born in Sapporo and currently playing mainly in Nagoya, is an active Japanese female saxophone player, specializing in improvised music and works for saxophone and electronics. Her saxophone playing is beautiful and flavorful as well, even if it's avant-garde or experimental. Ono has collaborated with Richard Pinhas, Tatsuya Yoshida (Sax Ruins), and Acid Mothers Temple, to name a few. Edition of 200.
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BBLP 048LP
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11 43 is the third Kaos Karma album. Still very much inspired by current experimental blues or rock n' roll, this album is a bit different from the two previous ones. The sound is somewhere between No Blues, Alan Vega, Kendra Smith, and Gong. Kaos Karma is joined on this record by a few Japanese friends and musicians: Makoto Kawabata (Acid Mothers Temple), Ryoko Ono (Sax Ruins) holding back a bit, which is somewhat unusual but welcome in this context, and last but not least, the divine À Qui Avec Gabriel. Every noise is organized often enameled with groove, this blues has been meticulously built from the ground up. The tracks pour into a sonic and somewhat stormy ocean into which the listener will easily sink. The warm and raspy voice is reminiscent of the well-known ghosts of Beefheart or the wise ones of the Delta. But this is 21st century blues. At the same time old and new, naked, trippy, and orgasmic; a music outside of time, but very real that creates an incredible tension. Personnel: Fab Giberti - vocals, guitar; Pits Esb - studio work, bass. Guests include: Makoto Kawabata, Ryoko Ono, À Qui Avec Gabriel, Soil Vibrates, and Dom Corrieras.
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BBLP 047LP
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The Rough & Wojtyla album Side R & Side W offers a 1000-piece jigsaw puzzle that recreates a monochromatic landscape. Drones are supported by tentative jazz drum beats, and just when you think you have found some stability in the listening, ruptures happen and multiply. In perfect harmony, the two musicians don't take themselves seriously; they saturate their sonic world with long abstruse silences, before returning more furiously into the barely hidden chaos. The listener is constantly pushed around, always looking for something to hang on to without ever finding it. But concretely, what might one find in the music? Maybe Walter Ruttman and his Weekend (1930)? Or maybe Albert Ayler? Some Stockhausen? When the fury of the sax swirls around the siren, it's a bit of Cluster taking a trip to the land of free-jazz that rips the thick veil of the oppressing yet liberating first part. Or this disco rocket, which for a very precise 15 seconds would have you believe that expectations might be met. But nothing that comes next resembles what has just crumbled. The duo is enjoying itself with this collage, this assembly of sonic decadence where nothing holds, not even the bearing walls. This structure is ready to crumble at any moment. The krautrock-inspired electro passages get entangled, but the experience of the two musicians prevents them from falling into the too obvious influence of Can's Tago Mago (1971). So what to do now? What is there to understand when the cellos cry on this fragment of post-rock without reference? The tapes are altered, sped up, it sways and it dances as if it's inside a schizophrenic brain that can't stop spinning. This record's 35 minutes will just hit you across the head. The music meanders constantly; funk, jazz, rock, all incorporated without an apparent link. The constant pace of ruptures leaves you almost dizzy. But this is not random, the whole is a serious abstract or cubic masterpiece you can't keep your eyes off of in fear of missing a nuance or a sound. And maybe that's it and nothing else: art. The capacity to take someone's gaze and direct it towards an incomprehensible evidence. Personnel: Robert G. Rough - electronics, field recordings, various other instruments; Karol Wojtyla - drums, saxophone. Recorded, mixed, and edited by Robert G. Rough. Edition of 200.
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BBCD 052CD
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Makoto Kawabata (Acid Mothers Temple), Richard Pinhas (Heldon), and Tatsuya Yoshida (Ruins). What else is there to say? Richard Pinhas is one of the more atypical French musicians of the last 40 years. He has been surprising everyone all these years -- Always appearing where you expect him the least. Makoto Kawabata, who has been a big follower of Heldon, has also been a longtime friend and partner of Tatsuya Yoshida. So naturally, these three reunited in 2016 at the Studio Condorcet in Toulouse (France) to record a series of fiery improvisations and experimentations. Free noise, blues, and psychedelia are all intertwined, but there is an uneasiness to it, some anxiety matting the mix. The music is relentlessly broken down: percussive guitars turned bewitching metronome, while other guitars are taken on a sometimes lyrical but always chaotic journey, keeping the listener on edge. Repeat listens will trigger memories of German psychedelia or even the more recent noise rock or no-wave. Every title is named "Trax" followed by a number. The second "Trax" flirts with bands such as Can in their most primary form; that's to say that it's obsessivly repetitive. But the trio is so skillful that they turn influences into subliminal messages. Each "Trax" is a sonic outburst, relentlessly following each other. The musicians expose their most expressive and unbridled sides; it's a free music but without the permanent collapse. Richard Pinhas's guitar is a bit like Sonny Sharrock's, but with some sort of Sonic Youth treatment applied to it, and you still can spot those particular effects reminiscent of the Heldon years. CD version comes in a digisleeve.
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BBLP 052LP
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LP version. Makoto Kawabata (Acid Mothers Temple), Richard Pinhas (Heldon), and Tatsuya Yoshida (Ruins). What else is there to say? Richard Pinhas is one of the more atypical French musicians of the last 40 years. He has been surprising everyone all these years -- Always appearing where you expect him the least. Makoto Kawabata, who has been a big follower of Heldon, has also been a longtime friend and partner of Tatsuya Yoshida. So naturally, these three reunited in 2016 at the Studio Condorcet in Toulouse (France) to record a series of fiery improvisations and experimentations. Free noise, blues, and psychedelia are all intertwined, but there is an uneasiness to it, some anxiety matting the mix. The music is relentlessly broken down: percussive guitars turned bewitching metronome, while other guitars are taken on a sometimes lyrical but always chaotic journey, keeping the listener on edge. Repeat listens will trigger memories of German psychedelia or even the more recent noise rock or no-wave. Every title is named "Trax" followed by a number. The second "Trax" flirts with bands such as Can in their most primary form; that's to say that it's obsessivly repetitive. But the trio is so skillful that they turn influences into subliminal messages. Each "Trax" is a sonic outburst, relentlessly following each other. The musicians expose their most expressive and unbridled sides; it's a free music but without the permanent collapse. Richard Pinhas's guitar is a bit like Sonny Sharrock's, but with some sort of Sonic Youth treatment applied to it, and you still can spot those particular effects reminiscent of the Heldon years.
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BBCD 041CD
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2016 release. Improvised Enka music. Koyonaku is the result of the encounter in downtown Tokyo between Japanese accordionist À Qui Avec Gabriel and guitarist Michel Henritzi. The duo re-interprets through improvisation Enka music, soulful and melancholic popular Japanese songs. They meander through sad melodies in their very own iconoclastic ways. À Qui Avec Gabriel's voice whispers and bewitches the senses with these love songs. Whether on the strings of the guitar or the keys of the accordion, the combined four-handed creative soul, deconstructed abstract blues is the perfect balance of sensuality and violence. Koyonaku is a game of mirrors reflecting different exotic folklore, where each one of them feeds on the other, the suspended space of "mono no aware": this infinite melancholy of the present, echoing its silences, its cries and its screams. A beautiful blues record for your lonely nights. À Qui Avec Gabriel is an Japanese accordionist inspired by both French romantics and punk music. Her music has the charm of Satie's music and the melancholy of the Enka music. She regularly plays with Kawabata Makoto (Acid Mothers Temple), Keiji Haino, and Junzo Suzuki, as well as numerous Tokyo underground artists. John Zorn produced of her first album on Tzadik record label. Michel Henritzi is a guitarist drifting between abstract blues and noise music. He has played with: Junko (Hijokaidan), Rinji Fukuoka, Tetuzi Akiyama, Jojo Hiroshige, Masayoshi Urabe, Chie Mukaï, and many more. Personnel: À Qui Avec Gabriel - accordion, vocals; Michel Henritzi - guitars, vocals. Presented in a beautiful digisleeve.
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BBCD 012CD
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2008 release. Recorded at Acid Mothers Temple, in August and September of 2008. The first movement is called "Light My Fire Ball" and it seems like a groovy, modern vision of the electro-acoustic transgressions made by Can in "Augmn" and "Peking O", on Tago Mago. The atmosphere propels you into a mystic temple. The voodoo incantations by Atsushi is reminiscent of Damo Suzuki's wild voice. "Planet Billions Of Light-Years Away" reveals the theme of the six powerful notes (A-E-D-A-G-Db). Firstly calm and laid back, then energetic and fast, it is more and more powerful and nervous. The sound is great: part flood-in space guitars, part hooked by the catchy rhythms. But "Circular System 7777777", the third movement of this symphony for heavenly riffs, is completely new for Acid Mothers Temple. It is a kind of psychedelic dance song, with an old-fashioned drum machine, but it's so groovy, with reversed cymbals and sexy psychedelic breaks. The last chapter of Cometary Orbital Drive, called "Milky Way Star", is a masterpiece. The song is a kind of musical illustration of the hyper-space, an inter-sidereal rock trip. The tempo is panting, Makoto's soli are more beautiful than ever. The listening is shivering. These thirteen minutes are equal to the A side of the first Ash Ra Tempel record (1971). The booklet doesn't lie; these six-repeated-over-and-over-notes give bright and powerful sensations, with a krautrock purity that will make you dance to touch the stars. Cometary Orbital Drive is an essential record from the Soul Collective, one of those which mixes great stellar riffs, real grooves, inspired experimentations, and absolute cosmos. Presented in a three-panel digipak.
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BBCD 042CD
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2016 release. A reissue of Acid Mothers Temple & The Melting Paraiso U.F.O.'s classic album La Nòvia, originally released in 2001. Recorded at Acid Mothers Temple in May of 2000. One of the best Acid Mothers Temple & The Melting Paraiso U.F.O. albums, La Nòvia is an epic forty-minute rendition of an Occitan song by one of the best Japanese psychedelic noise-rock-folk band. This is a slowly evolving and drone-y album with many different and wonderful musical moments all leading to a glorious conclusion. A very cohesive and masterful record. This CD reissue includes a live version of "La Nòvia", recorded in New York in 2016, featuring Cotton Casino. Digitally mastered for the first time by Yoshida Tatsuya.
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