A blend of virtuoso shredding, spiritual flow and cascading fx recorded entirely on-the-fly with no overdubs by Canadian guitar hero Colin Fisher, hitting somewhere between Fennesz, Daniel Lanois and electric Miles.
"V Le Pape is Colin Fisher’s debut album for Geej Recordings. Fisher, a mainstay of the Toronto experimental music scene, has spent the last fifteen years quietly blowing minds as a multi-instrumentalist improvisational performer. Perhaps best known as one half of the esteemed duo Not the Wind, Not the Flag, he has forged a unique position somewhere between avant jazz virtuoso and a psychedelic shaman of ecstatic performance.
Fisher is a constant fixture at everything in Toronto worth going to. He is also constant collaborator, attractive to popular musicians who need something more than just a great player, and he has recorded with Caribou, The Constantines, Many Arms and Jennifer Castle. But now he is on his own, and Geej is thrilled to share his spectacular talent to the world.
V Le Pape was made entirely using guitar and an array of looping and effect pedals. At first listen one might think that Fisher is part of a growing new wave of Ambient/New Age producers, but that would be to fundamentally skip over what makes Fisher so singular. The album was completely improvised and recorded live off the floor there are no overdubs, no multi-tracks, no second takes., and while the music nods to some other heroes of treated guitar; David Torn, Fred Frith, Alan Holdsworth and Fennesz, Fisher is able to construct something unique. V Le Pape lives somewhere between ambient texture and freeform modal exploration.
But all of it is immediate, spontaneous and free. Guitar playing as improvisational divination comes naturally to Fisher who has spent the last decade studying Tarot., which he uses as an interpretive guide. He’s used the image of The Pape (The Pope) for this record as it symbolizes what Fisher calls ‘a spiritual respiration, a sense of a living bridge” The Pape is a communicator, perhaps between himself and a new audience, perhaps between the universe and his instrument. For Fisher improvisation is composition, there is no distinction between what is written and what is performed as he says that “the framework of Improvisation is biological, if we are incongruent from our senses, we are not acting in relationship with dynamic stimulus and we are therefore detached from the world…. improvising is acting in the world”
Reissue remastered by George Horn at Fantasy Studios in Berkeley.
“Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single “Over and Over” at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12”s. “Over and Over” is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth.
The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals.”
Reissue of the rare 70’s folk-jazz record from Toronto based artist Beverly Glenn-Copeland previously released on the Canadian GRT imprint.
"The debut release by Afro-Canadian singer, songwriter, and cult figure within new age experimental sounds, has been long sought after. The soulful jazz release, was original recorded in 1970 alongside musicians Dough Bush, Don Thompson, Terry Clark, Lenny Breau, Jeremy Steig and Ray Charles collaborator Doug Riley a.k.a. Dr. Music. Written when he was 26, the album is a testament to Copeland's stand-out songwriting, and earnest, beautiful vocal talents, fitting into the realms of spiritual folk.
Born into a musical family in Ottawa Canada, Beverly Glenn-Copeland studied the classical piano repertoire, after being brought up listening to his father playing at home. Following his studies, Copeland moved on to songwriting, in order to weave all the different musical cultures he had come to love. He is best known for the 1986 release Keyboard Fantasies, re-issued in 2017 by Invisible City, a record described as a mixture of "digital new age and early experimental Detroit techno." Now going by his name Glenn Copeland after gender transitioning, the singer songwriter also made a name for himself writing children's music for TV shows Sesame Street, and Mr. Dressup.
Referring back to his debut record, Copeland states: "I was a fresh-faced kid of twenty-six when I wrote these songs, only a few years out of the classical music world in which I had been immersed since childhood, performing the European classical song repertoire in concerts both live and for radio broadcast. So I sold my oboe, bought a guitar and began tuning it in wild and wonderful ways to more easily find the chords I had no idea how to find in the regular tuning. I didn't want to study anymore. I just wanted to write."
Very necessary reissue of Derek Bailey’s astonishing Guitar - Lot 74 Solo Improvisations, a completely captivating slab of improvisations recorded by Martin Davidson in 1976 for a single-sided pressing on Bailey and Evan Parker’s Incus Records. Now, more than 50 years later, Honest Jon’s have done a sterling reissue job, sending the tapes to Abbey Road for transfer and roping in Rashad Becker at D&M to get Bailey’s dynamic range, including those amazing tremulous highs and the biting point distortion of ’Together’, sitting just right on the record. This is the sh*t, this is!
"In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes.
All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars.
There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct?
Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson
Although often overshadowed by the more popular ‘Treasure’, 'Head Over Heels' is perhaps the most influential album in the Cocteau Twins catalogue and one that continues to confound 35 years later.
The band’s second album, it was recorded in 1983 mostly as a duo of Fraser and Guthrie, and was the first album to make a real feature of Liz Fraser’s made up, oddly intoned vocabulary. More hard-edged and loud than Treasure, Head Over Heels is also a marvel of production - the way the guitars stay submerged in the mix while the drums pound, those sudden key changes, small flourishes etched into eternity.
Coming not long after original bassist Will Heggie had departed the band, the chemistry between Fraser and Guthrie moved the band on from the starkness of their debut; they were now making the music that would help them define the decade ahead; her wordless, dreamlike vocals a powerful instrument over his lush, textured guitars.
They just don’t make them like this any more (although Demen tried).
Belgium’s favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue.
Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
Afrikan Sciences & Ari Robey-Lawrence present the first studio recordings of Old Shady Grady & The Neighbourhood Character on Jordan GCZ’s Off Minor label after a series of live showings at Freerotation and elsewhere since 2015.
The Tangle Transmogrifier EP catches Eric Porter Douglas (Afrikan Sciences) switching tack in the jazz-techno cosmos from his Les Graciés duo to a more far-out style thanks to the ruggedly rooted touch of Berlin’s Ari Robey-Lawrence a.k.a The Neighbourhood Character.
With effortlessly intuitive verve, the duo move in elegant formation thru four asymmetric grooves, firstly synching splintered broken beat bumps with bittersweet, keening string cadence in The Queen Of Bubbles, then with a more fluidly metallic diffraction in the melancholic dub grubber, Of Two Minds.
The flipside meanwhile brings the ‘floor firmly into play with a scratchy 3-step ace called Fig Jam, before they do some inimitable voodoo on ya with the darting rimshot punctuation, jazz chords and surging noise figures of Woman’s Heels, in a way recalling Howard Thomas ghosting jazz blues.
On the 3rd of 3 new 12”s, Will Long (Celer) nods to Richard Pryor and leading Black Panther Ericka Huggins in two of his signature, raw, extended deep house grooves for Smalltown Supersound.
Unlike the 2016 batch of Long Trax released on Comatose, there’s no Sprinkles dubs this time, but Long capably goes solo with the lean, longing jack of That’s The Way It Goes features a key sample from Richard Pryor stating “I just think it’s part of capitalism to promote racism”, whilst samples from Ericka Huggins are woven into the bittersweet chords and subtly treated groove of We Tend To Forget.
Master drummer Jaki Liebezeit was very pleased that the craft of drum making has not changed much over the course of time. Be it that a skin is stretched over a drum with cords or bolts or be it that the skin is out of plastic or animal hide - the principle remains the same: Either enclose a hollow space without which there would be no sound (just imagine a drum filled with clay!).
"The same applies to the perception of rhythm. Everything is reduced to the essential: the hollow space in the centre. It is the invisible that matters. All tracks on the second DRUMS OFF CHAOS EP revolve around this vacant space in the middle. A centre that is filled with - nothing.
The focus is on abstract, grooving drum music. Rhythms are reduced to their elementary nucleus to such an extent that they can be perceived as clearly singular but also as universal. And something emerges that follows universal laws such as gravity, ergonomics and acoustics.
Play what the drum demands, was one of Jaki's sayings. Together with him, DRUMS OFF CHAOS took this to heart. The album centres on rhythms that are based on simple numerical relationships allowing their richness to unfurl from within.”
Reissue remastered by George Horn at Fantasy Studios in Berkeley.
“Dark Entries Editions is proud to reissue “Ghost Town” the 1984 debut 12” single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track.
Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental “Ghost Version” on the B-side.”
Slow Sundown, Holy Motors’ debut full length release, finds the estonian dreamcatchers utilizing a sonic palette ranging from dark psychedelic pop to shoegaze-inflected western music.
"Thematically the album is comprised primarily of sad love songs centered around the idea of motion – the motion of a satellite orbiting a planet, the motion of a passenger riding shotgun in a car – as it relates to stellar-scale and existential isolation. produced by merchandise’s carson cox and recorded at brooklyn’s kutch1 studios when the band was visiting the us on tourist visas, slow sundown is a beautiful alien artifact that definitively delivers on everything we have been promised by holy motors’ work to date."
All stripes of early ‘90s Dutch techno, dug out by the Lowlands lynchpins at R&S
“Maarten is one of the most influential figures in the Dutch scene, and also a man of many aliases - between 1987 to 2007 he racked up releases with over two dozen projects producing Detroit techno, electro, house, experimental and ambient tracks and remixes.
The ‘Moonwater’ album under the alias In-Existence was one of the very first Apollo releases. It had a limited release in early 1993 in-between classic albums from Aphex Twin (Selected Ambient Works), Biosphere (Microgravity) and Mixmaster Morris’ debut Irresistible Force long player.
Listening in 2018 the album still feels vital and fresh well over two decades since they were recorded and should be enjoyed by anyone with a love for discovering beautiful ambient and electronica.”
Angela Davis and Samuel Block feature on the 2nd of 3 new 12”s in his Long Trax deep house style for Smalltown Supersound following his widely acclaimed set of releases for DJ Sprinkles Comatose in 2016.
Sprinkles doesn’t appear on this new series, but Long is now firmly into the deep house swing, placing his own, sensitively raw and low key spin on the style with gauzy samples of Angela Davis laced into the 12 minutes of keening float in The Struggles, The Difficulties on the front, then doing something similar with the 10 minute, No More on the B-side.
Dark Entries keep plugging the gaps in our New Wave knowledge with reissue of Intense Molecular Activity’s obscure, belting 4-track single I.M.A. plus four tracks from the same era which have never appeared on vinyl, ’til now.
Caught in flux between proto-EBM and New Wave/NDW jerkiness, Andy Blinx and Don Hünerberg’s short-lived but vital unit effectively specialised in their own form of industrial disco under the name Intense Molecular Activity between 1979-1981.
Blinx sang and Hünerberg did the beats and noise on their sole release proper, an 8” flexi-disc which features as tracks 1-4, or side A on this new reissue. It’s perhaps best known, or recognised for the clattering, angular lead track Blurb, which provided core sample to Keep On Waiting from DJ Hell’s NY Muscle album, and also features some supreme porto-techno styles recalling Visage’s Frequency 7 int he likes of Points In Space and Just Testing, while the cavernous Blinxong comes off like a cut from Basquiat’s Gray EP beefed up by Kraftwerk - seriously!
The other tracks are bob-on, too. Beat Street is a proper dancefloor rocket - like some mad template for disco-metal alloys - while Battery Life unleashes a proper charge of percussion and processed vox shades away from Craig Leon’s Nommos, and The Look hits a wicked stride of militant snares and glancing, dissonant electronic stabs.
Lushly balanced ambient house and breaks trips from Adam Feingold’s Ex-Terrestrial alias
Making his first outing on Vancouver’s Pacific Rhythm with a warm and friendly sound teeing up hazy new age pads and breaks in Urth Man, slippery ambient acid on Everybody Dreams, and early Warp/SoYo breaks vibes in Water Walk, which also appears as a cannily percolated ambient rework by Priori (Jump Source, MSL), who also mixed the EP.
Midnight Shift draw cuts from Gramrcy & Hodge, Mark Forshaw, Harmonious Thelonious, INNSYTER, Terry Lamborghini, Amato, Thermocline and Knuttson-Berg for their latest label compilation.
It’s a mixed bag, chucking up some highlights via the Brazilian rufige of INNSYTER on A Last Time For and the pounding Gramrcy/Hodge number Barnohl, beside the giddy disco-tech of Mark Forshaw’s Power Grab and Knutsson-Berg’s bouncing acid-electro bomb.
Remastered (by Matt Colton) reissue of Juan Atkins' (and Marty Bonds') sought after ambient techno gem, originally released in 1992.
'The Passage' is a classic piece of Detroit breakbeat techno science flush with celestial synth arrangements and powerful electro/breakbeat techno torque buffed up for 2014 on the A-side. Flip it for the darker techno-pop drive of 'Mind Changes' and the midnight sci-fi mission, 'Vessels In Distress'.
Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra.
"Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12″ in 2014. Jan has since followed with a steady stream of 12" singles for Kontra-Musik, Noise In My Head and Radio Lundberg.
"Magnetic Moves" is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley."
Grandiose synth compositions from the Posh Isolation barracks...
“Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries.
'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape.
Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone’s needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that delivers Vanessa Amara's world.
Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.”
Pivotal techno pioneer Susanne Kirchmayr a.k.a Electric Indigo presents a filigree detailed début album of high-end techno electronica with 5 1 1 5 9 3 for Robert Henke’s Imbalance Computer Music label.
Mainstay of the Berlin scene since she moved there from Vienna and took a job at Hardwax in the early ‘90s, Electric Indigo’s name and output is synonymous with the city’s leading edge of clubs and sound art thanks to her uncompromising aesthetics and vital work with the Female:Pressure group, which she established in 1998.
After some dozen 12”s with her name at the top, including a recent turn on the Berghain 08 EP, Electric Indigo now offers a definitive cross-section of her sound in 5 1 1 5 9 3, combining her praxes in the ostensibly opposing but often interrelated spheres of academic sound art and club music, in 10 uniquely twisted permutations of computer music, electro-techno and electro-acoustic styles.
While unremittingly greyscale in tone and minimalist in structure, 5 1 1 5 9 3 still possesses a depth of colour and striking variation of pattern within those parameters. The result is Berlin techno music at its probing, icy best, especially in the rhythm-driven highlights such as the recursive electro-noise vortex of Excursion, the purist pressure of 4.31Hz and quite strikingly in the Anne-James Chaton-esque rhythmic vocal cut-up of Trois, and to neck-cricking degrees with the immense spatial proprioceptions of The Landing.
Marie Davidson & Pierre Guerineau’s Essaie Pas duo pay tribute to PKD’s classic sci fi novel A Scanner Darkly with a dark, suspenseful cinematic and driving suite of electro and synthscapes for DFA.
New Path finds the duo mirroring the book’s themes of mass surveillance, voyeuristic technology and drug culture thru a range of evocative strategies, both literal and oblique.
From insectoid rhythms emulating the effect of narcotic psychosis in Les Aphides to the record’s titular reference to the New-Path rehab clinics, the results are riddled with inference and explicit nods to the book, resulting in some superb highlights in the duo’s nerve-riding hot-stepper Les Agents Des Stupas, where they make great use of the Ensoniq ESQ-1’s sharp tones, and also the pendulous, shadow-strafing killer Substance M, with the cinematic depth of New Path providing neat closure to their short story.
Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt  and Univrs  pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.
Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.
The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.
The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna.
Mellow but insistent London broken beat and soul vibes on Rhythm Section International
“Long time friend of the label, Neue Grafik, steps forth with his most fully realised offering to date. This record has been a long time coming, born out of a encounter in Paris back in 2016. This meeting of minds led to a blossoming friendship between Fred (Neue Grafik) and Bradley (RS INTL) which has taken them across 3 continents, countless dance-floors and finally crystallised onto this 12”.
The record itself takes cues from the broken-beat sound of London while paying homage to the Parisian house dance scene. Largely sample based, but also employing much more live instrumentation than ever before, Neue Grafik’s music is informed by movement and in turn offers so much for Dancers to respond to.
The EP begins with the lysergic ebbs and flows of ‘Innervision’, ( in which Wayne Snow graces the record with a sublime vocal performance) and moves effortlessly to the uplifting bruk of ‘Dance to Yemanja’ via the staccato of ‘ to Peckham Rye’( a homage to the labels origins) , before finishing on the hauntingly melancholic tones of ‘Aulnay’s Tears’ - an homage to the victims of police brutality in the Parisian Suburb in 2017.”
Amorphous electronic producer Broshuda shapeshifts ambient styles for Milan’s Haunter Records with Jemi, perhaps the sweetest yet elusive iteration of his sound which has previously found its way onto the Videogamemusic, Phinery Tapes and Jheri Tracks labels.
Working shades away from the fractal structures of uon or Wanda Group, or like a more dazed and weightless Zomby, the Berlin-based artist pulls from myriad styles to form his own genteel ecosystems of coarsely grained but spaciously diffused electronics, each riddled with silvery hooks and tilted to the horizontal.
The enigma of Rex Ilusivii becomes deliciously mistier with this remarkable recording made at The Serbian National Theatre in Novi Sad, 1983. We’re going to get used to saying this; it’s yet another amazing record from the Offen Music label outta Düsseldorf’s Salon Des Amateurs…
This is a truly freakish slab of sounds, combining Suba’s background in classical composition (although he never finished his studies, becoming seduced by synthetic sounds and therefore not allowed to finish his degree under Rudolf Bruci), with a headlong taste for electronic music and a unique cache of ethnic and folk recordings made by his travel writer father, Radomir Subotic.
Factor in a fascination with emerging Latin-American sounds, and Suba was clearly out on his own at this time in what was then known as Yugoslavia, where he was employed at Radio Beograd’s state-of-the-art Sound Workshop as a freelance engineer and composer exploring the potential of their Synthi 100 and learning from the maestros of “radiophony”, Arsenije Jovanovic and Ivana Stefanovic.
Predating the sounds on his sought-after Disillusioned! LP and In The Moon Cage, the Koncert SNP 1983 performance renders Suba at his most liminal, unquantifiable, twisting and turning in seven parts between starkly minimal, primeval synth music to hypnotic, pulsating vocal arrangements and Ghedalia-esque worldly psychedelia, plus a number of shorter pieces of gristly knots and abstract whorls, which are almost concrète dub in effect and bear no small resemblance to current, deconstructed club musics.
We love this label, and much like everything we've heard from them thus far: this is a buy on sight kinda deal.
Feel the yacht torque on this! Proper, pendulous electro-jazz-funk from Spain, 1987, blessed with the power of a 50 footer tacking in a refreshing Mediterrean breeze. Keep your mojito loose but steady…
“Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.
As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.”
Debut album by the new creepy and romantic basement organ project of Romain Perrot.
“The other night I dreamt about a parallel universe in which Klaus Schulze had some sort of government-paid job installing contact mics and analog synths (which I suspect was mainly to annoy Tangerine Dream) in all the big European cathedrals to "modernize" the pipe organs. I told him how they used to make cobwebs in the early Dracula movies; you punch a small hole in a yogurt pot full of liquid latex attached to an electric drill, point roughly where you want the cobwebs to go, shut your eyes and hit the trigger.
This got ol' Klaus drooling, and pretty soon every church (not to mention cemetery) ceiling in France was dripping with stringy latex goo. He also decided to add more gargoyles (inside, on the altar) and impose a black metal warpaint dress code for Sunday mass. Roro worked part-time as the Hunchback (every church had their own, so as well as Notre Dame there was The Hunchback of The Sistine Chapel, The Hunchback of Unarius, and even, controversially, The Hunchback of Scientology) and also hung out in front of Pere Lachaise trying to get people to sign a petition to change the name of the cemetery to "The Dario Argento Museum".
Reclusiveness aside, Romain and I sometimes like to meet up near Notre Dame at a Japanese restaurant run by one of the members of Les Legions Noire, serving "necro-sushi" and so on... One sunny afternoon, sighing as he removed the fake Quasimodo teeth and the cushion stuffed into the back of his shirt, he handed me the new Trou Au Rats LP, cursing the backache which was the result of his job. "Give this to Klaus" he said, in a deep voice a few octaves lower than usual. Now, dear reader, let me assure you, I don't know and I don't want to know what kind of entities he'd done deals with in his basement catacomb, but a few days after Klaus heard that album, Roro got to lay down his hunch for the last time, and scored his dream job as full-time organist. Mind you, dream job or not, he does still have to wear the plastic vampire fangs, somehow managing to remain the perfect gentleman, even if they do make him talk funny. Now, if you are aware of his other projects (Vomir being one), chez Roro there's no such thing as a coincidence, and there's always a lot more going on that meets the eye... That might explain why, shortly after his promotion to organist, as if by majic(k), weird record shops called things like "Bimbo Tower 2" started opening up all over Europe in the tiny streets round the backs of cathedrals or near to old cemeteries (and even inside pyramids, or so I was told), right next to where the crazy old witches sell gory upside-down crucifixion dioramas and Free As Dead tshirts in the most happenin' European cities. Which must be why you are reading this right now”
Andy Bolus (Evil Moisture, Royal Sperm) Paris January 2018
Timeless drum-machine soul music from genius Brit-Funk pioneer John Rocca. Pink Rhythm were a mid-80s evolution of Rocca's London-based band Freeez, featuring the great Andy Stennett and Peter Maas.
"Melodies Of Love" was first released in 1985 yet, still sounding staggeringly fresh, it's no surprise that discerning DJs call on it now more than ever. As the title suggests, it's so melodically profound and so effortlessly funky, once you hear it, you never forget it. Accordingly, it has been growing in demand on 12" for the past decade.
Gliding serenely, its epic, melancholic synths appeal to fans of Italo, whilst its stabbing Moog bassline and wall-shaking drums retain an unmistakable boogie / electro-disco feel. Rocca himself delivers a memorably androgynous vocal that only adds to the majesty.
Backed with the strutting sax workout "Walking In The Rain", this officially licensed, remastered 12" - presented in a heavier sleeve than the original - is one not to miss."
Add one feral vocalist to salty rhythmic noise by a L.I.E.S. rogue, engineered by a Hospital Productions don, and you get Wetware. File next to: Factory Floor, Alberich, Group A
“New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70’s No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware’s overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar.
Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY. Vocalist Roxy Farman, whose familiar voice was last heard on Drew McDowall’s “Unnatural Channel” album, stole audience’s attention immediately, using her body in tandem with her voice as a weaponized vehicle for the band’s anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that’s developed between Farman and Morandi has been explosive. Wetware’s live antics and behavior has caused alarm amongst their local audiences, making Wetware the group to “not be missed” on any particular bill that they are allowed to take part in.
Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalize their most recent output in the context of their first full length album entitled “Automatic Drawing”.
Given Wetware’s penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in NYC in the Summer of 2017, one would expect the usual restlessness on Wetware’s debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs “Frequent Dreamlands” and “Ode to Joe”. Industrial dance rhythms bounce around Farman’s poetic stance on “Where Ever You Were”, causing flashbacks of an early 80’s dystopia that jumps around a confusing, uncomfortable backdrop. Interspliced with modular electronic instrumentals like the album’s opener “Pantomime”, Wetware’s devastating portrait is that of a society in peril.”
Olivier Brisson lives in Lille and has been involved not only with sound experimentation but also with psychiatry. The latter is not just a detail but an important fact here: this is a work about frames and boundaries. But who (or what) are inside/outside those frames?
"That’s not easy to say. The sound collage brings us to a continuous flow where everything seems mixed: “professionals” cataloguing “mental illness”, voices of “patients”, tape failures, suggestive music passages, anomalous noises, field recordings from everywhere and several rivers of sounds sailing together along with the listener. The trip is intense and compelling. Beautiful and terrifying.
The horizon might be a cushion but it might be also something else. We’re culturally trained to believe that something is “normal” or not and we put a lot of effort in trying to make the world fit in those categories. But in the end who is “normal” enough to say what is “not normal”? This is what this record is about and Beware! Sound can easily brake barriers, even those you didn’t notice were present."
Anla Courtis Buenos Aires, Argentina December 2017
Collaboration piece between two major players in the contemporary Italian electro-acoustic music scene.
"Alberto Boccardi has studied composition and music theory at Milan's Music Civic Academy and has frequently collaborated with Lawrence English, Nicola Ratti, or Maurizio Abate among others while Stefano Pilia is a prolific guitarist and electro-acoustic theorist with a massive body of work and compositions. He has collaborated with Mike Watt, Nico Vascellari, David Tibet or Valerio Tricoli to name a few. I love this new album "bastet" by alberto boccardi and stefano pilia right from my first listen I decided I would go to the sea (my pedro town is in the harbor of los angeles) to write my thoughts about it cuz the sea is what I first thought of when I heard the first sounds of it coming - I figured it was the sea cuz I had feelings from the music I had these sensations cuz I felt I was in the ocean - on a boat... actually not just on a boat but in the bottom of it - down in the bilge. the musical interaction between alberto and stefano is seamless and whole, free of potentially encumbering static structures, I'm drawn into the pitch and yaw, the port and starboard, the heave and ho.
The piece is made of two parts ("bastet" and "dayira") w/each of those parts being made of likewise two parts. the longes of these bookend the shorter ones but still it is a journey. by the middle I feel lower in the bowels of the boat and in fact, this boat is now feeling like a submarine and so not only am I deep down up in the vessel itself, the world I feel around in is ALSO deep down in it, deep down beneath the waves and so I feel the pushing of currents, the pressure of the depths compressing the bulkheads. on the very bottom of the hull's inside, over the keel I place my head so the vibrations can pass right the bone of my skull. the last part of the voyage for me is a surprise cuz now the sub feels more like a train. we're still moving but everything is no longer wet and there are many gifts falling into my eyes and I survey the passing landscapes. the mechanized sounds throughout the piece by now only confirm my suspicion they were only coincidences of chance and not purpose-built reels of barbed-wire to enforce fake borders. maybe this "railroad" in my head actually was the sea becoming a river and I got confused. whatever, alberto and stefano created and preformed a whole and beautiful work that I feel we are very lucky to get to share w/them. music connected by imagination to let the spirit flow true. no wonder I read somewhere the cat-headed old egypt deity of bast was considered the guardian of the dream world. I am inspired. grazie, fratelli. mike watt san pedro, california january 2018 The sounding worlds of Boccardi and Pilia meet in quasi-narrative paths. Immediately, from the first glance at the tracklist, something seems to thematize the encounter in its two-faced nature: two dedications (Bastet and Dayira, the birth), each one in two parts, but also an encounter between electric guitar and percussions.
The guitar being itself already an encounter between acoustic and electric sounds. Yet again, organic and electronic soundscapes are coupled down into introspection and vision. While Bastet is set to follow an inner voyage along memories and ambiences where Popol Vuh and Robert Rich seem to faintly appear, it is Dayira that is given the mission of projecting the inner vision into vast emotional landscapes. And at the very end something new is birthed, a minor chord that apparently has nothing to do with the drones and patterns preceding it, along the sound of the entire album. An intriguing surprise that is driven by an electronic, floating aura to a quasi-interrupted ending. Functioning as a promise that this voyage has yet to be finished.
Striking début of pained indie vocals paired with lean wave grooves by Dormer, a duo comprising Australia’s Harry Maslen and Morgan Wright. Cop Envy and Leo James give sharper electro remixes.
Launched by Burning Rose x Pelvis Records, Dormir find their place with a fine grasp of pop romance for the ‘floor in their mix of louche vox with nervy electro-pop swing on In Pursuit, then with a quieter, low key sort of seduction in the reddit glow and languorous delivery of Rendezvous.
Both songs are further fired for the ‘floor on the B-side, Cop Envy giving a taut, recursive electro version of Cop Envy forgetting about the vocal and focussing on the rimshots with great effect, while Leo James follows an ace 12” on Berceuse Heroique to reinserts the vocals into a slick, rolling electro-pop chassis.
T H I S album - jesus. Stunning collection of torch songs and electro-acoustic dramaturgy - hugely recommended if you’re into Scott Walker, Élg, Félicia Atkinson, Ghédalia Tazartès or Mica Levi. Easily one of the most striking, rewarding albums of the year so far.
The King is a remarkably absorbing collection of enchanted orchestrations and abstract torch songs by Cee Haines aka Chaines, a Manchester-based artist in possession of a starkly singular sonic language, who has collaborated extensively with the London Contemporary Orchestra and had their work performed at The Roundhouse, Union Chapel, Printworks and Tate Modern.
Leading a thematic expansion of Chaines’ OST debut from 2015, their 2nd solo release yields a phantasmic and richly evocative soundtrack-esque series of works written over the past three years, including exclusive versions of commissions by the LCO and Union Chapel, all serving to frame an intimate yet beautifully elusive portrait of a unique artist coming into their own.
In eight parts, Chaines draws a mercurial line that connects the almost bestial intimacy of purring strings and whispered vocals in For Your Own Good to something like Scott Walker-invoking-Fantasia in Eraserhead, conjuring a mutably surreal and mystic atmosphere that keeps listeners teetering between knife-edge suspense and sublime relief as they scale from delectably detailed avant-garde psychedelia in Knockturning to a bout of Grouper-as-spectral-Jazz diva styles of Population 5120, and all in a way that makes the exploded hyaline castles in the sky dimensions of Airship seem totally feasible next to the cavernous avant-techno impulses of Carpathia. Never following a linear path, Chaines are as likely to incorporate doom-laced chamber motifs and asymmetric techno rhythms as operatic vocals and microscopic sounds, always with a sensitivity to the metaphysics of space and spirit which coolly sets their work apart.
Chaines find themselves amid exemplary, boundary-morphing company on the Slip label, whose diversity finds a common strength in the will to express something of a pathos beyond easy comprehension, yet which can be felt and understood immediately and instinctively by anyone with an open mind and a thirst for the new.
Ineffably stylish avant-punks Toresch pursue the shark-eyed swerve and bite of their Essen Für Alle debut - one of our most-played records of 2016 - with a 2nd batch of skulking aces for Vladimir Ivkovic’s Offen Music outta Düsseldorf’s Salon Des Amateurs.
Again, Detlef Weinrich (Tolouse Low Trax) tills the groove for Viktoria Wehrmeister, a Mexican-born German sculptor and artist with previous form for Klaus Dinger’s La! NEU? troupe. However, this time the vibe is more concentrated, low-key, burning with dark blue hues for red lit basements to leave listeners in a purple twilight zone, hypnotised by Weinrich’s reticulated rhythms, commanded by Viktoria’s pidgin, made-up Spanish lyrics, and subconsciously tripping to the plasmic mix magick of Gordon Pohl, whose sleight-of-hand was crucial to the success of Toresch’s debut.
In EP opener Guayabame we hear echoes of their addictive Como Para Todos, but contracted and numbed to a tighter, frozen buzz with Viktoria stalking the stage front and centre, less raging, more snarling. On Las Locas they tuck the rhythm somewhere darker and more fetid with the kind of snake-hipped shuffle that unlocks the psyche in devilish ways, vocals reserved to a sort of druggy and wickedly illegible slur.
The highlight this time is their lip-bitingly strong, noirish beauty El Fuego, where Viktoria Jekyll & Hyde’s herself in whispers and curling, orientalist plumes amid a maze of slow, smoky electro-dub draped in midnight jazz keys, before rearing up like a mutant, melted New Beat or proto-techno zinger in the clenched, simmering pressure of Tocar, which subtly benefits from Gordon Pohl’s fathomless dub mix sphere.
Trust it’s a total beauty!
The continuation of the audio trilogy concerning the Darkness of Aegypt: the shadow stuff from whence dark dreams come. The Triad: dark, light and the animating serpent power are delineated by the Egyptian Gods Set, Horus and the Apep serpent.
"The second parting of the ways, lord of the crossroads, the double horizon, the xroads of day and night, the mauve zone, the death posture. We brought back: a twilight mechanism, and hymns to the charnel ground, ashes, jackals and the bulto hyaena, pacing the departure lounges of abandoned airports."
Finally available again - Second of two crucial Shackleton singles on Honest Jon's, weighted with dynamic remixes by T++ and Mordant Music.
In contrast to the coffin intensity of 'Deadman', 'Fireworks' is widescreen and viewed from above (perhaps best imagined from the perspective of the unfortunate soul in Gaspar Noé's 'Enter The Void'?), suspended in up-drafting columns of ghoulish synth voices, silvery hi-hats and convulsing kicks evaporated from viscous subs way below.
With 'Undeadman' his zombied cadaver arises again, divined like a worm from the ground by plunging subs to join the skull disco on consecrated ground. T++ is similarly averse to gravity, his agile rebuild feeling like it's being dragged upwards by the chest, limbs carving 'ardcore torque in mid-air, buffeted by sub-harmonic turbulence. There's a reference to his classic Dynamo 12" in the title 'Außen Vor', but we haven't the foggiest what it means. Kindred darkside shamen, Mordant Music plays the 'Undeadman' like a dread-dub marionette, trapped in halfstep inertia at the centre of a dizzying atmospheric pressure system. Essential!
A seminal, evergreen concrète classic, originally commissioned by the Shah of Iran to mark the 2500 year anniversary of Iran’s founding by Cyrus, Iannis Xenakis’ Persepolis masterpiece re-enters orbit ready to stun a whole new generation of keener listeners. We don’t want to over egg it, but this is one of the most incredible pieces of electronic music ever made! Now remastered by Rashad Becker
“After “La Légende d’Eer” in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS’ mindblowing 54-minutes oeuvre “Persepolis”, mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.
“Persepolis” is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance – XENAKIS’ so-called “polytopes” – which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. XENAKIS had realized “Persepolis” on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series “Prospective 21e Siècle” in 1972, adding the new subtitle “We bear the light of the earth”, his most hymnal title ever.
Out of print for decades now, the LP became – especially the Japanese edition from 1974 – one of the most expensive collector’s item of electroacoustic music. There were some later CD versions with different durations – too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin – the same experts who had already taken care of the 2016 KARLRECORDS release of “La Légende d’Eer”, another milestone composition among the works of the Greek-French avant-garde composer.”
Pye Corner Audio brings his wood-fired analogue sound to Lapsus Records after touring the houses of Mondo Tees, Polytechnic Youth, Analogical Force and More Than Human already in a productive 2017 cycle.
In a smart play of contrasts, we hear much-loved and lesser-heard sides of PCA’s sound in Where Things Are Hollow. The supple, rolling arpeggios and acid tweaks of Resist, and his wobbly, chromatic cosmic chugger Northern Safety Route both bear the hallmarks of Martin Jenkins’ signature dancefloor romance.
However, fans should be very intrigued to hear him go beat-less and weightless in the other two parts. With Mainframe he conducts a stellar display of piquant bleep motifs and arcing choral pads converging into a gently distorted and dissonant harmonic smudge at the track’s peak, and Continental Drift seemingly operates on the opposite side of that wave with a sullen stir of low end swells and light pollution aurora reflecting the scale of the track title.
Amazing record! Avant-pop enigma Leslie Winer slinks the plasmic, recursive matrices of Jay Glass Dubs in a brilliant but unexpected marriage of husky trip hop and psyched-out dub styles on Your Mom’s Favourite Eazy-E Song for Bristol’s excellent Bokeh Versions.
Finding common, scorched ground between Jay’s gutted structures and Leslie’s abyssal, esoteric insight, YMFEES serves to perfectly highlight the similarities and mutabilities common to both artist’s oeuvres, which have previously shared label space on The Tapeworm, and both share a keen lust for the dankest ends of the dub pool.
With Winer’s lyrics reprinted in swirling ellipses and contoured kerning on the inner sleeve, and presumably (and smartly) designed to mirror the elusive structure of Jay Glass Dub’s arrangements, the listener is offered some kind of star chart thru their no-man’s-land mental dub scapes of ricocheting riddims and droll reportage from the brink of consciousness.
In a dancefloor situation, we’d imagine these tracks to trigger some healthy bewilderment, as bodies get snagged on Jay’s cranky churn and heads spun by Leslie’s stream-of-non sequiturs in Woodshedded, or likewise bullied by the blown-out bass and genuinely spooked, over-the-shoulder vocal of About The Author. However, it’s most likely to be consumed in solitude, which is probably the most appropriate for really getting into the album’s strangest nooks, such as the deliciously OOBE-like detachment of No Famous Actors featuring Winer as HAL-like ghost in the machine, or the masterfully heavy-lidded drowse of Cogged featuring a barely-there Winer suspended above Dubs’ murkiest, hypnotic strokes.
What a beauty?! Don’t sleep!
Helm’s away-day for The Trilogy Tapes comes under killer remix fire from Laurel Halo, Sky H1, Parris, Low Jack and Beneath on Luke Younger’s Alter label.
Thanks to smart A&R and sequencing, this is one of those rare remix packs that exceeds the sum of its parts, cannily opening up the material to new perspectives ranging from the oblique jungle chicanery of Parris, who redresses Blue Scene as a sort of blown-out DJ Scud workout, to Sky H1’s anxious ambient trance cradling of After Dark.
Low Jack likewise renders a bittersweet tang from Candy that remains faithful to Helm’s gritty aesthetic, and Laurel Halo puts a mean, side-winding spin on Blue Scene, working up a fierce friction shared in Beneath’s re-rolled, recoiling take on World In Action, holding the rudest line between abstraction and face-twysting nuttiness which, like everyone else, draws mutable common links between dance music and noise.
Warp grip DJ Nigga Fox for a blazing follow-up to last year’s heavily experimental 15 Barras 12” with Príncipe.
With Crânio, Nigga Fox reasserts his position at the vanguard of Kuduro and its mutant offshoots by pushing the levels of detail and rhythmic tension in his productions to lethal degrees, resulting some of that sound’s most warped (pun intended) and irresistibly driven workouts.
From the front he gets freaky AF with the curdling acidic glissandi and sloshing triplets of Sinistro, which tees you up for the lip-bitingly strong torque and bonkers synths of Poder do Vento and its wicked surprise switch, while Maria Costa finds him bringing the bass forward on a killer electro-tribal lurch.
Likewise, the ghosts of tradition haunt the deep forward Afro-futurism of KRK in the form of lilting folk-like melodies played electronically, wheres WAABA-JAH hears him calculating that sound on a natty half stepping sort of tarraxho drill flex, and the roiling rhythm of Karma will untangle brains and limbs in the most bewildering, re-programming style.
If you’ve ever heard Philip Jeck play you’ll know that he manages to weave the most evocative and uncanny sound tapestries using little more than modified gramophones and some effects pedals. This second chapter of the Vinyl Coda is considered to be a Jeck masterpiece, originally released in the late 90s and now re-mastered for this much needed vinyl edition.
"Philip Jeck revolutionised the world of experimental music with his pioneering turntable collage work, with his hazy and intuitive narrative of sounds that never quite head in the direction you expect. In these sets, Jeck uses a number of turntables and prepared records to create strange soundscapes in which crackles and pops meet with antiquated comments (from self-help records, for instance) and disembodied snippets of music from all fields. The juxtaposition of odd, unrelated sources and the accumulation of a number of layers of sound are what drive these pieces forward, what captures the attention.”
Derek Bailey’s incredible debut solo showcase is given a necessary, expanded reissue as part of Honest Jon’s reissue series of important releases on Bailey and Evan Parker’s Incus Records. The original LP of finger-flaying improvisations and Bailey’s takes on works by Gavin Bryars and Misha Mengelberg is now augmented by an extra disc of farther improvs, including a solo show at York University in 1972.
The late, great guitar pioneer’s Solo Guitar remains pivotal testament to his endeavours in dismantling modern instrumental music and freeing it to more curious routes of expression, much in key - so to speak - with the US free jazz and improvised music which it evolved from. Love it or not, this record remains a totem of late 20th centre musical exploration.
“Recorded in 1971, Solo Guitar Volume 1 was Bailey’s first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return.
The LP was issued in two versions over the years — Incus 2 and 2R — with different groupings of free improvisations paired with Bailey’s performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars and Willem Breuker.
All this music is here, plus a superb solo performance at York University in 1972; a welcome shock at the end of an evening of notated music. It’s a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence and wit.”
First vinyl version of a classic album from 2005, re-mastered by Thomas Dimuzio and new artwork by Pierre-Ives Girard.
"AIWS covers studio-recordings composed from 2002-2005. These musicians have compiled some of their most favorable pieces through the years to be placed on this release. Presenting nine analogue (4&8 track) recorded compositions that lead the listener through vast feelings of beautifully deep melancholic and hypnotic states of mind.
Composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves. Ingredients: Sufi-songs, old vinyl-crackles, acoustic & e-guitars, e-bow, e-bass, voice & whisperings, accordion & flute. One of the most emotional and profound Troum releases! Dedicated to Eternity."
The complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety...
"Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!
A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee’s La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd."
Originally released in 1983, 'Woman' is one of the several songs performed by Ivana Spagna before she became famous with the 1986 smash hit 'Easy Lady'.
A perfect balance between italo-disco, 80's electronic and dance music, finally officially repressed with the full involvement of the author, coming with the original picture cover.
The cuties at STROOM 〰 dish it up with extra mayo on their highly sought-after AA-side Valentine’s feature, pairing Keysha’s kinky ‘80s R&B beauty Stop It! with the starlit yacht-disco downstroke of What Is Love Today? by FG’s Romance.
Ziggy Devriendt’s selector chops are in full effect here, plucking out an absolute blinder with the onanistic coos and satin chords of Stop It!, originally the B-side to Keysha’s I’m a Thumbsucker! 12”, which is now impossible or dead expensive to buy 2nd hand, while FG’s Romance gives it some ‘80s FM swang on the B-side with What Is Love Today?
That A-side is 100% unmissable.