Dean Brandt returns to Rough Trade for the first time in seven years. The sequel to the cult classic!
The genius Dean Brandt, who has been active with the legendary Hype Williams unit with Inga Copeland, collaborated with Arka and Aesop Rocky, and has released works under different labels and names at random, has returned to Rough Trade for the first time in seven years to release his latest work!
This album is a sequel to "Black Metal", which has everything from alternative soft rock to cut-up AOR and hardcore noise, and features guitar sounds almost all the way through, making it a blues and hip-hop album that finally gives the listener a glimpse into Dean Brandt's true feelings as he stares into the post-Vaporwave dystopia that symbolizes the world today from afar.
This is the monologue of the last genius who stubbornly stayed away from the system while his contemporaries such as Frank Ocean and King Krule achieved commercial success.
Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s. Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take. By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “_Misora_ was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982. While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness. Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”
Guitarist RUSSELL POTTER's A Stone's Throw (1979) and Neither Here Nor There (1981) reissued via Tompkins Square - LP & Digital June 25th
The latest in a series of reissues spawned from Imaginational Anthem Volume 8 : The Private Press, following Tom Armstrong - The Sky Is An Empty Eye and Rick Deitrick - Gentle Wilderness/River Sun River Moon
Reflections on Russell Potter by IA8 co-producer and poet, Michael Klausman :
The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion.
A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags.
Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time.
Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.”
Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.
"Bridging the gap between American primitive pioneers John Fahey, Robbie Basho, and Leo Kottke, and the California modernists William Ackerman, Alex de Grassi, and Michael Hedges, Guitar Soli explores the private side of the solo guitar movement from 1966-1981. While Takoma and Windham Hill were laying the groundwork for the new age marketing juggernaut of the mid '80s, these fourteen loners were picking away in tiny cafes, selling records hand to hand. The single disc set comes housed in a digipack chipboard slipcase with a 40-page booklet and features Ted Lucas, Daniel Hecht, Dan Lambert, Jim Ohlschmidt, Tom Smith, Mark Lang, Richard Crandell, Tree People, William Eaton, George Cromarty, Scott Witte, Brad Chequer, Dwayne Canan, and Dana Westover."
The simple beauty that hasn't changed since 1970, the use of sounds, the singing voice like a precious crystal, and the many melodies that make you think of the countryside, the atmosphere that instantly turns into a fairy tale world from the first note played... The arrangement gives an elaborate impression, and it is full of charm that will not just be a resurrection work, but will soar into another masterpiece.
An anthology of the musical works of Australian outsider poet Pip Proud, also known as "Syd Barrett on the other side of the globe," under the supervision of his biographer, Professor David Nichols. All songs first appeared in Japan!
He has a quiet voice with a tangled tongue, and his vocal range is less than half an octave. (Omitted) A complete understanding of the childhood sensibilities shown in these songs is the most extraordinary feature of his work. "(From commentary) ... Proud is unprecedented in Australia. At that time, the industry was awkward, and it wasn't even described as a "pioneer" in that even followers weren't established, and it was just an "outsider" who was isolated from the front and back. Syd Barrett and Daniel Johnston have a strong personality that once you hear it, you will never leave your mind.
This work is an anthology selected from the phantom private 1st album produced in the 1960s, 2 albums released in majors, and treasured recordings in the early 70s, and the latest remaster based on the sound source source generated from the master tape. Was given. In addition, with the cooperation of Professor Nichols, an English poem that should be called "Pip" was published as a text for the first time in the world based on a draft handwritten by the writer (→ This English poem alone is of great value!). The CD version adds 3 bonus songs.