Indie / Alternative

76 products

Showing 25 - 48 of 76 products
Karate 'Time Expired' (Cacophony Splatter 5x Vinyl LP Box Set)Karate 'Time Expired' (Cacophony Splatter 5x Vinyl LP Box Set)
Karate 'Time Expired' (Cacophony Splatter 5x Vinyl LP Box Set)Numero Group
This five LP box includes the Karate's Unsolved, Some Boots, and Pockets albums, a first time vinyl pressing of their Cancel/Sing EP, and recently unearthed rehearsal recordings of two unreleased tracks.
Bedhead - Beheaded (Smoke Vinyl LP)Bedhead - Beheaded (Smoke Vinyl LP)
Bedhead - Beheaded (Smoke Vinyl LP)Numero Group
2022年リプレス。Butthole SurfersのドラマーKing Coffeyが創設した〈Trance Syndicate Records〉に3枚のアルバムを残したテキサスのインディ・ロック・バンドであり、1991年から1998年にかけて活動したスロウコアの伝説的存在、Bedheadの1996年のセルフ・タイトル作がリマスタリング仕様で〈Numero Group〉からのリイシュー盤!洗練された煌びやかさよりも、ラフなエッジと白昼夢のようなサウンドを追求した傑作!180g重量盤ヴァージン・ヴァイナル仕様。※入荷時よりスリーブ上部に輸送時のダメージあるため数量限定特別価格です。予めご理解くださいませ。
V.A. - Titan: It's All Pop (White 4x Vinyl LP BOX)
V.A. - Titan: It's All Pop (White 4x Vinyl LP BOX)Numero Group
From 1978 to 1981, the Titan label issued just eight records, but over the years their tiny catalog has crawled to the top of power-pop want lists worldwide and appeared on scads of homemade tapes, building a legacy to rival L.A.’s Bomp! or New York’s Ork. Cut off in fly-over country, Titan fostered a scene of its own, imported its own skinny ties, and scoured the Missouri valley for its own talent. The label’s Midwest AM bubblegum roots are apparent in the likes of Gary Charlson, the Secrets*, Arlis!, Gems, Millionaire At Midnight, the Boys, J.P. McClain & the Intruders, Bobby Sky, and Scott McCarl, but Titan’s acts took cues from Stiff too, along with the glam-punk spit being hocked off the 100 Club stage.
Bon Iver - For Emma, Forever Ago (LP)
Bon Iver - For Emma, Forever Ago (LP)Jagjaguwar
We are thrilled to release Bon Iver's debut full-length 'For Emma, Forever Ago'. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. 'For Emma, Forever Ago' is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms.
Wild Nothing - Nocturne (10th Anniversary Edition) (Blue Marble Vinyl LP)Wild Nothing - Nocturne (10th Anniversary Edition) (Blue Marble Vinyl LP)
Wild Nothing - Nocturne (10th Anniversary Edition) (Blue Marble Vinyl LP)Captured Tracks
Nocturne, the sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne speak to a new Wild Nothing where the lines between Jack's influences and personality have been further blurred. The album features some open references to past music just as his critically acclaimed debut Gemini did, but it's also an album that feels much less rooted in anything in particular and, well, more adult. Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of Nocturne is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.
Jeb Loy Nichols - The United States Of The Broken Hearted (LP+DL)Jeb Loy Nichols - The United States Of The Broken Hearted (LP+DL)
Jeb Loy Nichols - The United States Of The Broken Hearted (LP+DL)On-U Sound

On-U Sound are proud to present a new album from longtime friend and associate of the label, Jeb Loy Nichols. Produced by Adrian Sherwood, with careful arrangements framing twelve beautiful, acoustic-based songs. The album features contributions from the likes of Martin Duffy (Primal Scream/Felt) and Ivan “Celloman” Hussey, fresh from his work on the massively acclaimed duo of Horace Andy albums, Midnight Rocker and Midnight Scorchers, both of which featured songwriting contributions from Jeb Loy.

Jeb Loy comments: "The United States Of The Broken Hearted has been forty years in the making. I’ve known Adrian, and considered him one of my closest friends, for that long. During that time we’ve spent more hours listening, and talking about, music than anything else. Reggae, Country, Folk, Jazz, Soul; it’s been the backdrop to our friendship. Adrian introduced me to some of my favourite music; Count Ossie, Culture, Harry Beckett, Mulatu Astatke. Through the years we’ve listened to Sun Ra, Lee Perry, Ornette Coleman, Johnny Cash, Woody Guthrie. A couple years ago, on a visit to Adrian, I mentioned Gram Parsons’s concept of ‘American Cosmic Music’, the melting mix of musical genres that constitutes a uniquely American sound. We talked about recording a record that incorporated all the influences I’d gathered, from Bluegrass to Jazz to Reggae to Soul. The United States Of The Broken Hearted is that record. We wanted to include Folk (Deportees), Country (Satisfied Mind), protest songs (I Hate The Capitalist System), and songs of my own that bore the marks of those that had gone before. I sang the songs and played guitar; Adrian brought in friends and fellow travellers to finish them. It’s all there, Soul, Jazz, Country, Folk; and underlying everything, Adrian’s Reggae infused production.”

Adrian Sherwood adds: “This is Jeb’s ‘Great American Songbook’, he’s become such a great singer and songwriter over the years. This is a beautiful piece of work reminiscent of our mutual love for the Miracle album I made with Bim Sherman. I’m really proud of this record and it’s a fitting follow-up to Long Time Traveller.” 

Mansur Brown - NAQI (LP)Mansur Brown - NAQI (LP)
Mansur Brown - NAQI (LP)AMAI Records
Mansoor Brown is an artist, producer and multi-instrumentalist from Brixton, London. The debut work from , led by Henry Wu, who is the typhoon of the new generation of UK jazz, has attracted attention to the extent that Robert Glasper and Thundercat have been cited, and he has released the latest mixtape. !

It has a cinematic style throughout, and it can be said that the expressive power of the internal guitar that can be felt everywhere is a sound unique to Mansoor Brown. The B-side contains 4 songs developed without beats, and you can fully enjoy his guitar sound. "Meikai", which decorates the last track, is the closest to ambient music in the work, and it is a must-listen song that invites you to another world with modulated vocals, sparkling guitar sounds, and the electronic sound that appears at the end!
John Keek - Do You Love John Keek? (12")John Keek - Do You Love John Keek? (12")
John Keek - Do You Love John Keek? (12")PLZ Make It Ruins
This year's tour to Japan was sold out, and John Keek's latest EP will be released from PLZ Make It Ruins, a label run by Vegyn, who is known as one of the hottest producers at the moment!
In 2017, John Keek gained attention for his songs released under Ninja Tune's label.
He is also a saxophonist and was influenced by Todd Rundgren and Drake. This EP released by him is a unique pop music that plays a modern tone while feeling various musical influences such as R&B ~ fusion ~ gospel. It has become music.
A must-listen for Louis Cole fans!
Spain - World Of Blue (Moody Blue Vinyl LP)Spain - World Of Blue (Moody Blue Vinyl LP)
Spain - World Of Blue (Moody Blue Vinyl LP)Shimmy Disc
The first vinyl release of five previously unreleased tracks recorded prior to 1995's landmark "Blue Moods Of Spain" album by the band Spain. Includes the original studio version of signature tune "World Of Blue" featuring Petra Haden on violin. The LP was re-Mixed & re-Imagined by Kramer at his Noise Miami Studio in 2021 for Shimmy-Disc. The LP “World of Blue” features Ken Boudakian and Merlo Podlewski on guitars, and Evan Hartzell on drums. Evan and I attended the same high school, and Ken was my college roommate. Merlo was the final piece of the puzzle. I first met Merlo in 1994. My sister Rachel Haden, who had been working with him at the Rhino Records store in Westwood, knew I was looking for a new guitarist for my band, and introduced us. Merlo is one of those guitarists whose playing is so smooth and effortless he makes anyone feel like they can play. His playing is magical. He had an instinctual grasp of harmony and theory, which brought a great counterpoint to the technical knowledge and finesse of lead guitarist Ken. From our first practice together I knew he was the right addition to the band. Back in those days my sisters Rachel & Petra Haden were in a band called That Dog. They had a strong following in L.A. and were getting ready to sign to a major label. When I first started Spain they were a big inspiration to me. It was an exciting time for music in L.A. Beck and Weezer were just starting out, and this mad scientist/producer named Tom Grimley was recording all the best bands in his converted auto repair shop studio called Poop Alley Studios. Spain played their first official L.A. gig with Merlo at a club called Pan, which shortly thereafter changed its name to Spaceland. We opened for Beck and That Dog. We played at Spaceland a lot (a performance from which can be found on youtube) and at other small clubs and coffee joints like the Troy Cafe (owned by Beck’s mom), Congo Square Coffee House in Santa Monica, Alligator Lounge, and others. At a certain point that year we were ready to record our first 7” single, and I reserved some time at Poop Alley. Poop Alley didn’t seem like the ideal recording setting. The walls and floors were made of concrete, and there was no soundproofing. The fix-it area was the tracking room. The ceiling was so high there almost wasn’t a ceiling. A steep curving staircase with no guardrail led up to a loft area where the console was located, and next to it, on a custom-built, guardrail-less ledge, a queen-sized bed where Tom slept. Also, it wasn’t a nice neighborhood. Up the street, while walking to my car late one night from the nearby Jabberjaw Coffeehouse, a local drunk begged me not to rob him. That’s how bad it was. I paid for the session with weed I grew in my closet. We set up and it starting raining. Tom put a microphone outside. For lunch we’d walk through the alley over to India Sweets and Spices, on Fairfax just north of Pico. After tracking was finished, Petra came over and overdubbed violin. There was a cushioned area where I remember sitting during mixdown. There were little stacks of Aphex 16-track tape everywhere. We stayed good friends with Tom. We recorded a couple more songs with him the following year. Tom recorded lots of bands at Poop Alley. My sisters’ band That Dog, Beck, the Rentals, Rod Poole, Tom’s band Waldo the Dog Faced Boy, and many others. There were parties in the alley. There would be a keg of beer. Everyone was well-behaved. The most dangerous it got was when Kenny asked Beck if he was a Scientologist. I remember laughter and happiness the most from those parties. Not long afterwards Tom shut down the studio. Luckily for us, the tapes still exist. On those tapes are five songs, all of which are represented here. “I Lied” and “Her Used-To-Been” were released on the 7”, the remaining three have never been released before now. I can’t remember who I sent copies of the 7” to but shortly after it came out I got a call from an A&R executive at Geffen inviting me to their offices to talk. “I love your songs,” I remember him saying to me, “but my boss [David Geffen] won’t let me sign you because he doesn’t know how to market you.” Eventually a label that did want to sign us got in touch with me. Restless Records was a local indie record company that had flirted with major label success with bands like Poison and Stryper. Their office was an old rickety house off Sunset Blvd. in Hollywood and they had decent distribution, so I said to myself, “Why not?” This eventually lead to the recording that produced our debut LP “Blue Moods of Spain”. -Josh Haden
Eerie Wanda - Internal Radio (Lavender Vinyl LP)
Eerie Wanda - Internal Radio (Lavender Vinyl LP)Joyful Noise Recordings
On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic's songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project's guitar pop past for a more experimental, otherworldly, serious grown-up affair that ventures into sensitive, emotional territory.
Unknown Mortal Orchestra - Blue Record (12")
Unknown Mortal Orchestra - Blue Record (12")Jagjaguwar
The ​'Blue Record' is a 5 track acoustic mini album expanding on 'II' and including a cover of Dirty Projectors' 'Swing Lo Magellan' and Beck's 'Puttin' It Down' . Everything was recorded straight to tape in a basement with a one mic set up.
Marlon Williams - Make Way For Love (LP)
Marlon Williams - Make Way For Love (LP)Dead Oceans

New Zealand’s Marlon Williams has quite simply got one of the most extraordinary, effortlessly distinctive voices of his generation—a fact well known to fans of his first, self-titled solo album, and his captivating live shows. An otherworldly instrument with an affecting vibrato, it’s a voice that’s earned repeated comparisons to the great Roy Orbison, and even briefly had Williams, in his youth, consider a career in classical singing, before realizing his temperament was more Stratocaster than Stradivarius.

But it’s the art of songwriting that has bedeviled the artist, and into which he has grown exponentially on his second album, Make Way For Love, out in February of 2018. It’s Marlon Williams like you’ve never heard him before—exploring new musical terrain and revealing himself in an unprecedented way, in the wake of a fractured relationship.

Like any good New Zealander, Williams doesn’t boast or sugarcoat: songwriting is still not his favorite endeavor. “I mean, I find it ecstatic to finish a song,” he explains. “To have done one doesn’t feel like an accomplishment as much as a relief and maybe a curiosity, you know? To have come through to the other side and have something. But it certainly always feels messy.” In the past, his default approach to was storytelling. On 2015’s Marlon Williams, the musician took a cue from traditional folk and bluegrass, and wove dark, character-driven tales: “Hello Miss Lonesome”, “Strange Things” and “Dark Child”. But when it came to sharing his own life in song, he was more reticent. “I’ve always had this sort of hang up about putting too much of myself into my music,” he admits. “All of the projects I’ve ever been in, there was a conscientious effort to try and have this barrier between myself and the emotional crux of the music. I’ve loved writing characters into my songs, or at least pretending that it wasn’t me that it was about.”

Sensing that people wanted more Marlon from Marlon, on album number two he was determined to deliver. And while he’s still a firm believer in the art of cover songs—his live shows regularly feature covers of songs by artists ranging from Townes Van Zandt to Yoko Ono—Williams wanted the new record to be all original material. By the autumn of last year, with a recording deadline looming the following February, it was crunch time for the musician, a reflexive procrastinator. “I hadn’t written for two years!” he recalls. What was needed was a lyrical spark. A triggering event, perhaps. As it turns out, life delivered just that.

In early December, Williams and his longtime girlfriend, musician Aldous (Hannah) Harding, broke up—the end of a relationship that brought together two of Down Under’s most acclaimed talents of recent years, who’d managed to navigate the challenges of having equally ascendant—though separate—careers, until they couldn’t. While personally wrenching, the split seemed to open the floodgates for Williams as a writer. “Then I wrote about fifteen songs in a month,” he recalls. The biggest challenge? Condensing often complex, conflicted emotions and doing them justice. “Just narrowing the possibilities into a three-minute song makes me feel dirty”, he explains. Also, not making a breakup record that was too much of a downer. “I had a lot of good friends saying, ‘Don’t worry about sounding too sad,’” he says. “They were saying, ‘Just go with it.’”

Sure enough, while Make Way For Love draws on Williams’ own story, in remarkably universal terms it captures the vagaries of relationships that we’ve all been through: the bliss (opener “Come To Me”); ache (“Love Is a Terrible Thing”, a ballad that likens post-breakup emptiness to “a snowman melting in the spring”); nagging questions (“Can I Call You”, which wonders aloud what his ex is drinking, who she’s with, and if she’s happy); and bitterness (“The Fire Of Love”, whose lyrics Williams says he “agonized over” more than any).

On “Party Boy”, over an urgent, moody gallop that recalls his last album’s “Hello Miss Lonesome”, Williams conjures the image (a composite of people he knows, he says) of that guy who has just the stuff to keep the party going ‘til dawn, and who you might catch “sniffin’ around” your “pride and joy.” There’s “Beautiful Dress”, on which Williams seems to channel balladeer Elvis on the verse and the Future Feminist herself, Ahnoni, on a lilting, tremulous hook; in contrast, the brooding “I Didn’t Make A Plan”, casts Williams as the cad. In a deep-voiced delivery akin to Leonard Cohen—unusual for the singer—he callously, matter-of-factly tosses a lover aside, just cuz. It’s brutal, but so, sometimes, is life. And there’s “Nobody Gets What They Want Anymore”, a duet with Harding, recorded after the two broke up, with Williams directing Harding’s recording via a late-night long distance phone call. “It made the most sense to have her singing on it,” he says. “But it wasn’t that easy to make that happen.”

Williams flipped the script recording-wise as well. After three weeks of pre-production five doors from his mother’s house in his native Lyttelton, New Zealand (for several years, Williams has made his home in Melbourne) with regular collaborator Ben Edwards—“really the only person I’d ever worked with before”—Williams and his backing band, The Yarra Benders, then decamped 7000 miles away, to Northern California’s Panoramic Studios, to record with producer Noah Georgeson, who’s helmed baroque pop and alt-folk gems by Joanna Newsom, Adam Green, Little Joy and Devendra Banhart. “I was a really big fan of those Cate Le Bon records he did [Mug Museum, Crab Day],” Williams says. “I was obsessed with those albums.”

If the idea in going so far from home to make the new record was to shake things up and get out of his Kiwi comfort zone, Williams succeeded—to the point where at first he wondered if he’d gone too far. “The first couple of days I nearly had a breakdown,” he recalls. “Just cause I got there and I’m working with Noah on this really personal record having only met twice before over a coffee. I was like, ‘I wish we’d talked about it a little bit more’ and figured out exactly how the dynamic was going to work.” Williams is a worrier. But he needn’t worry. He and Georgeson settled into a zone over twelve days of recording, helped by the bonding experience of what Williams describes as the “greatest prank of all time”, with Georgeson convincing both Williams and multi-instrumentalist Dave Khan that there was a ghost in the studio, using an effect on his keyboard. Georgeson made his mark on the record as well, adding a fresh perspective on songs that had been well developed in pre-production, and alongside the incredible performances by The Yarra Benders, they have, in Make Way For Love, a triumph on their hands.

The record also moves Williams several paces away from “country”—the genre that’s been affixed to him more than any in recent years, but one that’s always been a bit too reductive to be wholly accurate. Going back to his high school years band The Unfaithful Ways and his subsequent Sad But True series of collaborations with fellow New Zealander Delaney Davidson, and on through his first solo LP, Williams has proven himself plenty adept with country sounds, but also bluegrass, folk, blues and even retro pop. “I think I’ve always been sort of mischievously passive when people use that term [“country”] to describe me,” he says. “I like letting labels be and sort of just play that out.” Make Way For Love, with forays into cinematic strings, reverb, rollicking guitar and at least one quiet piano ballad, is more expansive—while still retaining, on “Party Boy” and “I Know A Jeweller”, some cowboy vibes, the record will likely invoke as many Scott Walker and Ennio Morricone mentions as it does country ones. “I think just having the time,” he explains, “and having just finished a cycle of playing these quite heavily country-leaning songs for the last three or four years, and playing them a lot, has definitely pushed me into exploring other things.

As ever, you can expect some memorable videos with the new album. As reluctant as he’s been to put his lyrical heart on his sleeve in the past, Williams has never been shy about visuals and the more performative aspects of his art. Unlike many of his folk and alt-country brethren, Williams embraces the chameleonic possibilities offered by music videos. Since The Unfaithful Ways, he’s appeared in nearly all of his videos, assuming a variety of characters—multiple ones, in the Roshomon-like “Dark Child.” He’s gotten naked and visceral, in “Hello Miss Lonesome” and loose and playful in this past summer’s one-off, “Vampire Again”, which saw Williams as a goofy Nosferatu—his most lighthearted persona to date. “For me, I think that ambiguity is such an important part of my process and my art,” he explains, “that [videos are] just another way to further muddy the waters, you know? And I look for that, I think.” He’ll further muddy the waters with a new video for opening single “Nobody Gets What They Want Anymore”, directed by Ben Kitnick, in which Williams plays an overwhelmed waiter at a restaurant full of demanding hipsters.

On the live front, Williams—who’s been a road dog in recent years, touring with Justin Townes Earle, Band Of Horses, City & Colour and Iron & Wine’s Sam Beam —had a comparatively low-key 2017, though appearances at Newport Folk Festival, Pickathon and Into The Great Wide Open kept him in game shape, not to mention February support dates in New Zealand for none other than Bruce Springsteen. In 2018, Williams will head out on a 50 plus date world tour, taking the music of Make Way For Love far and wide. They’re songs that need to be heard by anyone who’s ever loved, and lost, and loved again.

If “breakup record” is a trope—and certainly it is—then Marlon Williams has done it proud. Like the best of the lot—Beck’s Sea Change, Bon Iver’s For Emma, Forever Ago, Phosphorescent’s harrowing “Song For Zula” and Joni Mitchell’s masterpiece Blue (written perhaps not coincidentally, following her own breakup with another gifted musician) Make Way For Love doesn’t shy away from heartbreak, but rather stares it in the face, and mines beauty from it. Delicate and bold, tender and searing, it’s a mightily personal new step for the Kiwi, and ultimately, on the record’s final, title track, Williams dusts himself off and is ready to move forward. Set to a doo-wop backdrop and in language he calls “deliberately archaic”, that superb voice sings: “Here is the will/ Here is the way/ The way into love/ Oh, let the wonder of the ages/ Be revealed as love.”

John Norris
October 2017 

Sufjan Stevens - Fourth of July (Opaque Red Vinyl 7")Sufjan Stevens - Fourth of July (Opaque Red Vinyl 7")
Sufjan Stevens - Fourth of July (Opaque Red Vinyl 7")Asthmatic Kitty Records
Both versions were recorded around 2014: “Fourth of July (April Base Version)” was recorded in Eau Claire, WI at Justin Vernon’s April Base studio, and “Fourth of July (DUMBO Version)” was recorded in Sufjan’s old studio in Brooklyn, NY. The original version of “Fourth of July” appeared on Sufjan’s 2015 album, Carrie & Lowell. As is (and was) his custom, Sufjan would often rework different versions of his songs while recording an album, and “Fourth of July” was no exception. (Other versions & remixes of the song were released on “The Greatest Gift” mixtape and on the “Exploding Whale” 7” single.) These two latest versions were recently found on old harddrives. The refrain of the song, “We’re all gonna die,” invokes a meditation on human mortality and fragility, even as it acts as an anchor of stoic hope. Its solemnity invites listeners to feel comfort, connection — even joy — wrought from great pain and loss. The song has recently had a resurgence with listeners — which may speak to a deep national grief and sense of loss. A limited run physical 7" in red will be released in December 2022, which marks the 10-year anniversary of Carrie’s death.
The Zenmenn - Enter The Zenmenn (LP)
The Zenmenn - Enter The Zenmenn (LP)Music From Memory

The latest act to emerge from MFM's new album series is another super-powerful one. Heisei No Oto" is a masterpiece that presents even Japan's unique book-off style digs to the world, and "Virtual Dreams" is a must-have 90's techno and house compilation that looks through the prism of the new age revival. The Zenmenn, a mysterious new band from the newly established Music From Memory label, has released their debut album. Their fresh and organic indie music is a combination of oriental lefty pop, new age/ambient, Sufjan Stevens, and even Shintaro Sakamoto. The band's name may also come from the word "Zen"? Their timeless sound and vibes make for a great listening experience no matter where you are!

Tim Bernardes - Mil Coisas Invisíveis (White Vinyl 2LP)Tim Bernardes - Mil Coisas Invisíveis (White Vinyl 2LP)
Tim Bernardes - Mil Coisas Invisíveis (White Vinyl 2LP)Psychic Hotline
Limited white vinyl specifications. This is the second solo album since the masterpiece "Recomecar" by Tim Bernardes, the vocalist / guitarist of São Paulo's soul / guitar rock band O Terno, who is attracting attention as the bearer of the new generation of Brazilian music. His father is Maurício Pereira, a musician who is also a member of Os Mulheres Negras, which was also recorded in the Brazilian compi "Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992" of , and his unusual musical sense is the same. Outstanding in the generation. It has been praised by the original Tropicália, Caetano Veloso, Gal Costa and Tom Ze, as well as recent free folk music such as Fleet Foxes and Devendra Banhart from outside Brazil, as well as David Byrne. He also participated in O Terno's 7inch release on in Japan with Shintaro Sakamoto and Devendra Banhart. Love songs, sadness songs, change songs, and inclusive singing voices resonate with emotions and provide healing. Expected work that will be able to enjoy the talent that can be called the flag bearer of this Neutropicaria!
Karate - The Bed Is In the Ocean (CS)
Karate - The Bed Is In the Ocean (CS)Numero Group
A lingering guitar note. A cushion of a bassline nudging along a hushed cadence unspooling impressionistic poeticism one halting line at a time; the sparse snap of a snare providing punctuation. This is how Boston’s Karate opened their third full-length, 1998’s The Bed Is In The Ocean. Perhaps this was a reaction to the aggressive punk tones that marked their previous album, or maybe they hoped to capture the somnambulant dusk on one of those pristine fall days that make living in a town whose population swells when colleges welcome back students all worthwhile. Then again, Karate never made a point of chasing the same idea twice, and “There Are Ghosts” remains in line with the band’s stylistic intrepidness and unpredictability. Even the group’s lineup appeared constantly in flux. After expanding from a trio to a quartet and employing a dual-guitar attack with 1997’s In Place of Real Insight, founding member Eamonn Vitt hung up his axe to attend medical school. Karate soldiered on as a trio, with mid-stream addition Jeff Goddard’s bass work helping establish a sidewinding path forward through the smoky jazz melodicism and sun-beaten blues brushstrokes that hung in the background of the band’s catalog. In their short time together, Karate helped bolster the national punk ecosystem, a scene in which individual artistic vision was prized but rarely achieved. Their exacting precision and emotive interplay helped recombine the DNA of the dignified grace of slowcore, the hot-and-sweaty atmospherics of the blues, and the high-wire tension of post-hardcore to deliver drawling instrumental curveballs and a furtive riptide climax with a controlled grace on “Outside Is The Drama.” Singer-guitarist Geoff Farina frequently teased out the emotional nuances of each song, his worn-in voice shading in the complexities of his enigmatic lyrics; no matter how difficult it may be to parse his snatched-from-daily-life wisdoms, on The Bed Is In The Ocean Farina sounded like a guy who knew exactly the right thing to tell whoever may be listening. And with Karate’s snaking turns through quasi-punk reveries no one else appeared capable of mustering, it’s comforting to hear it accomplished by a band that knew exactly what they were doing.
Duster - Contemporary Movement (Diamond Dust Vinyl LP)Duster - Contemporary Movement (Diamond Dust Vinyl LP)
Duster - Contemporary Movement (Diamond Dust Vinyl LP)Numero Group
A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, “We were here.” “Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer “Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Viceiframe style="border: 0; width: 350px; height: 472px;" src="" seamless>Contemporary Movement by Duster
Juana Molina - Segundo (21st Anniversary) (2LP+DL)Juana Molina - Segundo (21st Anniversary) (2LP+DL)
Juana Molina - Segundo (21st Anniversary) (2LP+DL)Crammed Discs

To celebrate the 21st anniversary of Juana Molina’s breakthrough album Segundo (2000), here’s a very special reissue, remastered from the original tapes, and augmented by a rich booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Segundo is the album which started Juana Molina’s international trajectory as a musician, and its making was a wild story: after dropping her highly-successful career as a TV comedian, and signing with a major company who got her to record her debut album, Juana set out to find her own direction in music and started working on a new record (aptly titled Segundo). This journey took four years, and included sessions in Argentina and in several houses where she lived on the US West Coast, the involvement of several possible producers and of four successive record labels, who each had their own idea of what Juana should be doing... Juana remained untamed, forged ahead and, during the course of this sometimes complicated process, developed her own method and her own characteristic sound. She writes:
From the moment “Segundo” took shape, I began to walk a path that I have not yet abandoned. That is why it’s so important to me. I feel that this was the seed of everything I have done ever since. I discovered the flair of composing in real time, the charm of discarding the very idea of demos, the grace of documenting these moments of searching and finding. Everything else became dispensable.

In 2000, Juana finally self-released Segundo in Argentina. The album semi-accidentally made its way to Japan where it very spectacularly took off, and was eventually picked up by the Domino label in 2003. The reception of Segundo set Juana Molina on course for starting to perform around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums (including the widely-acclaimed Halo in 2017) and a live record (ANRMAL, 2020).
All this and much more is narrated in the lovely booklet, which includes notes by several people who were involved in these events (including Bruce Springsteen producer Ron Aniello) and by early adopters such as KCRW DJ Chris Douridas, Domino Recording’s Laurence Bell (who discovered Segundo by chance, in Will Oldham’s car), and David Byrne who, as soon as he heard the album for the first time, invited Juana to open for him on his 2003 US tour. 

Aksak Maboul - Ex-Futur Album (LP)
Aksak Maboul - Ex-Futur Album (LP)Crammed Discs

Written and recorded in 1980-83 by (Aksak Maboul & Crammed Discs founder) Marc Hollander and (Honeymoon Killers/Aksak Maboul vocalist) Véronique Vincent, this trailblazing avant-pop album album predated certain hybrid musical trends which may have emerged later on (think pop meets proto-techno, with African, Middle-Eastern, dub, jazz & cinematic French flavours…)

The album remained unfinished and unreleased for 30 years, and finally came out for the first time in Oct 2014.

Aksak Maboul - Un peu de l'âme des bandits (LP+CD)Aksak Maboul - Un peu de l'âme des bandits (LP+CD)
Aksak Maboul - Un peu de l'âme des bandits (LP+CD)Crammed Discs

Originally released in January 1980, the second album from (Crammed founder) Marc Hollander’s band was more intense and experimental than Aksak Maboul’s debut album, yet often as playful. Containing complex written sections, free improv, and a wild variety of elements, Bandits was recorded with a band comprising revered UK musicians Fred Frith & Chris Cutler, and is described by All Music Guide as “a pinnacle of the RIO movement” (RIO being Rock In Opposition, the late-‘70s radical, pan-European coalition of bands, of which Aksak Maboul was part). The album reached #3 in the NME’s top ten European albums of 1980 (after Yello and The Nits, before Steve Reich and Faust!).

For this reissue, the album was remastered from original analogue tapes, and includes a booklet with abundant liner notes, documents, and recollections by all the participants.

Also included in the LP is a bonus album entitled "Before and After Bandits" (CD+download), containing previously-unreleased live and demo recordings featuring seventeen of the band’s successive members and guests. Over the course of ten tracks and 78 minutes of music, this collection charts the sinuous evolution of the ever-morphing Aksak Maboul sound, from the 1977 debut "Onze danses pour combattre la migraine" through the "Bandits" album, a little-documented avant-No Wave phase in 1980, the atypical, eclectic electropop of "Ex-Futur Album", and until the project’s current live incarnation, which started in 2015 after a hiatus of some 30 years.

According to US writer Mikey IQ Jones (who penned the liner notes):

"Aksak Maboul are a brilliant, covert unit that managed to absorb the operations and thoughtforms of many seemingly oppositional aesthetics, fusing them into a sound that few really managed to extend or even emulate.

Each of Aksak Maboul’s three LPs stands as a sibling to the others, each with very distinct personalities and physical characteristics, yet sharing a very foundational chemical and aesthetic makeup– listening to their entire oeuvre, one recognizes melodies or polyrhythmic patterns from a song on one album subtly integrated into the body of one elsewhere.

The roots of Aksak Maboul’s appeal and longevity lie within the collective’s shapeshifting lineup and their chameleonic aesthetic abilities; the group’s ever-mutating sound is akin to a sonic möbius strip, always digesting and recontextualizing itself, where seams and edges show but continually fold in upon themselves as the madness evolves. The best part? That evolution hasn’t yet ceased."

Indeed… following the acclaimed 2014 release of its long-delayed 3rd opus Ex-Futur Album (assembled from unfinished material dating back to the early '80s, and issued under the name Véronique Vincent & Aksak Maboul), Aksak Maboul has taken to the stage in 2015 with a new line-up, and a fourth album is currently in the works. 

Aksak Maboul - Onze danses pour combattre la migraine (LP)Aksak Maboul - Onze danses pour combattre la migraine (LP)
Aksak Maboul - Onze danses pour combattre la migraine (LP)Crammed Discs
In the spring of 1977, two young Belgian musicians who call themselves Aksak Maboul (aka Marc Hollander & Vincent Kenis) set out to record an album, "Onze danses pour combattre la migraine", in which they playfully fused and deconstructed all kinds of genres to create their own musical world. Three years later, Hollander founded the Crammed label. Many ingredients came in and out of the Aksak blender : fake jazz, electronics, imaginary African & Balkan music, minimalism... there were even pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern which will mysteriously find its way into many classic Detroit techno tracks some ten years later. Onze Danses became a cult album, and seems retrospectively to have mapped out the way for the various directions which have been explored by Crammed during the next two decades.
Aksak Maboul - Figures (2LP)Aksak Maboul - Figures (2LP)
Aksak Maboul - Figures (2LP)Crammed Discs

The legendary experimental pop outfit returns with a brand-new record entitled Figures, written, conceived and produced over the last couple of years by Marc Hollander (founder of Aksak Maboul and of the Crammed label) and Véronique Vincent (former singer with The Honeymoon Killers).

Figures is a double album containing 22 tracks and interludes, resulting from the flow of creative ideas which arose after a gap of over thirty years (see the Aksak story overleaf). Drawing again from the multiple sources which have always inspired the band (from electronic music and pop to experimentation, jazz, minimalism, contemporary classical etc), Aksak Maboul transcends and reconfigures them with its inimitable style, to create an impressive, rich and unclassifiable piece of work.

Seamlessly weaving electronic and acoustic instrumentation, improvisation and programming, songs, beats, found objects and sound collages, the album works as a labyrinth, full of secret passages and interconnections. Figures clocks in at 75 minutes, thus deliberately shunning the laws of instant gratification and the myth of today’s reduced attention span: the Aksak Maboul aficionados will surely be happy to engage in an immersive session of deep listening (in two halves), in order to enjoy the album’s many layers and details.

Véronique Vincent & Marc Hollander wrote the album together, by following parallel courses with their own respective internal logic, while remaining closely connected. Enigmatic and finely chiseled, feeding on her love for painting and literature, Véronique’s texts form a dense fabric which mirrors the sonic kaleidoscope assembled by Marc, who wrote and arranged all the music (aside from a track co-written and sung by Véronique and Julien Gasc). Véronique also made the drawings and paintings which illustrate the cover and inserts.

The two protagonists recorded most of the album in their own studio, with contributions by the young members of Aksak Maboul’s current live line-up: Faustine Hollander (bass, vocals, co-production), guitarist Lucien Fraipont and drummer Erik Heestermans. Also featured are performances by several friends and guests, including revered improvisor Fred Frith, Tuxedomoon’s Steven Brown, members of Aquaserge (Julien Gasc, Audrey Ginestet & Benjamin Glibert), former band members (including Michel Berckmans and Sebastiaan Van den Branden), and several others 

Mount Kimbie - MK 3.5: Die Cuts | City Planning (Clear Vinyl 2LP+DL)Mount Kimbie - MK 3.5: Die Cuts | City Planning (Clear Vinyl 2LP+DL)
Mount Kimbie - MK 3.5: Die Cuts | City Planning (Clear Vinyl 2LP+DL)WARP
MK 3.5: Die Cuts | City Planning shows how Dom Maker and Kai Campos have grown over the past decade, and demonstrates the two sides of Mount Kimbie’s aesthetic coin - each side produced entirely by either member. Dom’s side, Die Cuts, is colourful and melody-led, thriving on the spark of collaboration; Kai’s, City Planning, is tactile and unpredictable, the product of a deeply personal aesthetic voyage. The two sides complement each other through their contrasts. But in other ways they’re not so different. Both artists present a unique vision which stands apart from their peers; neither side could have been made by anyone but Mount Kimbie.
Spoon - Lucifer On The Moon (LP)Spoon - Lucifer On The Moon (LP)
Spoon - Lucifer On The Moon (LP)Matador Records

Lucifer on the Moon is the anti-gravity companion to Spoon’s Lucifer on the Sofa. A top-to-bottom rework of the Austin band's tenth album, it was created by On-U Sound founder and UK dub icon, Adrian Sherwood.

Moon first took shape as a few heady remixes for the singles from Lucifer on the Sofa. Frontman Britt Daniel offered Sherwood two suggestions: “Avoid things that would not be possible on tape” and “Add whatever you want to add, the less modern the better.” The collaboration shouldn't come as a surprise: dub-inspired production is wound through Spoon’s classic tracks, from "Finer Feelings" to "Inside Out." Sherwood is a proven collaborator whose resume includes partnerships with seminal artists like The Fall, Jah Wobble, and Mark Stewart. The initial results pleased both parties and Sherwood was invited to work on additional songs. And then a few more. “I got into the melody and the thoughts it evoked in me,” the producer explains. “It just evolved and we eventually found ourselves with a whole album.”

Moon flips Lucifer on the Sofa’s rhythm tracks inside-out, and often rebuilds them wholesale. Sherwood supplied extensive additional instrumentation via On-U’s extended family of session players, including bassist Doug Wimbish and drummer Keith LeBlanc (both of whom performed in Sugarhill Records’ early ’80s in-house rhythm section). He dug deep into the album’s multi-tracks, surfacing forgotten details and elements not present in the final album mixes. The result airlifts Spoon’s trademark melodies into lush alien terrain, replete with vibrant echo and rumbling low-end. “It wasn’t just a thing where you pick apart this and that and you stay on the grid and you add a delay,” explains Daniel. “He added so much more instrumentation to the tracks that they became different completely versions of the songs. Not just remixes, but companion pieces. A ‘Part II.’” 

Recently viewed