MUSIC

The popular work is repressed! Coco María, a Mexican DJ / musician based in Amsterdam, the Netherlands, who also hosts the program at the online radio station operated by Gilles Peterson, the "music preacher", has been cued for . Introducing "Club Coco", a compo board with a unique perspective. Summery outer national Latin & Afro Roots Music Nuggets packed with the essence of the community that gathers in your own broadcast frame! Nico Mauskovic brings together creative acts such as Meridian Brothers, Graham Mushnik and Romperayo that harmonize both pride in Latin American and Afro culture with an interest in cosmopolitanism in the big European cities. Introduction! A masterpiece that Bongo Joe presents “Club Coco”, a summery outernational Latin and afro rooted music compilation curated by Coco María. An attempt to give back something to music lovers around the world and print on an object a piece of the essence of the community that has been gathering around her weekly radio show at Worldwide FM. In many ways, the tracks of the album showcase how these artists use music to reconcile both their pride in Latin American and Afro culture as well as their interest in being part of the cosmopolitanism of big European cities. Thus, each track adds a particular detail into building a perfect soundtrack for a community that is always travelling back and forwards between both regions, always looking for songs that explore the furthest frontiers of tropical music while staying true to the roots of their genres. This LP gathers some of the inescapable artists that have been part of Coco María’s shows. The list includes Nico Mauskovic, La Perla, Meridian Brothers y Grupo Renacimiento, Graham Mushnik, La Redada, Alex Figueira, Frente Cumbiero, Les Pythons de la Fournaise, Romperayo, Malphino, Max Weissenfeldt and even Coco María herself.

Otherworldly beat science from the currently vibrant Washington DC underground. The heavily processed MCing of NappyNappa weaves in and out of the skewed electronics and stuttering percussion of Patrick Cain. Loosely affiliated with the Future Times crew and featuring contributions from Dolo Percussion (aka Max D). 

In the duo’s own words “a collaborative experiment in liberated sound, vision, and performance“, Model Home orbit in their own universe, with glimmers of light from distant galaxies refracted in their sound. The spirit of free improvisation pervades the tracks, a sound evolving from two artistic sensibilities bouncing off each other without a set plan and creating a third pathway to unknown worlds. 

One Year compiles tracks from 8 different self-released mixtapes made during an intense initial 12 month period of musical activity that birthed the project. Approached with the same archival sensibility that Disciples has brought to albums-that-never-were from Black Lodge, Bogdan Raczynski and His Name As Alive, but with the idea of creating a framework to present an underground NOW sound. A Jamaican style ‘showcase’ album for these outliers from the District of Columbia.

Tim Zha aka Organ Tapes makes a hyperjump to DJ Python's Worldwide Unlimited label with an emotionally slushed set of singer-songwriter pearls spiked with his own idiosyncratic production moves. An investigation into avant pop, it sounds like a DIY inversion filtered thru the autotuned hypersonix of Ecco2K, Yves Tumor or Palmistry. For over a decade now, Organ Tapes has been masterminding his own obsessively-curated and unique style, attempting to reconcile not just his interests in pop and experimental modes, but also his identity as a British-Chinese artist who's spent his life between Shanghai and London. Through production work for Triad God and releases for Tobago Tracks, Genome6.66Mbp and Berlin’s much loved Creamcake, he’s developed a style that’s pretty much inimitable, with autotuned vocals informed by a long-term love of dancehall, afrobeats and Soundcloud rap, and songs that slip into folk and country, with a compositional mindset that’s unmistakably non-Western. "Chang Zhe Na Wu Ren Wen Jin De Ge Yao" (sing the song that no one cares about) expands on the misty landscapes of 2019's TT-released "Hunger In Me Living”, but while that album retained a wisp of R&B and a vague whiff of ambient, this new one feels firmly grounded in a bedroom pop aesthetic, allowing beams of sunlight to crack through his usually dense, textured clouds. Weft around guitar and vox, Organ Tapes bends the form by employing muffled field recordings, squashed drums and dreamy synths, assembling his tracks with the sort of diaristic warmth you’d expect to find on a claire rousay record. Zha positions himself a few feet away from indie and emo, instead channeling more sparkling influences like TV themes and advertising jingles. His earworm compositions drip with familiar-but-alien riffs, with hooky choruses rendered personal and heartfelt through low-key, lo-fi production smarts. In different hands, it might have all sounded overly exuberant, but anchored by Zha’s muted voice and shaved arpeggios, it's touching and indelible. There’s no cynicism here - the songs work because they come from a genuine place. Just listen to 'Heaven can wait' and tell us you ain't feeling it.

Limited white vinyl reissue with Japanese obi!

The limited white edition of Radiohead's ninth studio album "A Moon Shaped Pool", released in 2016, has been miraculously re-pressed!
The album, including the popular songs "Burn The Witch" and "Daydreaming," deconstructs Radiohead's sound structure, which continues to mature and deepen, and turns a new page with minimalism, contemporary music, and African rhythms.
The release of "True Love Waits," a song that has been long awaited by fans, has finally been completed and made available as a soundtrack, and has been a big hit.
This is your last chance to own a rare limited edition copy of this 2010s art-rock milestone that has been named one of the best of the year and nominated for a Grammy at the 59th Annual Grammy Awards!

Further collaborative experiments in liberated sound, vision, and performance. This is the second compilation of tracks drawn from the Washington DC crew’s continuing series of self-released mixtapes, including an unreleased collaboration with Japanese post-punk icon Phew, plus guest appearances from Michael R Bernstein (Double Leopards/Religious Knives), and Mike Petillo (Geo Rip/Project U). The basis of the group’s sound continues to be the free form FX-warped flow of MC NAPPYNAPPA and the abstracted beats and synths of Pat Cain. Follows releases on Future Times, Don Giovanni, Purple Tape Pedigree, and the One Year compilation on Disciples.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

Recorded in 1971, Amon Düül’s only album for Ohr was a visonary slice of acid-folk which has gained cult status as years passed by. Ritualistic folk-rock, pastoral hippie songs, stoned jams, eastern flavours, mystical passages and heavy hypnotic riffing which are in fact very different from the early Amon Düül epic freaked-out improvisations (Psychedelic Underground) or Amon Düül II complex and psyched-up progressive works (Phallus Dei).
 
These were in fact archival recordings done by a different incarnation of Amon Duul, one that combined members of both factions into a floating line up welcoming many a guest, and which were released by R.U. Kaiser without the musicians knowledge or authorisation, most likely in order to catch up with Amon Düül II rising popularity.
 
All in all, a mythical recording featuring such underground classics as “Love Is Peace”; “Snow Your Thurst Sun Open Your Mouth” and “Paramechanische Welt”. Included also on our edition is their sought after Ohr single:  “Paramechanical World” / “Eternal Flow”.
 
Sleeve reproducing original artwork.

Featuring bonus tracks  “Paramechanical World” and “Eternal Flow” (originally released as  7” single). 

Siloah were a German progressive psych / folk band in the vein of Kalacakra, Langsyne and others "curiosities". Siloah are one of the best kept secrets of the krautrock production. Siloah had a hard core including Thom Argauer, Manuela von Perfall, Heinrich 'Tiny' Stricker and Wolfgang Görner, plus a host of guests coming and going, everybody was free to join and play at any time, guest members often joining from the Baumstassen commune around which the band was living before they eventually moved to an abandoned farm on the outskirts of town A collective hippie musical tribe largely inspired by mysticism, LSD and sexadelism. Their music features a heavy use of stoned vocals (in English), mantric like guitar parts, flute, "ethnic" percussions. Their first drugged item released in 1970 offers a dangerous and imaginative ocean of trippy, perpetual jammings. A bombastic psychedelic explosion in the mood of the best german prog folk releases. The atmospheres are beautifully "acoustic", sometimes dreamy and ethereal but never away from krautrock "primitive" sound.

After 20 years of incubation, My Bloody Valentine's third album, m b v, was suddenly released in 2013, and was at once their most experimental and most melodic and immediate work, proving their insatiable appetite for reform. Highly acclaimed as an astounding work that pushed the boundaries of musical and genre concepts even further, it also featured a type of music that had never been heard before. At once otherworldly, familiar, and intuitive, this album is a masterpiece for a new era, a stunningly beautiful transformation of the sound synonymous with MBV as it had been known up to that point. The album's final track, "Wonder 2," is a testament to this, with Shields' hypnotic guitar sound mixed with drum'n'bass that has left many awestruck.

Mastered from original 1/2" analog tape using Studer A80 VU-PRE and Neumann VMS 80.
Mastered from original 1/2" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g weight vinyl
Standard gatefold outer sleeve
Produced and mixed by Kevin Shields
Includes five 300 x 300 mm art prints
Includes DL code (24-bit | 16-bit | mp3)

Portico Quartet announce Next Stop, a dynamic 4 track EP recorded at the same sessions as 2021's acclaimed Monument release. Released in November 2021, Monument was acclaimed as one of Portico Quartet's most accessible, direct records to date. Carefully crafted as an ode to better times, it pulsed with the energy of dance music and was one of the most melodic and carefully structured records the band have ever released. Next Stop is the brilliant follow-up, a pulsing powerful four-tracker that also features a wistful, elegiac side and perhaps provides a coda to Monument. Captured Time is a melodious and atmospheric tune that erupts out of layered synthesisers and strings. It's contrast between melodic simplicity and textural density is what lets it push through to an elated, ecstatic conclusion as the band draw you into an emotional journey as only they can. Next Stop is Portico Quartet at full power. Arguably the most rhythmically dense tune they have ever made. It's hypnotic groove driven by am off-kilter 7/8 drum and bass groove that ducks and dives with relentless intensity. Youth is a deceptively simple tune, nostalgic in tone, It's a paen to childhood and simpler days, with Wyllie's wistful sax melody perfectly offset by the low-slung slow-mo hip-hop beat of Bellamy drums. But is the beautiful strings that really turn this tune into something special.

Brokeback is Douglas McCombs. Douglas may be familiar to many of you as the bassist for Eleventh Dream Day, Tortoise and Pullman. During the last two years Brokeback has released two singles and played numerous live dates throughout the U.S. and Europe. Through Brokeback, Douglas has sought to explore something not as densely structured as his other musical outings with a focus on rhythm and texture. The idea with Brokeback is to keep things simple and let the melodies hang in the air. By the nature of this decision the music is sparse, but not without sounding full and realized. Field Recordings From The Cook County Water Table is the most actualized offering of the Brokeback experience to date, whether it be recorded or live. Field Recordings… features contributions from Noel Kupersmith (Chicago Underground Orchestra) and Josh Abrams (Sam Prekop Band/Town and Country), whose versatile bass playing helped Douglas achieve the textural depth for this debut and first in-depth documentation of Brokeback. Noel has been a frequent collaborator in Brokeback's live setting. Rob Mazurek (Chicago Underground Orchestra/Isotope 217) plays cornet on the opening track, "after the internationals" and Mary Hansen (Stereolab) lends her angelic voice to the song, "the great banks". Both John Herndon and John McEntire contributed their percussive talents, while McEntire handled the recording duties by himself. However at the heart of Brokeback lies the vision and playing of Doug McCombs. In Douglas' own words: "Brokeback wouldn't exist without the Fender six-string bass. I consider myself a bass player, and though I have dabbled with slide instruments (lap steel and dobro) I was never really interested in moving into the higher register until I became aware of this instrument and its perfect blend of twang and low tone. I began planning this album years before I could even afford to purchase one. It may seem ridiculous to give so much credit to the instrument, but most of these melodies practically wrote themselves, and they were exactly what I wanted."

OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. Four years of work went into making Gamel, their bold new album inspired by the Javanese style of gamelan and the first new music from Yoshimi in over five years. Gamelan is an ancient form that has inspired a great many composers and musicians over the past century, from Erik Satie and Claude Debussy to Mouse on Mars and Sun City Girls. The introduction of this traditional form transformed the group into a super tribe, side-stepping the road between the past and the future. Their focus is not to replicate these ancient styles, but to incorporate them into their consistently inventive, constantly shifting musical frameworks. They take their love of indigenous music into an entirely new dimension by freely weaving organic and electric tones into a vivid tapestry, employing their keen sense of color and texture.

While previous OOIOO albums have been largely studio creations, Gamel is the most accurate portrayal of the band’s overwhelming, forceful live presence they have released yet. Yoshimi leads her minimalistic rhythm ensemble by making quick, impulsive shifts in tone and attack, the group acting as one mind under her expert instruction. While the gamelan elements will be brand new to many listeners, the band offsets the bizarre with familiar, at times even nostalgic and childlike, melodies. Gamel is euphoric, bursting at the seams with an exhilarating frenzy that is universal yet uniquely their own. OOIOO’s music is reflected in the ear of the beholder, with each listener taking away something different.

Yoshimi began her music career in 1986 playing drums in UFO or Die with vocalist Eye, and later joined him in the revolutionary noise-pop group Boredoms. Her explosive drum performances captivated audiences and even inspired Wayne Coyne to name a now-famous Flaming Lips album in her honor. While the band’s tours of the United States are infrequent, they are as The New York Times has stated, transcendent. 

Imagine a feather floating from outer space and landing on earth. What's going on? Which bird did this feather come from? That's what OOIOO's (pronounced oh-oh-eye-oh-oh) music is like? so colorful and shiny that you can't even see what is happening.

OOIOO's Gold and Green reveals the group's hard-to-categorize and refreshing avant-garde rock music, which adeptly incorporates elements of punk and more traditional tribal music. Their rhythms are unique and the organic interplay with the vocals is compelling. The music is complex and challenging and playful and childlike. Previously released only in Japan, Gold and Green includes guest appearances including Seiichi Yamamoto (Boredoms), Yuka Honda (Cibo Matto), and Sean Lennon. The album packaging, designed by Yoshimi, is a beautiful miniature gatefold album jacked filled with drawings and photographs by Yoshimi and other artists.

OOIOO began as a fictitious band for a photo shoot for Switch magazine in 1996. An all-female four-piece ensemble started by Yoshimi, the Boredoms' drummer, the band quickly gained attention by being the opening act for Sonic Youth in 1997. On Gold and Green, Yoshimi shows off her musical imagination and virtuosity with her songwriting, as well as by playing the guitar, flute, and trumpet, singing, and adding a number of percussion elements. Yoshimi is joined in OOIOO by the striking Kayano on guitar and vocals, the petite and powerful Maki on bass, and the amazing Yoshico on drums.

OOIOO toured the United States in 2004 for the first time in over five years in support of their recent release, Kila Kila Kila. Their soldout tour performances were notable for their unique exuberance and captivating stage presence. Starting off with a vocals-only polyrhythmic song, the band struck a chord like no other. They will be recording a new album for release in the fall of 2006. 

Eye Escapes is a collection of recordings from 2016 - 2021 primarily from a lost album between Path and View No Country. Brought to you by Mutual Skies.

In mulling over their career, it’s staggering to realize that Sonic Youth not only delivered a healthy slab of releases as a unit but also have a myriad of shelved material still waiting for broader ears. While the group’s current Bandcamp abode lays out a generous amount of it, a bunch more has yet to surface. And it’s a massive mountain to chip away at in the sense of the group output alone; individual members’ projects are a whole other game, needless to say. "In/Out/In" ably delivers a new slab of mostly-unheard Sonic righteousness, with a scope on the post 2000-era band in especially zoned/exploratory regions. The 80’s and 90’s continually saw Sonic Youth reminding everyone that their jams ran free alongside song craft and visible development album to album; there were Peel excursions, dipping toes into soundtrack work starting with 1986’s "Made In USA", and of course great impromptu expansive takes of tried and true previous material onstage. The millennial establishment of home turf studio spaces in NYC then NJ greatly egged on forays into improvisation and composition on their own clock as evidenced in "Goodbye 20th Century" and the plethora of SYR releases that trickled out side by side between major release albums. At this juncture they had already created a cultural template for a whole new breed of rock heads who, in turn, entered a feedback loop to SY itself, which cultivated more of its own new moves informed by the very fandom they had for their acolytes all the while pushing the band outward to uncharted fields. Jim O’Rourke’s residency had already influenced the band’s material in part into denser, longer, meditative paths. Mark Ibold’s entry for their swan song "The Eternal" also allowed for more of this exploration with Kim Gordon having more room to commit to third guitar. However "The Eternal" also took more cues from Ibold’s bottom-end swing and perhaps dialed back the expansiveness of the "NYC Ghosts and Flowers" and "Sonic Nurse" era a notch in a cool way, making it one of the best group efforts for me, anyway. Perhaps this fueled some of these tracks here, in an already comfortable zone with a new lineup and new drive to take sideroads to even more outer realms. "In/Out/In" reveals their last decade to be still heavy on the roll-tape and bug-out Sonic Youth. Not all recorded in one session but rather spread out over 2000-2010, the sequencing here is especially well thought out. Opening with the 2008 “Basement Contender” we get a super-unfiltered glimpse of the band at Kim and Thurston’s Northampton house creating a gentle springboard of Venusian choogle, with phased Lee lappings at cascading Thurston figures forming a simmering soundtrack. “Machine” offers another instrumental track from "The Eternal" sessions and is a steamy exercise in stop-start rhythmic grunt amidst a jungle of chiming and upward spiraling chord progressions. We’ve also got the extended score offering “Social Static” from the Chris Habib/Spencer Tunick film of the same name, draping white sheets of noise over your head then descending into a gauzy maw of car-alarm guitars and ambient-yet-disruptive turbulence that eventually subsides into a smoky coda. Two more tracks round out the set both culled from a Three Lobed box set of various artists from 2011 called "Not the Spaces You Know, But Between Them": “In & Out” quietly resembles Can in a cave with dripping stalactites of Kim’s wordless tone rumble and was recorded at a soundcheck in Pomona California and their home Hoboken turf in 2010. “Out & In” from 2000 was done in their late downtown NYC studio and serves to close out this LP’s last 12 minutes as a reminder of what they got up to with O’Rourke there. More gentle time shift chord framework erupts into molten fury three minutes in, before mutating into the sonic equivalent of a slowly collapsing star. Casting an audio net over the entire instrumental/outtake oeuvre of Sonic Youth’s long history isn’t something easily committed to a single release without a doubt. Hearing these tracks in comparison to, say, 1986’s "Made In USA" material shows the massive leaps they took over the years. Whereas ’86 showed them freshly discovering their go-with-the-flow instrumental abilities for a soundtrack, their last decade showed them complementing the ambience with assured twists and turns that only came to be through their inimitable and rooted telepathy. That, plus the freedom to compose in more comfortable environs other than dank Ludlow Street rental spaces (hard to believe "Daydream Nation" was created in a claustrophobic practice basement) most assuredly was a component in their continued paths of discovery. Shifting on the drop of a dime from quiet/deep forays into full on noised-out Autobahn stomps with Steve Shelley at the wheel, they painted detailed and varied brush strokes and continually created organic sounds that undoubtedly carried the signature sound of the band, while ringing loud with their continual drive to free themselves from just that. Enjoy this capsule. -Brian Turner, 2021-