MUSIC

Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.

Becoming Peter Ivers tells the story of the late Peter Ivers, a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television. Written and recorded in Los Angeles in the mid-to-late-1970s, Becoming Peter Ivers raises the curtain on this mischievous master of ceremonies, who, harmonica in hand, rarely missed a chance to light up an audience. Since his untimely death in 1983, Ivers¡Ç short but storied life has been the subject of much research and remembrance. Becoming Peter Ivers is the most expansive effort yet to collect his archival recordings. ¡ÈDemos are often better than records,¡É Ivers wrote. ¡ÈMore energy, more soul, more guts.¡É The statement anticipates the appearance of Becoming Peter Ivers, which was assembled from a trove of demo cassettes and reel-to-reel tapes that Ivers recorded variously at his home in Laurel Canyon, Los Angeles, and Hollywood studios for a pair of major label albums in 1974 and 1976. While the two commercially released albums feature the resources of session musicians and state-of-the-art studio detail, Becoming Peter Ivers highlights the private moments of Ivers¡Ç musical energy, frequently pared down to piano, drum machine, harmonica, and Peter¡Çs ageless voice. Though technically not Ivers¡Ç debut album (in 1969 Epic Records released Knight Of The Blue Communion, Peter¡Çs psychedelic jazz odyssey of sorts), Terminal Love was the A&R brainchild of music legend Van Dyke Parks. Already a masterful harmonica player (respectively mentored by blues legend Little Walter and jazz bassist Buell Neidlinger while he was a student at Harvard in the late 60s), Ivers wove his harp melodies through the sensuously colored but unconventionally arranged pop compositions of Terminal Love and its self-titled follow up, which, like the New York Dolls at the same time, explored the libidinous, ironic, and artful possibilities of the rock template. A studious artist, Ivers recorded hundreds of writing and rehearsal sessions onto reel-toreel and cassette tapes, but notes were either scarcely kept or have since been lost. RVNG Intl. collaborated with Ivers¡Ç longtime friend and supporter Steven Martin, as well as his lifelong companion Lucy Fisher, to tell an intimate story of Peter¡Çs creative journey through this untold music. The collection includes tracks that recurred in Ivers¡Ç ouvre over the years; ¡ÈAlpha Centauri,¡É ¡ÈEighteen And Dreaming,¡É ¡ÈMiraculous Weekend.¡É And, of course, ¡ÈIn Heaven¡É – the song co-written with David Lynch and commissioned by the filmmaker to be featured in a now-iconic scene of Eraserhead. An accomplished Yogi by the late 70s, Ivers was as spiritual as he was playful. Accentuated by his cherubic face and compact height, Ivers¡Ç vitality and curiosity became a part of his poetic sensibility, a quality that also characterizes his singing voice. Fisher remembers Ivers calling his days holed up in the studio as ¡Èsnowy days,¡É as if he had been cut from school and let free to roam on his own. ¡ÈNo one knows what Peter Ivers does on a snowy day,¡É he would say. In 1980, Ivers became involved with the Los Angeles-area public access show New Wave Theatre, serving as its host and paternal misfit. Ivers would introduce a new generation of groups like Fear, Dead Kennedys, and Suburban Lawns while playing a kind-of ¡Èstraight¡É man, deliberately baiting the punks with square questions and frocked fashion. His signature question to guests was delivered deadpan: ¡ÈWhat is the meaning of life?¡É Ivers died, tragically, the victim of a violent homicide in 1983 that remains unsolved. A shock to his community, his death all but fazed the LAPD, who treated the investigation with less than minimum care. A labor of love that took RVNG Intl. over five years to complete, Becoming Peter Ivers re-frames Peter¡Çs music as the centerpiece of his captivating story, concentrating on the work he made during his numerous retreats into art, or, as he put it, during his snowy days.

“Music is a very personal thing. How you deal with your music is very closely linked with how you deal with your life. If you misuse your capacities as a musician, you’re misusing your capacities as a human being and you’re taking humanity in the wrong direction”
- Arthur Russell – 03/17/77 Soho Weekly News

“In outer space you can’t take your drums - you take your mind”
- Arthur Russell

In 1986 Arthur Russell was diagnosed with HIV, that same year he released his career-defining masterpiece ‘World of Echo’, the first and only solo album issued during his lifetime.

Arthur had found his voice and a fresh direction with a set of new, transformative material, unlike anything he or anyone else had previously released. His illness ensured that the artistic growth and sense of exploration encapsulated in ‘World of Echo’ would be tragically curtailed. Within six short years Arthur was gone.

Arthur’s final years were filled with a renewed commitment to creativity and unceasing live and recording work. He regularly performed the ‘World of Echo’ material and incorporated several of its compositions in collaborations with choreographers active in New York’s innovative dance community. Arthur worked closely with Diane Madden, Allison Salzinger, Stephanie Woodard and John Bernd, usually playing his cello and effects boxes off stage as the choreographers’ pieces were performed. In 1993 Arthur posthumously received a prestigious Bessie Composer Award for his work in the dance world.

Picture of Bunny Rabbit’ features nine previously unreleased performances from this era compiled from completed masters culled from two unique test pressings, including one, dated 9/15/85 by Arthur, provided by his mother and sister. A further four tracks were discovered in his tape archive. The track listing includes an exceptional and dramatic solo recording of “In The Light of a Miracle” and the enigmatic title instrumental “Picture of Bunny Rabbit”, written especially for a friends pet rabbit. The bulk of the material was recorded with engineer Eric Liljestrand at Battery Sound Studios, New York, which was located directly opposite the World Trade Center and at Arthur’s apartment studio in the East Village. 

From outsider disco to ambient to improvisational folk, the giant Arthur Russell's famous album "Calling Out of Context" has been reissued as Rough Trade analog edition!
Released in 2015, this work was recorded in 1982 and 1983, and the following year in 1985, the original 1/4 inch tape of the sound source produced as a test press board called "El Dinosaur", "Indian Ocean" and "Untitled".・From the master, Arthur Russell's partner Tom Lee and Steve Knutson compiled 9 tracks.
In addition to an unreleased/alternate take that emphasizes echoes and rhythm machines, the instrumental track "Ocean" is one of the most beautiful songs in the discography.
A must-have board for fans that includes "Movie"! !

Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream.

Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been. Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unfinished and unreleased work, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him.

Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.

Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success—first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS.

At once kaleidoscopic and intimate, Iowa Dream bears some of Russell’s most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. “I see, I see it all,” sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell’s childhood home and family echo, too, through “Just Regular People,” “I Wish I Had a Brother,” “Wonder Boy,” “The Dogs Outside are Barking,” “Sharper Eyes,” and “I Felt.” Meanwhile, songs like “I Kissed the Girl From Outer Space,” “I Still Love You,” “List of Boys,” and “Barefoot in New York” fizz with pop and dance grooves, gesturing at Russell’s devotion to New York’s avant-garde and disco scenes. Finally, the long-awaited “You Did it Yourself,” until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf’s documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell’s extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world—and with this record, the world continues to meet a totally singular artist.

Over ten years ago, Audika Records began releasing the exceptionally varied, long sought-after music of Arthur Russell, and in the process has succeeded at helping the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today’s most compelling musical artists. On October 28, Audika will bring to light an as-yet-unavailable side of Russell’s body of work- the most rare and, at the same time, arguably the most accessible part- in Love Is Overtaking Me, which comprises 21 demos and home recordings of unreleased pop, folk and country songs from his vast catalog.While much critical and popular affection for Russell’s music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings will finally heard on Love Is Overtaking Me. So, too, will songs recorded with various incarnations of The Flying Hearts, a group formed by Russell and Brooks whose shifting lineup included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty and Bright & Early.

Compiled from over eight hours of material, three years in the making, Love Is Overtaking Me reaches back further to Russell’s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika’s Steve Knutson, Ernie Brooks and Russell’s companion, Tom Lee. A number of the songs feature prominently in Wild Combination: A Portrait of Arthur Russell, Matt Wolf’s film, which had its world premiere this year at the Berlin International Film Festival and will be released theatrically and on DVD this fall by Plexifilm.

Love Is Overtaking Me is the fifth release of Russell’s material by Audika Records, whose work has proven that the music remains as contemporary today as when it was first recorded. The label launched with the disco/new wave collection Calling Out Of Context (2004) and continued with a reissue of the cello-and-voice masterpiece World Of Echo (2005); the instrumental compositions double-disc First Thought Best Thought (2006); and the hip-hop-inspired Springfield EP (2006), which includes a DFA remix of the title track.

Extensive Love Is Overtaking Me liner notes by Tom Lee provide an intimate perspective on Russell’s diverse catalog, which spanned an extraordinary diversity of styles and won the love of artistic communities that would seem utterly disparate, from Philip Glass, John Cage and Allen Ginsberg to rock bands like The Talking Heads and The Modern Lovers; the pre-Studio 54 disco-party scene of Nicky Siano’s Gallery and David Mancuso’s Loft; and DJ-producers like Francois Kevorkian and Larry Levan, among others. 

Ship to Shore PhonoCo. is proud to present the experimental Japanese ambient classic Prologue For Post-Modern Music for the first time on vinyl since its original release in 1984! Unavailable since its debut 37 years ago, Masashi Kitamura + Phonogenix’s LP can almost be seen as the natural progression from the experimental recordings put out by Brian Eno in the 1970s to the releases The Orb and The Future Sound Of London were famous for in the 90s. Prologue For Post Modern-Music is a mixture of ambient and electronic sounds that is both beautifully classical Japanese and New Age. An album to get lost in.

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped fire hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.

Tara Clerkin Trio of Bristol head back to the World of Echo imprint with On The Turning Ground, an EP totally bursting with ideas and creative energy. These three absolutely refuse to be pigeonholed - like what do you even call this music? Think of a melting pot of sounds and influences encompassing downtempo, 90s trip-hop, avant-pop, dream pop, jazz, dub, and chamber music into a magnificently cohesive, fresh sound. These guys shine bright.

2021 reissue! Don't miss it. Arthur Russell (1951-1992) is a cellist, a composer of contemporary music, a devotion to disco music and a variety of faces. The unreleased / demo sound collection released in 1993, the year after he died of AIDS, is still a masterpiece that still fascinates many fans, "Another Thought" is trusted. The long-awaited CD / LP reissue from . This album was released as the first collection of Russell's works, and although it has been reissued many times due to its popularity, it is a gem that is now rare. A masterpiece full of masterpieces with timeless charm that will not fade, such as "Another Thought", "A Little Lost", and "This Is How We Walk On The Moon". Gatefold sleeve specifications with insert / original liner notes. Of course, it is a fierce recommendation for this person's introduction.

ハード・ディガーVišeslav Laboš & Zeljko Luketić監修！現在のクロアチア・ザグレブを拠点に、現地の大衆音楽やルーツ・ミュージックのみならず、ディスコ、プロト・ラップ、ニューウェイヴ、ポスト・パンク、インダストリアルに、初期電子音楽、前衛音楽まで幅広い作品が遺された旧ユーゴスラビアの最大級のレーベル〈Jugoton〉（現・Croatia Records）に残されたエレクトロニック、ミニマル・シンセ、アヴァン・ウェイヴを一挙コンパイル。当初、2014年にCD発売されていた画期的な編集盤の〈Everland Music〉からのアナログ・ヴァージョン。1964年から1989年に至るまでの全47曲・150分以上！オリジナル・マスターテープから修復された音源を収録しています。ゲートフォールド・スリーヴ仕様。23年にはPart 2がリリース予定とのことです。

Maria is a trio from Holland and the Czech Republic, who have been producing their own unique post-religious cabaret since 2016. Lyckle, Katerina and Bjorn have amassed seven albums of outsider pop and improvised mayhem over the years. This collection of tracks were mostly made on a farm over a two year period and you can tell the fresh air had a conducive effect on their collective songwriting. A classic sound of drum machines, synth bass, and keyboards holds up Katerina and Lyckle’s vocal interplay alongside Bjorn’s guitars. When the three find their sweet spot, they can conjure up fine slices of whimsical, bleary-eyed pop music that isn’t afraid to smile once in a while and dream big.

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. 

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.

The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur’s vast archive. This first album Calling Out Of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur’s prime years 1985-90.

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.

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped fire hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.

A masterpiece of avant pop chamber music! The composer / pianist "Blue" Gene Tyranny, who has been nominated for the Grammy Award and is known for his participation in numerous masterpieces and The Stooges works left in the prestigious Lovely Music of the US avant-garde music, and his allies. , Arthur Russell and The Flying Lizards are also involved in the works of New York avant-garde writer / multiplayer Peter Gordon's 1976 live recording at the Berkeley Art Museum. Plenty of avant-garde charm that can be said to be one of the answers to German rock from the bay area! A minimal rock jam with a clavinet, an electronic piano, a saxophone, a woodwind instrument, an RMI Synthesizer, etc., and a dense psychedelic groove with a focus on odd time signatures and repetitions. It is a mysterious piece that brings a kind of omnipotence with a mixture of lo-fi atmosphere, strange uplifting feeling, and unique humor. Recording & mixing by Maggi Payne. Taylor Deupree is in charge of mastering. Gatefold mini LP sleeve specification. Includes a 23-page booklet with new interviews and gorgeous photos of both parties.

SIDE-A
01. That Was Illegal
02. You Still OK?
03. Like A Fable
04. You Have Time But I Don’t
05. Sad Errand
|
SIDE-B
01. Star
02. Floating Weeds
03. Thickness of Love
04. One Day
05. The Whereabouts Of Romance

Written & Produced by Shintaro Sakamoto

Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.

After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.

“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)

“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar

“Perfectionist pop for the extraterrestrial bachelor pad.” Spin

Kate NV’s WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling it across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life.

“Blue” Gene Tyranny’s debut album Out of the Blue — newly remastered with original cover art — which was among the first to releases on Lovely Music in 1978 alongside Robert Ashley Private Parts, David Behrman On the Other Ocean, Jon Hassell Vernal Equinox, Meredith Monk Key, and Peter Gordon Star Jaws. Disarmingly direct, funky, and profound, Out of the Blue is an equanimous, wide-open exploration of Tyranny’s musical world: equal parts song cycle, tone poem, keyboard fantasia, and avant-garde pop record. Recorded and mixed by Tyranny at Mills College, this album emerged following the legendary 1976 Trust in Rock concerts, where Tyranny and collaborator Peter Gordon presented New Music for rock band. “Next Time Might Be Your Time” and “For David K.” were co-produced by Gordon, and also feature Mills’s Maggi Payne on flute as well as Oingo Boingo’s Steve Bartek on guitar; “Leading a Double Life” is sung by Lynne Morrow and Jane Sharp, accompanied by Tyranny on piano and polyMoog synthesizer; “A Letter from Home” is a half-hour electro-acoustic narrative meditation on “the Doppler effect as a metaphor for the development of consciousness.” Out of the Blue lives up to its name: it is both surprising and familiar, revealing for the first time something that was always already there.

Lucrecia Dalt channels sensory echoes of growing up in Colombia on her new album ¡Ay!, where the sound and syncopation of tropical music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. In sound and spirit, ¡Ay! is a heliacal exploration of native place and environmental tuning, where Dalt reverses the spell of temporal containment. Through the spiraling tendencies of time and topography, Lucrecia has arrived where she began. CD edition includes lyrics and an essay by Miguel Prado in Spanish and English.

Mount Wittenberg Orca is named so because it is about whales, it was inspired by events on Mt. Wittenberg in California, and because it elaborates on David Longstreth's obsession with vocal harmony introduced on Dirty Projectors' 2009 album Bitte Orca. This seven-song, twenty-one minute collection is the first original music the band has recorded since Bitte Orca, and it feels more like a small album than an EP. It is also their most staggering collaboration yet — with the Icelandic artist Björk.

The music — originally written to be performed unamplified in a small Manhattan bookstore — was guided by a conversation between Longstreth and Björk about the small theaters in Italy where opera was born in the 1500s. The recording was informed by the simple, direct feel of early rock & roll recordings from the '50s. The band and Björk rehearsed for three days at the Rare Book Room in Brooklyn, and then recorded the songs as quickly and as live as possible, overdubbing only lead vocals and solos. The result feels like part children's story, part choral music from some strange future.

It's unlike anything else in the Projectors' body of work: Nat Baldwin's bass is massive and lumbering, like the silhouette of some undersea creature. Drums and guitars, so crucial to the songs on Bitte Orca, are all but absent. Instead, it's all about voices — and the voices are astonishing. Longstreth, sharing lead vocal duties with Björk, exudes a limber confidence. The Projectors women Amber Coffman, Angel Deradoorian and Haley Dekle sound beautiful and virtuosic. And Björk, seismic and elemental as always, sounds fresh in this new context, singing lead on half the songs.

This record is a triumph for Björk and for Dirty Projectors. It merges the energy and rawness of the band's live shows with the intricate arrangement and delicate beauty of Bitte Orca, and seems to do it effortlessly. Björk abides as a kind of artistic patron saint, sharing the spotlight rather than dominating it. Her mix of sophistication and emotion, of composition and instantaneity, has become the blueprint for a generation of creative musicians — and with Mount Wittenberg Orca, Dirty Projectors prove themselves at the forefront of that generation.