MUSIC
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Limited color vinyl (Marble Orange & Red)/ Gatefold sleeve specifications.
The opening "The Ents Go To War" has a gloomy arrangement and heavy drums, "Skylark" has a hypnotic dance between the bassline and the snare, and "Zoom Zoom" has a whimsical percussion. The airy synthesizer is impressive. In addition, "Kaleidoscope Companion" is full of moments that fans will be surprised at. The big band meets easy listening "Hip Operation" was reused in the first version of Sukia's "Feelin'Free" remix, and "A Strange Walk" was included in the compilation "Xen Cuts". An unreleased version of the remix. "Stealth" is another version of the Gentle Cruelty Remix of "The Aging Young Rebel", also included in "Xen Cuts".
Another version of DJ Food's signature song, "The Crow (Slow)," extends the melodic theme to a calm soundscape that eventually blends into another dub version. The 13-minute-long "Quadraplex (A Trip To The Galactic Center)" is made by stitching together various takes from different synthetic tracks. Closing Kaleidoscope Companion, Boo Hoo is an early short version of The Sky At Night that conveys the cinematic mood of the album.
It's not a new DJ Food album, it's an album that wasn't born at the time. In another reality, these songs may have been on Kaleidoscope, but now, 20 years later, they will be released as an adjunct to the original album. --Strictly Kev
"When asked what were my early influences in music, I get reminded of my teenage years in Parisian suburbs, simultaneously discovering from public libraries two important French record labels: OCORA and GRM. Then the roots of my interest in traditional music and electro-acoustic experiments grew into doing it myself, recording ethnic minorities of the zomian plateau of south-east Asia and composing a soundscape around it. This is what is happening here."
— Laurent Jeanneau aka KINK GONG
Kink Gong works with what is unknown to him, as an artist who’s attracted by beauty and strangeness.
Like a stranger, he has been deeply curious about recording ethnic minority music isolated from dominating cultures within South-east Asia, thus working with musicians taking part in specific cultural communities to make almost 200 albums.
Like an artist, he has been leaning towards strange marriages, building on these raw materials. They are lived moments that combine space, people and music, as if they were blocks made out of the same material.
Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances Haino has staked out a ground all his own creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over.
Watashi Dake? presents a haunting vision – stark vocals, whispered and screamed, punctuate dark si-
lences. Intricate and sharp guitar figures interweave, repeat and stretch, trance-like, emerging from dark recesses. Written and composed on the spot – Haino’s vision is one of deep spiritual depths that distantly evokes 1920’s blues and medieval music- yet is unlike anything ever committed to record before or since. Coupled with starkly minimal packaging featuring the now iconic cover photographs by legendary photographer Gin Satoh, the album is a startling and fully realized artistic statement.
Totally absorbing new album flush with ambient-jazz-electronic touches from Vegyn, following their production chops for Frank Ocean, Travis Scott and JPEGMAFIA with an ear-snagging new showcase on London’s PLZ Make It Ruins.
Affiliated with James Blake and Frank Ocean and known for work on some of the most prominent, boundary-probing rap releases of recent years, Vegyn brings a refreshingly optimistic, laid-back, dreamy aesthetic to the table in ‘Only Diamonds Cut Diamonds’. If this album had reached ears this summer it would have bene among the season’s most played, but as it stands it’s going to keep us warm all winter with its collaged mosaic of fleeting field recordings, Satie-esque melodic wist and sparingly used but super crispy R&B/hip hop snap.
A big, big look for fans of Klein, Gila, BoC, Oli XL.
Fortunately for us, Dmytro Nikolaienko agreed to open up the jewellery boxes of his tape-loop archive for his debut album on Faitiche. What came to light was a collection of dreamy glittering gems, masterfully presented using the compositional possibilities of analogue tape machines. Some may consider a tape machine to be limited as a musical instrument, but Rings makes a convincing case with its sure-handed use of the available parameters – moving tape over the tape head mechanically and manually, cutting loops, manipulating timbre and creating noise by means of saturation. The results are eleven blurred, repetitive, rhythmic patterns that can be understood as an intervention against digital precision, as mechanical irregularities and background noise become musical events.
For those familiar with Nikolaienko’s work, his nostalgic approach here will come as no surprise: born in Ukraine and now based in Estonia, he has chosen a historical medium (that has been enjoying a renaissance for some years now) to record historical-sounding sequences. The way he manages his own back catalogue is similarly archival, documenting the chronology of his tape loops in such a way as to leave no doubt as to their advanced age. And then there are his two wonderful labels Muscut and Shukai, the latter being an archival project releasing electroacoustic obscurities from the Soviet past.
Guitarist RUSSELL POTTER's A Stone's Throw (1979) and Neither Here Nor There (1981) reissued via Tompkins Square - LP & Digital June 25th
The latest in a series of reissues spawned from Imaginational Anthem Volume 8 : The Private Press, following Tom Armstrong - The Sky Is An Empty Eye and Rick Deitrick - Gentle Wilderness/River Sun River Moon
Reflections on Russell Potter by IA8 co-producer and poet, Michael Klausman :
The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion.
A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags.
Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time.
Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.”
Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.
Media Condition: EX Sleeve Condition: VG+
A Khayal Gunkali
B1 Khayal Mehkani
B2 Thumri Jhinjhoti
Media Condition: NM Sleeve Condition: VG+
A1 Raga Puriya Kalyan
B1 Raga Averi-Bhairabi with Ragamala
Uruguayan groove and multicultural sophistication – 40th anniversary special edition, 500 copies, including 20 page booklet.
With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.
Media Condition: NM Sleeve Condition: EX
A Raga Lankadahan Sarang
B Raga Maligaura
Media Condition: EX Sleeve Condition: VG
A Khayal Patdeepki - Dekho Ri Ek Jogi - Vilambit : Ektaal / More Anganwa Aao Ji Maharaj - Drut : Tritaal
B khayal Bageshwari Bahar - ja re ja re kagwa ja - Vilambit : Ektaal / ritu basant men apni umang son - Drut : Tritaal
Media Condition: EX Sleeve Condition: VG
A1 Raga : Miyan Ki Todi = राग मियाँ की तोडी
A2 Raga : Gara Kanda = राग गारा कानडा
Media Condition: EX+ Sleeve Condition: EX
A Jugalbandi : Sarangi & Flute - Raga Maru Behag : Tritaal
B1 Flute Solo : Raga Gorakh Kalyan : Jhaptaal
B2 Sarangi Solo : Raga Ras - Mohini Taal Roopak
Media Condition: EX Sleeve Condition: EX
A Raga Gujari Todi - Vilambit Teen Taal,Drut Teen Taal
B1 Raga Lalat - Vocal And Instrumental - Teen Taal
B2 Raga Bhairavi - Keherwa