4184 products

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Moondog - On The Streets Of New York (LP)
Moondog - On The Streets Of New York (LP)Mississippi Records
Moondog (1916-1999) is a rare figure whose music, with its vitality and creativity born from the depths of humanity, has influenced all kinds of people, from jazz to experimental music. This is a co-release by [Mississippi Records] and [Lucia Records]! This is a treasure trove of material from live performances on the road, where even the breath of the spirit dwells, to Schwartz's studio, to the rooftops of New York City. The songs on this album were selected directly from the original tapes stored in the Library of Congress, and have never been released before. The album includes a previously unreleased version of "Why Spend The Dark Night With You? The complete version of "Nocturne Suite" and "On The Streets Of New York" EP, which was released on 7". This is a collection of extremely rare material. The liner notes include a never-before-seen interview with Moodog by Tony Schwartz. Includes liner notes with a complete, unpublished interview with Moodog by Tony Schwartz. an old-school tip-on cover.
The Same - Sync or Swim (LP+DL)The Same - Sync or Swim (LP+DL)
The Same - Sync or Swim (LP+DL)Freedom To Spend

Before there was Rimarimba, Suffolk-born, Felixstowe-based musician and home recording enthusiast Robert Cox assembled a cast of friends, some musicians and some not so much, for an experiment in group exploration and ecstatic expression under the name The Same. Sonically and gravitationally defined by Cox’s collaboration with guitarist Andy Thomas (a partnership which formed in 1976 to record as General Motors), Sync or Swim, The Same’s one and only album, also featured keyboards by Florence Atkinson and Paul Ridout, and vocals by Robert’s sister Rebecca.

Originally released in small cassette and vinyl quantities on Unlikely Records, Cox’s imprint and a meeting point for many other musicians found at the fringe, the back cover of the original album jacket is as much a map of the personnel, place, and process fundamental to Sync or Swim as it is a table of contents for DIY music-making at the beginning of the 80s: “Recorded in peaceful Wiltshire between September 18th and October 6th 1981 (using a miscellany of home made devices) onto a Teac A-3300SX via a Teac A-3440. No noise reduction systems were used.”

Cox’s own definition of British psychedelia is “folk music meeting technology and going bonkers.” It’s by this definition that Sync or Swim takes unexpected forms, from tape-speed tomfoolery, concrète sound collage and analog delayed marimbas, to the colorful spectrum of interwoven guitar play between Cox and Thomas reminiscent of Ghanaian Highlife but more accurately indebted to Jerry Garcia.

On the album’s culminating final track, “E Scapes,” all of these elements are brought together in twenty-minute journey through layers of chiming guitar loops and spritely solos, keyed percussion, and tape experiments, all played as though the sun were rising over the standing stones of Salisbury Plain. Cox would later go to similarly greath lengths with certain solo sound endeavors, but the confluence of musicians on “E Scapes” pushes the piece to exceptional, unforgettable heights.

Transferred and remastered from the original tapes, The Same’s Sync or Swim arrives June 4, 2021 on Freedom To Spend, just in time for the album’s 40th anniversary.

Piry Reis (2x7")
Piry Reis (2x7")New Dawn
Brazilian music at it's finest! 2x7" set of four beautiful Piry Reis recordings from the 70s and 80s. Disc one is a reissue of his 1975 single on Som Livre, 'Heroi Moderno', which features the highly sought after 7inch version of 'Cisplatina' on the flip. The second disc holds the rare cuts 'Reza Brava' (1970) & 'Céu De Manágua' (1984). The project came together with the blessing of Piry Reis himself, and is released on the sub-label of Rush Hour recordings, New Dawn. Artwork by Amsterdam's Sekan with a touch by Megin Hayden. New Dawn, set up for less electronic but equally adventurous releases by artists we love.
Seefeel - Succour (Redux) (3LP+DL)Seefeel - Succour (Redux) (3LP+DL)
Seefeel - Succour (Redux) (3LP+DL)WARP

The pioneering electro-acoustic band Seefeel, which had a major influence on the birth of "post-rock," has announced a reissue campaign covering their material released on Warp and Rephlex in the mid-90s!

The long-discontinued studio albums "Succour" and "(Ch-Vox)" are now available in an expanded edition with bonus tracks, the EP collection "St / Fr / Sp", and the 4-CD box set "Rupt & Flex", featuring material from 1994-96.

All of these releases include previously unreleased bonus material, all of which has been remastered from the original DAT tapes by acoustic techno genius Stefan Betke, aka Pole. The album also features new artwork by The Designers Republic (Succour is an updated version) and liner notes by Seafeel members Mark Clifford and Sarah Peacock.

After gaining attention with their debut album Quique on Too Pure, the band signed with Warp in 1994. Initially, they were associated with the shoegaze sound of My Bloody Valentine, Ride and Slowdive, but their penchant for electronic sounds and sampler-driven style led them to be associated with the burgeoning IDM sound. This image was further strengthened when Aphex Twin, who had professed to be a big fan of Seafeel, provided a remix of his early track "Time To Find Me" and signed him to his own label, Rephlex.

Steve Beckett, founder of Warp, explains how the success of his first album, Quique, led him to sign with Warp. "Seafeel was the first guitar band Warp signed.... It took a lot of courage for them to sign with us because they were older in the family and had been accused of breaking the unwritten rule that they should be a pure dance label.

After hearing Seafeel's first EP, Robin Guthrie invited Mark Clifford to the Cocteau Twins studio, and soon afterwards Seafeel accompanied the Cocteau Twins on tour. Mark later remixed four songs for the Cocteau Twins (on their EP, Otherness), helping to bring their music to a new audience.

Their second album, Succour, released on Warp in March 1995, was a departure from the melodic, guitar-driven sound of the first album, and explored more rhythmic, quasi-industrial textures. A six-song mini-album, (Ch-Vox), released on Rephlex in 1996, took a more experimental direction, with most of the songs produced by Mark Clifford alone. Most of the songs were produced by Mark Clifford alone. It was also the catalyst for his later releases on Warp under the names Woodenspoon and Disjecta.

The band stopped playing in 1997, but a live performance at Warp20, celebrating Warp's 20th anniversary (with a new lineup that included DJ Scotch Egg and ex-Boredoms drummer Kazuhisa Iida), led to the release of a self-titled album on Warp in 2010. In 2010, he released another self-titled album on Warp.

Ilyas Ahmed & Jefre Cantu-Ledesma - You Can See Your Own Way Out (LP+DL)
Ilyas Ahmed & Jefre Cantu-Ledesma - You Can See Your Own Way Out (LP+DL)Devotion
You Can See Your Own Way Out is the first collaborative record between Ilyas Ahmed and Jefre Cantu-Ledesma. Long-time friends and satellites orbiting the same communities and scenes, You Can See's inception was never really a question of if, but when. Combining Ahmed's explorative guitar/synth-work and Cantu-Ledesma's field recording, sound processing and electronics, the result presents as a book of short stories or vignettes highlighting their individual strengths. At times evoking pastoral landscapes, others frayed edges of disintegrating photographs, there's always the suggestion of a forked path or a promised destination.
John Frusciante - Niandra LaDes And Usually Just A T-Shirt (2LP)
John Frusciante - Niandra LaDes And Usually Just A T-Shirt (2LP)Superior Viaduct

Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin's American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante's rapidfire, angular playing shows how key he was in the Chili Peppers' evolution away from their funk-rock roots. His cover of "Big Takeover" perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album's second part – thirteen untitled tracks that Frusciante defines as one complete piece, Usually Just A T-Shirt – contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia's Michael Rother or The Durutti Column's Vini Reilly.

On the front cover, Frusciante appears in 1920s drag – a nod to Marcel Duchamp's alter-ego Rrose Sélavy – which comes from Toni Oswald's film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with gatefold jacket and printed inner sleeves.

Henry Kawahara - Cybernetic Defiance and Orgasm: The Essential Henry Kawahara (3CD)
Henry Kawahara - Cybernetic Defiance and Orgasm: The Essential Henry Kawahara (3CD)Em Records

Here is a portal to a vast and relatively unknown world, the Japanese cyber-occult underground media scene of the early 1990s; our guide is the late Henry Kawahara, a media artist and electronic music producer whose expansive and visionary conception of digital technology merged with a desire to break free of the constraints of mere rationality. This collection, the first-ever archival release of his work, is drawn from recordings released during the period 1991-1996, an exceptionally fertile time for Kawahara. Originally released on CD by a few Japanese independent labels including Hachiman Publishing, a cyber-occult/new-age book specialist, the releases were available mainly in book stores, so this sumptuous and prescient music has remained relatively unknown. The original titles and tag lines of the CDs give clues about Kawahara’s interests and the music itself: Digital Mushroom, Subtropical Illusion, Never-ending Asia, and so on. This 15-track gateway compilation is available on double 12” vinyl and DL; the CD version has two extra discs featuring sound from two art installations entitled "Dysteleology - α" and "Dysteleolog - β" from the 1990s. All formats feature extensive English liner notes. 


Henry Kawahara has been called “the Jon Hassell of Japan”, but upon closer inspection one finds that his work operates on very different terms. Like Hosono's forays into computerized Ryukyu folk “sightseeing music” or Tsutomu Ōhashi's Ecophony trilogy, Kawahara's world projected ancient musical traditions and notions of cultural identity onto the modern digital plane through a fusion of cybernetic thinking and pan-asian cultural introspection that makes Western attempts to do the same seem quaint in comparison. Kawahara's omnidirectional sound “illusions” were constructed not as albums but psychological experiences, billowing with a then-nascent notion of early 90s cybernetic spirituality that was proliferating on both sides of the Pacific as the hyperlinked state of global connectivity we know today was just beginning to crystalize. Through digital representations of folk instruments, shifting MIDI sequencing and custom binaural recording technology he aimed for psychoacoustic effect as much as artistic, all via a countercultural form of distribution untethered from the commercial expectations of post-bubble modes of artistic production. This EM collection draws out the best of his fruitful early-mid 90s period into a revelatory sequence, generously opening Kawahara's world to all. —Spencer Doran (Visible Cloaks) 


Henry Kawahara's deal is Intimate, Intuitive, Adventurous, and Acidy! Spice is added to all, whether its ethereal guitar, nature effects, gamelan club trance, or LSD experimentations. In the vibe of Coil's “Love Secret Domain” and out there clubgamelan. The creative force of the jungle is mutated and interchanged with further sound palettes, and his effex palette has the schwing of a 90s grunge guitarist. His musical tendencies are natural and his scope and variety are dangerous. —Spencer Clark (The Star Searchers / Pacific City Discs)

Shintaro Sakamoto x VIDEOTAPEMUSIC - A Night in Bangkok (12")
Shintaro Sakamoto x VIDEOTAPEMUSIC - A Night in Bangkok (12")Em Records
This collaboration by Tokyo producers/musicians Shintaro Sakamoto and VIDEOTAPEMUSIC is the first of two EM Records 12-inch vinyl-only “tribute releases” in support of the film “Bangkok Nites”, produced by Kuzoku. Based on samples from Dao Bandon, Hongthong Dao-udon, Phairin Phonphibun, Thailand and Tokyo dreamworlds meet in these songs.
Federico Mompou / James Rushford - Música Callada / See the Welter (2CD)
Federico Mompou / James Rushford - Música Callada / See the Welter (2CD)Unseen Worlds

The imagery of musical forms emptied of earthly meaning, of solitude, and of a connection to the divine were irresistible to Federico Mompou. A desire to be alone had shaped Mompou’s early musical direction: as natural shyness ended his ambitions to be piano virtuoso, after studies at the Paris Conservatoire he turned to composition instead. His approach remained introspective – far removed from the overt and public expressions of the avant-garde, both before and after the Second World War – and pursued a line inwards, towards Catalan traditional music, idiosyncratic technique, and a spiritually clarified instinctivism inspired particularly by Erik Satie. The four books of pieces are considered by some to be Mompou’s masterpiece. Música callada creates a sort of musical negative space, in which presence (of external references) creates lightness, and absence (of formal complexity, of counterpoint, of thematic or harmonic development) creates weight and substance.

Metaphors such as these also lie behind James Rushford’s See the Welter, composed as a companion piece to Música callada in 2016. In See the Welter, Rushford introduces a concept of ‘musical shadows’. The aim is not a recognisable transcription or recomposition of Mompou’s twenty-eight pieces, but a sort of Proustian ‘sieving’, in which memories and sensations – such as finger pressures, resonances and harmonic rhythm – are projected across a new surface, in new forms, and as new memories. Just as a shadow both intensifies and diffuses the form of the object by which it is cast, so Rushford’s piece transforms and scatters the details of Mompou’s collection while intensifying its essence. Compositionally, the piece is the inverse of Mompou’s: a single block in place of a multitude of fleeting impressions; its long shadow. Expressively, however, See the Welter explores the same territory, if seen through the other side of the glass: resonances and absences, silences within sounds, luminosity and intensity, bodies within spaces.

University Challenged - Oh Temple! (2LP+DL)
University Challenged - Oh Temple! (2LP+DL)Hive Mind Records

UNIVERSITY CHALLENGED are Ajay Saggar (“Bhajan Bhoy”), Oli Heffernan (“Ivan The Tolerable”) and Kohhei Matsuda (“Bo Ningen”). The trio began in 2019, playing shows in Holland, where they gained a reputation for delivering highly dynamic sense-rattling shows, ranging from gentle melodic orchestral spinouts to epic power jams, all backed by beautiful self-made films in the background. 

The plan had always been to record an album, and get the collective musical force and spirit cemented to vinyl. Many months of hard work and focus paid dividends with the majestic eight track double album “Oh Temple!” ready to be delivered to the world at large. 

This is a beautiful collection of tracks where the pioneering spirit of the three artists allowed them to cross musical boundaries with their bold and accomplished playing to forge 8 unique and mesmeric numbers. While there is commonality in the artists approach to music, there are a wide variety of styles - kosmische musik, electronic experimentation, deep spiritual jazz, modern classical, pastoral guitar soli, and more. 

These tracks sound fresh and revealing now, and will certainly do so for a long time to come. 

It will be released on Hive Mind Records (Brighton UK)....home of Sonny Sharrock and Maalem Mahmoud Gania amongst many others...on Friday 29 January 2021

Pavel Milyakov - Masse Métal (2LP)
Pavel Milyakov - Masse Métal (2LP)The Trilogy Tapes

This album is a sound archive of the audiovisual performance which I presented at Berlin Atonal back in 2019. This massive sound research depicts the ephemeral post-apocalyptic world where the new being rises through the ruins of an old world order. Recorded in Moscow in 2018-19, artwork by Pavel Milyakov, concept art by Volodymyr Pavlov.

The Durutti Column - Red Shoes (LP)
The Durutti Column - Red Shoes (LP)Materiali Sonori / Spittle Records
Spittle Records present a reissue of The Durutti Column's Red Shoes, originally released in 1992 on Materiali Sonori. First ever reissue on vinyl. Red Shoes includes eight new recordings (dated early 1992), five unreleased tracks, a new version of "When The World" and more sophisticated rendition of "For Madeleine" and "For Zinni". Vini develops his musical journey using fascinating licks for guitar, steeped in new age, minimalism, soft electric folk, and ambient music (and it's important to note that Vini's style has been long informed by kosmische heroes such as Manuel Göttsching or Günter Schickert and even John Martyn). The album offers even the reissue of the mini album Greetings Three, a very important goal for the band and the label Materiali Sonori. In fact, the four tracks included on this record -- released in 1985 -- have been explicitly dedicated to Italy, Tuscany and to new Italian friends. Along with Vini Reilly you will find the talent of Bruce Mitchell (drums) and John Metcalfe (violin) on display. Licensed from Materiali Sonori.
Arlene Tiger, The Clay Pitts Orchestra - Female Animal: The Original Soundtrack‎ (LP)
Arlene Tiger, The Clay Pitts Orchestra - Female Animal: The Original Soundtrack‎ (LP)SURVIVAL RESEARCH
New York-based Arlene Farber, who later had a bit part in The French Connection, was renamed Arlene Tiger by future husband, Jerry Gross, for the lurid Female Animal, one of the exploitation films he directed and distributed in the late 60s and early 70s (here under the alias Juan Carlo Grinella). With a debauched plot about the raunchy misfortunes that befell an attractive peasant girl (with Gross appearing as a pimp), the film benefitted from a lush soundtrack by the Clay Pitts Orchestra, written and conducted by the enigmatic Pitts himself (the alias of US composer Derek Ware). This easy listening LP is a true stunner of the genre, a must-have for all fans of lounge music, as well as original exploitation soundtracks.
Devo - Hardcore Volume 1 LP (LP)
Devo - Hardcore Volume 1 LP (LP)Superior Viaduct

Devo 's Hardcore documents the group's beginning as pre-punk outcasts in the fertile Akron, Ohio underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, Devo formed as a conceptual art project armed with a radical philosophy of de-evolution. Mothersbaugh brothers (Mark, Bob, and Jim) and Casale Brothers (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of "devolved blues" that could hold its own alongside the beatnik groove of 15-60-75 (aka The Numbers Band) or the primal rock poetry of the Bizarros.

Recorded on various 4-track machines and in tiny studios, basements, garages and between 1974-1977, Hardcore  Reveals Their strikingly clear vision: rock n 'roll stripped bare of its collective cool and jerked back into propaganda fit for the post-modern man. It's no surprise That These transmissions would soon catch the eye and ear of Brian Eno who later produced Their landmark 1978 debut album. Noisy synth, strangled guitar chops, and a primitive rhythmic thud power the early Devo sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera, and Devo 's long-running topic of choice: sex, or lack thereof.

Few moments in pop music history can match the grinding, pent-up energy of "Mongoloid" and the spastic bounce and sputter of "Jocko Homo" (two anthems presented in Their earlier and superior versions here). Cult favorites like "Mechanical Man" and "Auto-Modown" make Volume 1 essential listening.

Superior Viaduct and Booji Boy Records are proud to present Devo 's Hardcore  to a new generation of spuds, lovingly packaged with Moshe Brakha's stunning cover photography. As David Bowie said in 1977 Devo is indeed "the band of the future."

Gabrielle Roth - Endless Wave: Vol 1 (2LP)
Gabrielle Roth - Endless Wave: Vol 1 (2LP)Time Capsule

A classically trained dancer, Gabriel Roth was involved with the early ’60’s counterculture movement as a dance instructor for therapeutic workshops at the legendary Esalen Institute in San Francisco and Arica School in New York. These facilities and groups played key roles in the Human Potential Movement in psychology which later led to Transpersonal Psychology and the New Age Movement.

Through direct encounters and training from the era’s noted psychologists, philosophers, anthropologists, and spiritual gurus, she single-handedly rediscovered and redefined the ancient shamanic technique of ecstatic dance, establishing a method she named 5Rhythms in the late 70’s.

The practice of 5Rhythms consists of five movements: Flowing, Staccato, Chaos, Lyrical and Stillness. Through this dance sequence difficulties and obstructions in life can be identified and ultimately overcome. The sequence of the rhythms helps create waves that allow the dancer to reach a point of inner stillness. It is a globally recognised movement meditation practice with over 400 qualified teachers in more than 50 countries. Though Gabrielle Roth passed away in 2012, her spirit and legacy have been passed down through her family and extensive followers. It is still being practiced today.

Music plays a key role in these workshops. Following the shamanic tradition of using live percussion as a driving force, the music is necessarily rhythmic in nature and repetitive enough to focus on self-movement without invasive melodies or lyrics to distract one’s mind. It must be fairly lengthy in duration, with the journey defined by the pulsing waves of emotional flow that guide the body’s movement. The music was not intended to be consumed while socialising, but as an aid to the internal journey into one’s soul. It is minimal, abstract, and atmospheric.

As a result of these characteristics (or rather functionalities), their albums didn’t fit into any conventional styles at the time of their release in the early 80s. Theirs is a pure form of dance music that also shares many commonalities with ambient music in the modern context. Yet ambient music had yet to establish itself as a genre at the time despite the early efforts of Brian Eno while underground dance – the genre with which it shares many of its stylistic qualities – was yet to be born. Their releases were rarely appreciated outside of workshops.

Between 1982 and 2008, Gabrielle and her husband Robert Ansell produced 16 original albums as Gabrielle Roth & The Mirrors. Robert brought together some of the best studio musicians that New York had to offer while his son Scott – who later became a Grammy-winning sound engineer – recorded and mixed all of their crystal clear productions.

Endless Waves: Vol 1 was originally released on their own private label in 1996 on CD. Comprised of a selection of their past recordings, the first part acts as a seductive entry point into their rhythmic sound world, with Roth’s voice intoning gentle instructions over each track. The opener Body Parts commences with a series of rolling polyrhythmic beats to prepare the body for meditation. From there the music shifts through a series of ambient moods that evoke each of the ‘5Rhythm’ states of being. Atmospheric synths and stately violins combine to help ease into movement on Flowing. Didgeridoos and funky bass lines evoke masculine energy on Staccato before the tumbling rhythms of Chaos encourage the uninhibited release of one’s mind and body. The soft vocal harmonies of Lyrical help the listener towards a lighter, more fluid, and creative state of being creating a becalming state that continues with the deep ritualistic chants and languid drums of Stillness.

The second part of the album consists of a non-guided version of the same journey. Freshly recorded for the album’s release in 1996, the band deliver up an equally vital series of brilliantly realised rhythmic excursions.

In the words of Gabrielle Roth: “I have found a language of patterns I can trust to deliver us into universal truths, truths older than time. In the rhythm of the body, we can trace our holiness, roots that go all the way back to zero. States of being where all identities dissolve into an eternal flow of energy. Energy moves in waves. Waves move in patterns. Patterns move in rhythms. A human being is just that, energy, waves, patterns, rhythms. Nothing more. Nothing less. A dance.”

A brilliant mini documentary about Gabrielle Roth & 5Rhythms created by Iris Hod

Phew / John Duncan / Kondo Tatsuo - Backfire Of Joy (LP)
Phew / John Duncan / Kondo Tatsuo - Backfire Of Joy (LP)Black Truffle
Black Truffle is thrilled to announce Backfire of Joy, a previously unheard recording from Phew, John Duncan and Kondo Tatsuo, documenting a concert at Tokyo’s Hosei University in 1982. Though the fertile exchange of ‘zines, tapes and records between the Japanese underground and the Los Angeles Free Music Society meant the artists were familiar with each other’s work, this performance (occurring on Duncan’s first visit to Japan) was their first meeting and only performance as a trio. Duncan is heard on his signature shortwave radio set-up, while Kondo performs on synth, tape loops and echo-drenched piano, providing a spacious backdrop for Phew’s astonishing performance of spontaneous, free-associative song moving between Japanese and English. A testament to the unhinged exploration of the 1980s experimental underground, the trio careen wildly between crashing percussive tape loops, deluges of shortwave noise, insistent piano figures and playful synth melodies. On the B side, we are treated to a remarkable ten minute sequence moving organically from spaced-out synth and radio textures to a stunning finale of improvised balladry centred on piano and voice, unexpectedly broken up by electronic interjections. Beautifully recorded in crunchy vintage fidelity, Backfire of Joy arrives accompanied by archival photographs and newly authored liner notes from all three participants.
Can - Delay 1968 (LP)Can - Delay 1968 (LP)
Can - Delay 1968 (LP)Mute
Includes the classic song "The Thief", which has been covered by Radiohead! The 13th album was recorded in 1968 when Malcolm Mooney, the first vocalist of German Rock Gods Can, was in the band, and was not released until 1981. By 1968, the band had already foreseen the arrival of post-punk, no-wave and even electronica, and their edgy psychedelic sound was already in full swing. This is a masterpiece that fully showcases their edgy psychedelic sound.

Asa Tone - Temporary Music (LP)
Asa Tone - Temporary Music (LP)Leaving Records

Asa Tone is Jakarta-born Melati Malay and New York based Tristan Arp and Kaazi. In January 2018 the trio travelled to Indonesia during Melati’s annual return home, set up a temporary studio in a house nestled in the jungle’s canopy and recorded a series of improvisational pieces together, later edited for brevity. The music incorporates both digital and analogue processing and largely draws upon the groups collective voice, a small selection of instrumentation (Rindik, Moog Sub 37, Infinite Jets, Suling) and their immediate environment. Despite this, they aimed to record a kind of music together that doesn’t seem to come from one specific place, but instead, from everywhere.

The result is an idiosyncratic voyage of equatorial excursions in voice, mallets and synthesis, both transportative and fluid, yet firmly grounded in the earth. Cyclical, randomized patterns grow and blossom during these often delicate and heartfelt renderings, staying with the listener long after both sides fall silent.

Giraffe - Desert Haze (LP+DL)
Giraffe - Desert Haze (LP+DL)Marionette

Experimental trio Giraffe crystalize time on ‘Desert Haze’, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Jürgen Hall (keys), and Charly Schöppner (percussion). Sascha Demand is a composer that comes from a contemporary and improvised musical background, collaborating with the likes of Ensemble Integrales and Vinko Globokar. Jürgen Hall works in electroacoustic experimental projects, theatre and film scores, with releases on Staubgold and Edition Stora. Charly Schöppner is known for his popular music releases such as Boytronic on major production companies in the 1980´s and composes for theatre, dance, and film scores. With only a couple of releases to date on the wonderful Meakusma imprint as well as an EP on Marmo, little is known about Giraffe.  After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language.

Sascha, Jürgen and Charly have quite diverse musical backgrounds, though morphing into Giraffe they tower into one single composer. Their music is a critical statement, not in a political sense but rather an artistic one. Being mindful about what it means to create and how to position themselves as artists nowadays (without the constant hassle of being en vogue and short-lived trends) shaped their rather rare and stoic artistic stance. It is refreshingly honest to see their expression develop so naturally.

On Desert Haze, they’ve created a vibrant and minimalistic tribal sound that feels inspired by the Saharan traditional music of the Tuareg, Jazz, and German psychedelic krautrock. Giraffe themselves also list the radical music of the Viennese School (Schoenberg along with his pupils Berg and Webern) as well as the Köln School with its early electronic experiments as their main influence and inspiration. More precisely the composition process and the organization of musical material within space and time, where a conceptual and intellectual approach melds with an experimental yet expressive sound searching method.

Side A focuses on the trios studio work; it is built around tone color and pitch analysis of resonating prepared guitar sounds. Through a unique mixture of free improvisation and a serialism "rule set”, they develop instrumental layers and structures to form their tracks. Side B sees Giraffe playing more freely with a reduced setup - representative of what you may hear when listening to them live.

Desert Haze, along with its track-titles, showcases an almost mimetic approach to art. The haptic music grabs the listener not as a passive recipient but as an active resonant body to vibrate through. One can almost feel the Elements, pressure and heat forming a diamond, hypnotic overtones ringing through windy caves, shamanistic rhythms conjuring up mysterious and ancient landscapes - where the constant cycle of sedimentation and erosion reveals structures of fragile beauty - always gentle to the hand’s touch and the mind’s eye.

Gas - Oktember (LP+DL)
Gas - Oktember (LP+DL)Kompakt

OKTEMBER is the second EP release under Wolfgang Voigt’s mythical GAS project (it follows "Modern“ on Profan, 1995). The 2 compositions were originally released in 1999 on Mille Plateaux, and then reissued partially in 2016 on GAS “BOX”. OKTEMBER is finally released on Voigt's own label KOMPAKT, pressed on 180 gram vinyl in its original artwork.

This reissue features “Tal ‘90“ (instead of the original A side) – a predecessor to the GAS project originally recorded in 1990 under the alias TAL, it was released as a part of the Pop Ambient 2002 collection. With its sampled strings, horns and guitars, "Tal 90” soundtracks a more uplifting side to what is typically accustomed to being the sound of GAS. The title track “Oktember” is a dense, hypnotic affair that conjures a unique vision of dub techno that few have been able to replicate.

A monumental soundtrack to uncertain times.

Dick Hyman - The Age Of Electronicus (LP)
Dick Hyman - The Age Of Electronicus (LP)Pleasure For Music

In his long career Dick Hyman has covered a great variety of music fields, from Broadway through music for film and television to jazz, classical, pop, and electronic music.

"The Age of Electronicus" originally released in 1969 is one of his Electronic Pop jewels. A breathtaking sequence of reworked hits of the day including outstanding electro-versions of Lennon McCartney's classics such as "Ob-La-Di, Ob-La- Da" and "Blackbird" and Bacharach's "Alfie" A whole feast of analog Moog sounds, primitive drums machines, repetitive bass lines and lots of robotic beats. All packaged in a memorable, colourful album cover.

Cinema (Alex Meirelles / Annabel / Ronaldo Tapajos / Tete Sa) - Cinema (LP)
Cinema (Alex Meirelles / Annabel / Ronaldo Tapajos / Tete Sa) - Cinema (LP)Discos Nada

1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.

Cinema was an experimental and avant-garde piece released in early 1985. In many ways it’s an example of the new Brazil that was reborning after 21 years of darkness under Military Dictatorship. Musically, it was a pioneer album for Brazilian music, mixing acoustic and synthetic sounds.
This rare adventure in Brazilian music was released independently in 1985, financed by the artists themselves. The original small press sold-out, belonging now to record collectors around the planet. For the first time Cinema is re-released on vinyl, with two extra and unreleased tracks found after decades.
Remastered from the original tapes, this reissue includes reproduction of the original graphic art, new testimonials from the four members of the project and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

Ursula K. Le Guin & Todd Barton - Music and Poetry of the Kesh (LP+DL)
Ursula K. Le Guin & Todd Barton - Music and Poetry of the Kesh (LP+DL)Freedom To Spend

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin’s Always Coming Home. In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy.

The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin’s conlang, so she could write non-English lyrics), and with early editions, a cassette of “field recordings” and indigenous song. Le Guin wanted to hear the people she’d imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.”

According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, “Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.”

Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. “You research deeply, and then you bring your own voice to the table,” said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together.

The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.

A line from “Sun Dance Poem” reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh also availably on digital formats on March 23, 2018. The LP will include a spot printed jacket with Ursula’s illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, a multi-format digital download code and a bookmark letter pressed by Stumptown Printers in Portland, OR.

First edition limited to 1,000 copies.

Irena and Vojtěch Havlovi - Melodies In The Sand (LP)
Irena and Vojtěch Havlovi - Melodies In The Sand (LP)Melody As Truth
Melody As Truth is proud to announce “Melodies In The Sand”, a collection of works from Czech artists Irena and Vojtěch Havlovi. The husband-and-wife duo began working together in the mid 80’s as part of experimental ensemble Capella Antiqua e Moderna, a unique association of musicians whose repertoire spanned various styles of European classical music. With an inventive and unorthodox approach to both historical and modern compositional techniques and interpretive procedures, the Havel’s have steadfastly developed a unique and musically autonomous language which continues to expand to this day. Spanning their early work in Capella Antique e Moderna to recent pieces recorded for Viola De Gamba, ‘Melodies In The Sand’ is presented to the listener with the simple aim of shining a light on these incredible musicians. Their work has within it the ability to penetrate and enrich the innermost corners of a perceptive human soul, a gift which they share with sincerity and humbleness.

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