BIS AUFS MESSER April news

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BIS AUFS MESSER April news

Messagepar ADAGIO830 » 06 Avr 2018, 12:40

hey. april it is - a few things arrived this week. We got restock of the SUMAC & KEIJI HAINO - american dollar bill DLP, lots of SLEATER KINNEY restocks, SLINT restocks, SONGS:OHIA restocks etc. Also the AFSKY LP on vendetta arrived (whites are sold out), the RADIUM GRRRLS 7“ on Adagio830 is ready to go, the REMEMBERABLES LP repress is in on time for their euro tour starting next month.

besides that the new FRANKIE COSMOS LP arrived, the new UNKNOWN MORTAL ORCHESTRA LP / dlx version, new LEECHFEAST LP and other goodies

Also the new YOUTH ATTACK stuff etc is on its way. (records, shirts etc)

Also VENDETTA fest is happening next weekend - we got some tickets left at the store

We also got those shows lined up for your

APRIL 13th HIS ELECTRO BLUE VOICE (iron lung) & HAVAH (maple death)

https://www.facebook.com/events/113419209470737/


MAY 5th - ADAGIO830 B*day with The Rememberables, Caudal, Cold Leather and more …

https://www.facebook.com/events/135737467123253/


JUNE 21st SHOPPING at Zukunft am Ostkreuz

https://www.facebook.com/events/1991308174523639/


Thank you
 
 Robert & Klose & Norman
 
mailorder@bisaufsmesser.com
www.bisaufsmesser.com/store
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
http://bisaufsmesser.wordpress.com/
http://soundcloud.com/adagio830


7“

RADIUM GRRRLS - Pro Choice 7“ (adagio830 - Swedish squad Radium Grrrls, featuring members of Totem Skin and Livet Som Insats, bring their intense brand of hardcore punk on their debut 7” "Pro Choice": one brimming with powerviolence outbursts, infused with the attitude of the riot grrrl movement and haunted by the righteous personal and political rage of the Radium Girls in songs like ”Pro Choice” and ”Grrrls Like Us”.) 6.00

LP

ABDULLAH IBRAHIM - African Piano LP (ect - There was classical music. There was jazz. There even was rock. Then there was one record company that didn’t care. ECM devoted itself to all kinds of music, as long as it was good and helped shape the story of our listening. The label is pleased to reissue seven historical albums, all mastered from the original analog sources on 180 gram vinyl as part of their Re:solutions series. Follow the great arc of music on these early ECM productions, with works for orchestra and improvisers, guitar duo, solo piano, and jazz quartet. Sometimes a musical message is so urgent that questions of recording quality are almost beside the point. Informally recorded in 1969 in a noisy club – Copenhagen’s famous Jazzhus Montmartre – the flavor of this album is ‘documentary’ rather than luxuriantly hi-fidelity, yet the essence of Abdullah Ibrahim's communication comes through loud and clear.  The listener is drawn into the robust rhythms of his solo piano style, as he re-examines the history of jazz from a South African perspective, with echoes of songs of the townships, and vamps that hint of Monk and Duke and much more. African Piano was a highly influential album, and it has lost none of its power.) 25.00

AFSKY - Sorg LP (vendetta - For those who may be new to Afsky, it is the solo project of Ole Luk, who is also a member of the Danish black metal band Solbrud. Fittingly, the name he chose for this project means “disgust” or “detest” in Danish, though as you’ll discover, the emotional resonance of the music embraces other powerful feelings as well.) 14.00

AIR WAVES - warrior LP (western vinyl -Like many queer women, Nicole Schneit is a warrior by necessity, fighting for basic rights, dignity, and acceptance. Such determination in the face of hardship and injustice runs in Schneit's family; her new album was inspired in part by her mom who was diagnosed with fallopian cancer last year.) 20.00

FACS - negative houses LP (trouble in mind - FACS sprung forth in early 2017 from the ashes of beloved Chicago band Disappears. “Negative Houses” is their debut recording; an abstraction of their former outfit, even more minimal and bare than what came before. After the departure of bassist Damon Carruesco, Disappears remaining members Brian Case, Noah Leger and Jonathan van Herik initially put the project on hold, but ultimately decided to carry on, pushing the project towards new frontiers. Musically, FACS heads in the same direction as Disappears, albeit on a different path. They approach the stark, gothy post-punk they perfected more rhythmically and abstract than in Disappears, with Leger’s motorik, machine-like drumming taking the forefront (see the tunes ‘Skylarking’ and ‘Others’) and van Herik’s guitar alternating between slashes of dissonant ambience and percussive accent. Case switches from guitar to bass in FACS, adding an economical throb to the band’s drive on songs like ‘Just A Mirror’ & the album’s centerpiece, the near nine-minute, sax-soaked tour-de-force ‘Houses Breathing’, whose electric heartbeat lumbers forward, sounding like an outtake from Cold Storage Studios circa 1979. “Negative Houses” was recorded at Electrical Audio by Grammy award-winning engineer John Congleton (St. Vincent, War on Drugs, Roots) & mastered by Jason Ward at Chicago Mastering Service. RIYL: Explosions In the Sky, Disappears, This Heat, PIL, Oneida, Can) 18.00

FRANKIE COSMOS - vessel LP (sub pop -New York-native songwriter Greta Kline has shared a bounty of her innermost thoughts and experiences via the massive number of songs she has released since 2011. Like many of her peers, Kline’s prolific output was initially born from the ease of bedroom recording and self-releasing offered by digital technology and the internet. But, as she’s grown as a writer and performer, devising more complex albums and playing to larger audiences, Kline has begun to make her mark on modern independent music. Her newest record, Vessel, is the 52nd release from Kline and the third studio album by her indie pop outfit Frankie Cosmos. On it, Kline explores all of the changes that have come in her life as a result of the music she has shared with the world, as well as the parts of her life that have remained irrevocable. Frankie Cosmos has taken several different shapes since their first full-band album, 2014’s Zentropy, erupted in New York’s DIY music scene. For Vessel the band’s lineup comprises multi-instrumentalists David Maine, Lauren Martin, Luke Pyenson, and Kline. The album’s 18 tracks employ a range of instrumentations and recording methods not found on the band’s prior albums, while maintaining the succinctly sincere nature of Kline’s songwriting. The album’s opening track, “Caramelize,” serves as the thematic overture for Vessel, alluding to topics like dependency, growth, and love, which reemerge throughout the record. Although many of the scenarios and personalities written about on Vessel are familiar territory for Frankie Cosmos, Kline brings a freshly nuanced point of view, and a desire to constantly question the latent meaning of her experiences. Kline’s dissonant lyrics pair with the band’s driving, jangly grooves to create striking moments of musical chemistry. Vessel’s 34-minute run time is exactly double the length of Frankie Cosmos’ breakout record, Zentropy, and it is an enormous leap forward. Typically, albums by artists at a similar stage in their careers are written with the weight of knowing that someone is on the other end listening. Yet, despite being fully aware of their ever-growing audience, Kline and band have written Vessel with a clarity not muddled by the fear of anyone’s expectations. Vessel’s unique sensibility, esoteric narratives, and reveling energy place it comfortably in Kline’s ongoing musical auto-biography.) 19.00

HOP ALONG - Bark Your Head Off, Dog LP (saddle creek - April 6th marks the release of Hop Along's third studio record, Bark Your Head Off, Dog. Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album addresses disappointment, particularly in man's misuse of power, and relates accounts from the periphery -- one's attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it's like to cast o longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along's first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues. Most signicantly, Bark Your Head O, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan's solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced.) 25.00

LEECHFEAST - Neon Crosses LP (dry cough -"Neon Crosses' was born from the fertile soil of false salvation, wounds left by expectations and refusal to let things go - all illuminated by the flicker of the streetlight. Cancerous nature of deteriorating urban sprawl, endless possibilities of contradiction and the slow, grandiose waltz circling the drain. The stars are shining bright, the crosses of neon even brighter..."  'Neon Crosses' is the new record from Slovenian doom quartet, Leechfeast. This is their second full length release, and their first new material since their split EP with fellow filth-peddlers, Meth Drinker.) 13.00

UNKNOWN MORTAL ORCHESTRA - sex & food LP (Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson’s fourth album as Unknown Mortal Orchestra, Sex & Food—a delightfully shapeshifting album that filters these real-deal serious themes through a vibrant sonic lens that spans battered drum-machine funk, doomy and thrashing rock, and pink-hued psychedelic disco. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex & Food is a practical musical travelogue, with local musicians from the countries that Nielson and his band visited pitching in throughout. Over the last decade, Nielson’s established himself as one of the most inventive sonic traveler currently working, and Sex & Food is the most eclectic and expansive Unknown Mortal Orchestra release yet, from the light-footed R&B of “Hunnybee” to the stomping flange of “Major League Chemicals.” The adventurousness is all the more impressive considering that there’s a bit of DNA from the past UMO discography in Sex & Food: the soft-focus psych of the project’s 2011 debut LP, the lovely melancholia of 2013’s II, and the weirded-out funk of 2015’s virtuosic Multi-Love.  But rather than living in the past, Nielson is firmly in the here and now, drawing from personal unrest and generational malaise while surveying a variety of societal ailments. “If You’re Going to Break Yourself” and “Not in Love We’re Just High” chronicle the effects of drugs and addiction on personal relationships, while the lyrics “Ministry of Alienation” drip with modern-day paranoia like the silvery guitar tones that jewel the song’s structure: “My thinking is done by your machine/ Can’t escape the 20th century.” It’s a scary world out there, and it’s been that way for a while—and Sex & Food finds Nielson surveying the damage while attempting to reckon with the magnitude of it all.) 20.00

UNKNOWN MORTAL ORCHESTRA - sex & food LP + 12" DLX edition (jagjaguwar - DELUXE EDITION with bonus "UMO DEVOTIONAL CANDLE" 12“) 28.00

VILE CREATURE - Cast Of Static And Smoke LP (dry cough - Cast of Static and Smoke is the new record from Canadian two piece Vile Creature. This album is a logical progression from their previous releases, both in sound and content. Three years ago their first LP, A Steady Descent into the Soil mirrored bleak, blackened doom metal with equally melancholy stories of growing up queer before it was part of the greater lexicon as it is today. 2016 EP A Pessimistic Doomsayer explored escaping your demons by forging relationships with works of fiction. With Cast of Static and Smoke the band have delved into building a world of their own while writing a compelling 44 minutes of suffering metal. Cast of Static and Smoke is a record & short story. A dystopian science fiction taking place well after civilization has been destroyed by its own nuclear ambitions. The record is 4 songs that embody emotions felt by characters & moments that take place within the story, the album is less chronological and more a response to certain instances. Musically the band is as heavy as they have ever been and then some, weaving through different paces & influences with ease while maintaining their foundation in Doom. The record also features guest contributions from members/ex-members of Cursed, False, Sect, & Former Worlds. The record is accompanied by a 16 page booklet that includes lyrics, credits, and the full story itself, as well there is an audio recording of the entire story scored by Vile Creature for those who have a hard time reading small print (like me!) or just want another way to experience it.) 14.00
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ADAGIO830
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Re: BIS AUFS MESSER April news

Messagepar ADAGIO830 » 14 Avr 2018, 12:16

friends. one day to late - but in time for you couch weekend :) A bunch of new goodies arrived like the YUNG WU - Shore Leave LP + Flexi Disc, SPEEDY ORTIZ - Twerp Verse LP + 7" (col. vinyl), WREKMEISTER HARMONIES - the alone rush LP, SKULL DEFEKTS LP restock, SUMA & KEIJI JAINO DLP restock, JC SATAN - centaur desire LP, new GOLDMUND LP, new KING TUFF - The Other LP, a bunch of HEXIS & THOU restocks and lots lot

Also the new YOUTH ATTACK stuff etc is on its way. (records, shirts etc)

Also VENDETTA fest is happening next weekend - we got some tickets left at the store

We also got those shows lined up for your


MAY 5th - ADAGIO830 B*day with The Rememberables, Caudal, Cold Leather and more …

https://www.facebook.com/events/135737467123253/


JUNE 21st SHOPPING at Zukunft am Ostkreuz IS CANCELED!!!!!

https://www.facebook.com/events/1991308174523639/


JULY 27th MAJORITY RULE & ERAI

https://www.facebook.com/events/740824039449971/


Thank you
 
 Robert & Klose & Norman
 
mailorder@bisaufsmesser.com
www.bisaufsmesser.com/store
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
http://bisaufsmesser.wordpress.com/
http://soundcloud.com/adagio830



THE MEKONS - Where Were You? 7“ (superior viaduct - No band captures the DIY punk ethos better than The Mekons. As one critic wrote of the group, "Those who couldn't play tried to learn and those who could tried to forget.“ The Mekons' second 7-inch stands as a lasting monument to the punk era. "Where Were You," an anthem with chiming guitars, military-style drums and snotty lyrics, may be one of the most epic songs written with just two chords. The angular spasms and up-front bass thump of "I'll Have To Dance Then (On My Own)" would become tenets for many of the post-punk bands that followed. Fast Product's slogan upon the single's initial 1978 release: "The Mekons' new awareness of sound." A double A-side, indeed. This first-time vinyl reissue and first-time domestic release comes with the original sleeve design. Limited edition translucent yellow vinyl.) 11.00

THE MEKONS - Never Been In A Riot 7“ (superior viaduct - No band captures the DIY punk ethos better than The Mekons. As one critic wrote of the group, "Those who couldn't play tried to learn and those who could tried to forget. Their debut EP first appeared on Fast Product in 1978, featuring the collective's original six-piece lineup and delivering three startlingly original songs – "Never Been In A Riot," "32 Weeks" and "Heart And Soul" – that never appeared on any of their albums. Like fellow Leeds misfits Gang of Four and Delta 5, The Mekons form a rowdy and illuminating piece of the UK post-punk puzzle, fusing everyday political concerns with a no-holds-barred approach to performance. This first-time vinyl reissue and first-time domestic release comes with the original sleeve design. Limited edition clear vinyl.) 11.00

LP

A PLACE TO BURY STRANGERS - Pinned DLP (Deluxe Edition) (dead oceans - Limited deluxe edition! Pink vinyl 2xLP! Including eight bonus tracks on the second disc! Their fifth full-length finds A Place To Bury Strangers converting difficult moments into some of their most urgent work to date. It's their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where founding guitarist/singer Oliver Ackerman lived, worked, and created with complete freedom. Pinned opens with "Never Coming Back," a frightening crescendo of group vocals, vertiginous guitar work, and bassist Dion Lunadon's unrelenting bass. "That song is a big concept," Ackermann says. "You make these decisions in your life.you're contemplating whether or not this will be the end. You think of your mortality, those moments you could die and what that means. You're thinking about that edge of the end, deciding whether or not it's over. When you're close to that edge, you could teeter over." A couple of years ago, A Place To Bury Strangers made one of those big decisions Ackermann speaks of on "Never Coming Back." They were in search of a new drummer and Lunadon met Lia Simone Braswell who was playing shows around Brooklyn where she had recently relocated from Los Angeles. After seeing her play, Lunadon was moved to ask Braswell if she'd want to come to a band practice sometime. While not only cementing herself as the band's new drummer, Braswell also contributes vocals on "Never Coming Back" and elsewhere on Pinned, opening up a whole new dimension in the band's music.) 25.00

BELONG - October Language LP (editions megs - "October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.  Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries. Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.)20.00

BERNARD ESTARDY - space oddities 1970 - 1982 LP (born bad - A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset’s concept albums to Claude François’ hit singles, Françoise Hardy’s delicate tear-jerkers and Michel Sardou’s soul-stirrers. This “giant” had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album “La Formule du Baron,” released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.  My dad came from a well-off family. He was born in 1939 and never knew his father, who died in May 1940 during the war. His mother raised him alone, and then she remarried and he lived with a stepfather who was pretty hard on him. My dad lived in a mansion in the 17th arrondissement of Paris after a period out of the city to escape wartime conditions. At 7, he was already an exceptional child, running around with screwdrivers and hammers and dismantling everything in the house. He was curious, a great dreamer and quite timid. He wanted to understand the world, and tried by all means possible to escape his home.) 18.00

DORIS NORTON - Personal Computer LP (mannequin - Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600. In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985). While her music remains largely out of print and inaccessible, Norton's early records have recently begun to receive the inevitable rediscovery treatment. "In the late sixties I had already conceived computers as personal.' I have always trusted in the benefits of solitude, (being) alone means freedom... What's better than a personal' computer for materializing ideas, by oneself" (Doris Norton))20.00

DORIS NORTON - Norton Computer For Peace LP (mannequin - Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985). Third studio album, 'Nortoncomputerforpeace' involved Doris Norton, Antonius Rex and Rudy Luksch (hardware engineer). "Don't Shoot At Animals" was used as original soundtrack for the RAI tv program "Rumore Di Fondo" directed by Umberto Marino.) 20.00

GOLDMUND - Occasus LP (Lim. col. vinyl) (Limited edition on white marble vinyl! Pennsylvania native Keith Kenniff’s output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin O’Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff’s work as “so, so, so beautiful”. Hyperbolic as it may sound, Goldmund’s newest collection Occasus may be his most exquisite yet. Where his previous recordings trod faithfully and sincerely on paths of dimly lit, polaroid-esque nostalgia, Occasus deepens the undeniable aesthetic that was hard-won over eight previous Goldmund albums, while expanding the palette to include desultory clouds of synthesizer and a tastefully distressed analog sheen. The word Occasus means downfall, end, or the rising and falling of heavenly bodies. The title is apt in more ways than one: while the emotional tone of the album denotes bittersweet feelings of conclusiveness, it also perfectly soundtracks the quiet moments when we look up to the sky, and humbly relearn the smallness of our lives as cosmic objects churn slowly overhead with bewitching indifference. Occasus feels deeply personal, private, and hushed yet simultaneously grand, colossal, and profound. Remarkably Kenniff is able to capture micro and macro with equal fidelity. Tangential to prior Goldmund material, there are a few moments of Occasus that feel dark and menacing like “No Story” and “Thread”, both of which broach urgent paranoia, and provide a refreshing counterweight to the idyll typical of the project. Kenniff’s music has always been unquestionably gorgeous, but seeing it set against an occasionally manic backdrop makes the moments of light shine that much brighter. Even when elements of Occasus play by the rules harmonically, they tend to unfold with a satisfying level of rhythmical disregard. "I like mistakes, I like when things don't go perfectly,” says Kenniff of his wabi-sabi ethos, “I do have a tendency to want for things to be perfect and precise, but I have to also realize that a lot of things I like about music and art are very rough and impulsive, the slight imperfections that give something or someone a unique voice.") 21.00

JC SATAN - centaur desire LP (born bad - As we know, first times are always the most powerful: the shattering rush of revelation can only be experienced once. After that it’s all an inevitable, exhausting quest for repetition, a feverish search for the original shock, and pointless reiteration and accumulation poisoned by consciousness, analysis and age: and such a sensation keeps fading as we experience it. 2018’s garage band #1001 will look and sound the same as the preceding one, and leave you wondering – half-sorry, half-dismayed – how on earth listening to the Sonics and the Standells could electrify you back in the days. Likewise, you can count on the fingers of one hand the bands you’ve loved up until their 5th album like J.C. Satàn – almost ten years after falling in love. We all already know dudes who have “seen them too much”, heard them too much and stopped expecting anything from them anymore. Except that…  Except that those folks are in for a big-time surprise, as the Satàn crew did not deliver a 5th album just for the hell of it, just to justify their next tour: they got together to seek the rare fuel, the miraculous current able to galvanize our sleeping senses, the electroshock forcing us to revive the urgent impression of being alive. Centaur Desire has something of a new first-time record – recorded all together (Arthur and Dorian used to handle all instruments themselves), enhanced by an incredibly powerful sonority (gear has piled up over the last years), and filled with a new groove (Romain finally plays his drum parts, and it’s fantastic). Never where you’d expect it, Paula’s voice adds to the pervading climate of freshness. No doubt the fact that this 5th album is their best one to date is quite uncommon and leads one to wonder. Light years away from barely-hatched bands that seem to find reward in a second-class access prime-time appearance playing a shortened version of their unique hit before docilely presenting the weather forecast between two cell phones ads, thus betraying their only ambition – to become TV hosts – J.C. Satàn took their time, worked and searched without sacrificing their ambitions on the altar of dayglo-tracksuit pop, on which the critique, hysterical by dint of its own pomposity, reveres each day a new genius. And when a killer such as “Complex Situation” is played on a TV set, we’ll see some dislocated host disappear through a puppet-theater trapdoor, and then be pulled from there with tears on his face: a first-time shock of this caliber really doesn’t hit one every day. ) 17.00

KING TUFF - The Other LP (sub pop - When asked to describe the title track from his new record, Kyle Thomas—aka King Tuff—takes a deep breath. “It’s a song about hitting rock bottom,” he says. “I didn't even know what I wanted to do anymore, but I still had this urge, like there was this possibility of something else I could be doing... and then I just followed that possibility. To me, that’s what songwriting, and art in general, is about. You’re chasing something. ‘The Other’ is basically where songs come from. It’s the hidden world. It’s the invisible hand that guides you whenever you make something. It’s the thing I had to rediscover to bring me back to making music again in a way that felt true and good.” After years of non-stop touring, culminating in a particularly arduous stint in support of 2014’s Black Moon Spell, Thomas found himself back in Los Angeles experiencing the flipside of the ultimate rock and roll cliche. “I had literally been on tour for years,” recalls Thomas. “It was exhausting, physically and mentally. I’m essentially playing this character of King Tuff, this crazy party monster, and I don’t even drink or do drugs. It had become a weird persona, which people seemed to want from me, but it was no longer me. I just felt like it had gotten away from me.” The ten tracks that make up The Other represent a kind of psychic evolution for King Tuff. No less hooky than previous records, the new songs ditch the goofy rock-and-roll bacchanalia narratives of earlier records in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and a childlike, creative energy untarnished by cynicism. The soulful and cosmic new direction is apparent from the album’s first moments: introduced by the gentle ringing of a chime, acoustic guitar, and warm organ tones, “The Other” is a narrative of redemption born of creativity. As Thomas sings about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of “the other,” a kind of siren song that, instead of leading towards destruction, draws the narrator towards a creative rebirth. Elsewhere, tracks like “Thru the Cracks” and “Psycho Star” balance psychedelia with day-glo pop hooks. “The universe is probably an illusion, but isn’t it so beautifully bizarre?” he asks on “Psycho Star,” providing one of the record’s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try? Thomas self-produced the record, as he did his 2007 debut, Was Dead, but on a far grander scale. He recorded it at The Pine Room, the home studio Thomas built to work on the record, and playing every instrument aside from drums and saxophone. He pulled Shawn Everett (War On Drugs, Alabama Shakes) in to assist with the mixing process.)19.00

KNOCKER JUNGLE - s/t LP (vinylissomo - Vinilisssimo present a reissue of Knocker Jungle's self-titled album, originally released in 1970. Ember was a British label created in 1960 by Jeffrey Kruger, founder of London's Flamingo Club. As well as recording British acts, Ember distributed many American and other recordings in the UK. The Knocker Jungle LP was released by the label in 1970, when the duo had already split, being withdrawn from sale shortly after due to a controversial picture included in the inner sleeve that made many shops refuse to stock it. A single (for the Spanish market only) somehow managed to get released too, and that's about all Tony Coop and Keith Jones achieved in their short life as Knocker Jungle. What the band members had done before this project was formed, or where this album led them to, remains totally unknown. Their music speaks for itself, confessing a true passion for classic song-based artists, from Donovan to Nick Drake or Dylan, with a certain degree of hippie-bluesy approach on most tracks. Tony Cox (responsible for producing Yes's album Time And A Word (1970) and other records from Family, Caravan, etc) held production duties and Dave Pegg and Dave Mattacks from Fairport Convention are featured among the band players. From the splendid opener "I Don't Know Why", consistency remains solid throughout the entire album. The catchy "You've Lost Your Love For Me" adds some early T-Rex sound into the equation while "Where I Belong" shows a strong West Coast influence. Almost 47 years after its sudden withdrawal from the shops, this rare gem gets a deserved vinyl reissue. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.) 21.00

M.A.L. - My Eight Little Planets LP (sub rosa - Lies of omission and appropriations. The story of a magnetic tape that contained a trade secret. Four decades after My Sixteen Little Planets's release (on OHR, 1975), Inventions For Electric Guitar, the solo debut by Ash Ra Temple guitarist Manuel Göttsching, is now a classic, an undisputed worldwide reference. Inventions was made using only an electric guitar and a simple four-track tape recorder. Inventions was the challenge, and so was its impact. Göttsching recorded it in July-August 1974 in Berlin, after a sudden technical revelation. The original LP sleeve had the following printed on its back: Manuel Göttsching (guitars only). Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Sola Sound Fuzz, Schaller Rotosound, and Hawaiian steel bar. The reaction was unanimous: this was a significant innovation, in terms of both technique and creativity. However, there are little-known facts to this case. In early 1974, Göttsching's label received a tape sent by M.A.L. -- same design, same configuration, almost the same tracks. This is known by only a handful of experimental musicians from the Charleroi area. M.A.L., aka Daniel Malempré, is the actual inventor of this technique which Göttsching reproduced a few months later. Given the above, it's suggested that you listen to both albums. As doubts are removed, the truth sets in, forty years later. Here's hoping that this will ease the deep disgust that made M.A.L. leave his guitar untouched for so long. All music by M.A.L. on Fender Stratocaster 1964 with a wah-wah Cry Baby. Recorded and mixed at home between 1972-1976 on a reel-to-reel recorder, Sony TC-630.) 19.00

MUSTAPHA SKANDRANI - Istikhbars and Improvisations LP (Mustapha Skandrani. Besides having an excellent name, this man, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabo-Andalusian and European styles. “Istikhbars and Improvisations”, recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as Istikhbars. Playing these istikhbars (which have roots in the Islamic Arabo-Andalusian culture which flourished in Spain) on the piano, that quintessentially European instrument, Skandrani was greeted with derision by some purists. Skandrani’s powerful musical vision, however, perceives the European element involved in Arabo-Andalusian musical culture, a world of exchange and co-existence, and his decision to play this music on the piano reminds us of this European influence. Skandrani’s modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on the istikhbar and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani’s playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani’s precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not vast. This is an admirable acheivement, resulting in beautiful music of a rare charm. Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.) 20.00

OREN AMBARCHI - Grapes From The Estate DLP (black truffle - Black Truffle is pleased to make Oren Ambarchi’s Grapes from The Estate available once more on vinyl. Originally released on CD on Touch in 2004 and reissued on Southern Lord as a limited double LP in 2006 during Ambarchi’s tenure as a member of Sunn O))), Grapes from the Estate was a landmark release for Ambarchi, seeing him expand his sonic palette beyond the clipped, bass-heavy electric guitar tones he was known for at that point. Incorporating subtle layers of strings, keyboards, percussion over a bedrock of his signature guitar tones, in retrospect this album can be seen as the beginning of a broadening and evolution in Ambarchi’s work that would lead to his acclaimed, densely layered epics for Editions Mego, Quixotism (2014) and Hubris (2016). Beginning with the shuddering pure tones of opener ‘Corkscrew’, which looks back to previous guitar-only releases such as Suspension (2001), the album’s next two pieces show a progressive broadening of the instrumental palette and a corresponding move away from textural abstraction and sustained tones towards more traditional notions of musicality. This reached its high point on the album’s third piece, the fifteen-minute long ‘Remedios The Beauty’, where guitars, both acoustic and electric, strings, piano, and bells build from a murmur to an interlockinging web of repeating melodic patterns over gently swinging brushed snare and cymbals. The epic closer, ‘Stars Aligned, Webs Spun’, returns us to a space populated only by the electric guitar, but unlike everything Ambarchi had produced up until this point in his career, the piece has a liquid, psychedelic edge that looks forward to the shimmering harmonics of his more recent work. As Brendan Walls wrote at the time of the original release, this is ‘another outpouring of personal, intimate and enduring music from Oren Ambarchi’. Presented in a stunning gatefold sleeve featuring the original artwork and design by Jon Wozencroft. Redesigned by Stephen O’Malley Remastered and cut by Rashad Becker at D&M, Berlin.) 25.00

PIERRE VASSILIU - Face B 1965​ - 1981 LP (born bad - “Qui c’est celui-là?” Many French asked themselves this question (“Who’s that guy?”) when the song bearing this title began to smash the hit parade in 1975. Some others already had parts of the answer: it’s the guy who sang “Amour amitié”! The guy who sang “La femme du sergent”! The guy who sang “Armand” in “Le Petit Conservatoire de Mireille”! To all those French, Vassiliu had always been reduced. Few were the real fans, who had explored all angles and taken the measure of the man.  Vassiliu was – awful word – a poet. Even worse, he was an wandering entertainer. He wandered the world, bringing back words, sounds, instruments and feelings. Maybe his rhymes weren’t that rich, the instrumentation not too lush, the production quite laid-back and the timbre rather little demanding, but you could be sure the song would be pampered. Had anyone else taken care of it, it would have been worse. To make a good Vassiliu song, you had to be Vassiliu. The problem is, all this was nothing but a succession of misunderstandings. Because he continuously tried to remodel his career, from a chansonnier to a cunning singer, from tender to comical, to a beatnik poet, to an ethno-artist, to a venue manager, to a showman, to a barfly.  1961. Pierre Vassiliu, a horserider and a war photographer, embarks with his brother Michel (lyricist) in the music business. Their department: comedy. Puns, a funny voice, honk-honk and oompahs. Lucky break, it works. A first misunderstanding gets him labeled as an agitator: his song about the military is censored on the radio, and only played past midnight. That’s all it takes to create a buzz. Georges Brassens champions him and writes a few laudatory lines on his first 45 – Vassiliu is launched. But enough with the smutty rhymes designed to make lowbrows laugh. The sassy man sets to putting sweet songs on his singles, such as “Le Manège désenchanté” on the B-side to “Ivanohé” in 1965. He also participates in the French-Brazilian adventure of Les Masques, with an album that has become a cult item thirty years later. Eddie Barclay once addresses him: “Your thing is gentleness, not bawdy joking. Deal with me and you’ll be able to do whatever you want.” ) 18.00

SPEEDY ORTIZ - Twerp Verse LP + 7" (col. vinyl) (carpark - Pink vinyl with rainbow splatter! "Necessary brattiness" is the motto in Speedy Ortiz’s dauntless new collection of songs, "Twerp Verse." The follow-up to 2015's "Foil Deer," the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a ‘twerp verse' when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.” "Twerp Verse" was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze's Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band's idiosyncrasy through the wilderness of Dupuis' heady reflections on sex, lies and audiotape. Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band's brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb's biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you’re digging the song," Dupuis sings wryly, "You like it in theory, but it’s rubbing you wrong." Tuned smartly to the political opacity of the present, "Twerp Verse" rings clear as a bell. ) 22.00

WREKMEISTER HARMONIES - the alone rush LP (Wrekmeister Harmonies’ new album, The Alone Rush, their first as the core duo of JR Robinson and Esther Shaw, is a hauntingly intense and dark meditation on death and isolation, whose concise compositions carry an emotional heft without the orchestrated bombast of their previous four albums. After confronting the dual tragedies of the death of a loved one and the exhaustive experience of caring for another family member with a chronic illness, Robinson and Shaw removed themselves from the intensity of Chicago living to the seclusion of Astoria, Oregon. With little else besides their instruments, the couple focused on just two things: healing their psychic wounds and composing. Robinson likened this period to a “cult like affair, just the two of us, thinking the similar thoughts and working them out with hours and hours of conversation, totally alone.” After spending two years in their remote surroundings, together in almost every endeavor, Robinson and Shaw developed an especially intuitive musical communication. Says Robinson it was “almost like two stones being put in a small bag and being carried around constantly. The rough edges wear away. What seemed claustrophobic reveals itself to be comfort.” The Alone Rush retains Wrekmeister Harmonies’ expansive and ambitious aesthetic, blending waves of ethereal keyboards, haunting string melodies, and crescendos of dissonance, but now turns central focus towards Robinson’s deep, rich, and soothing vocals. The two guests involved in The Alone Rush are longtime friend and Swans drummer Thor Harris, performing minimal drums and clarinet, as well as acclaimed New York producer/engineer Martin Bisi. Keeping the album’s deeply personal subjects in mind, Robinson and Shaw aimed to maintain the material’s emotional potency through an intense intimacy. Harris’s contributions were immediately resonant and in touch with Shaw’s and Robinson’s. It was not until after the recording was complete that Harris informed them about his own deeply personal loss. Wrekmeister’s work is often based upon literature and The Alone Rush continues in this tradition, specifically through very personal emotions processed with the help of books that involve grief. Thoughts on coping mechanisms, specifically in the age of social media were filtered through works such as George Monbiot’s essay The Age of Loneliness is Killing Us, as well as broader thoughts on the nature of grief itself explored in George Saunders’ Lincoln in the Bardo, and depictions of lost life in Marlon James’ A Brief History of Seven Killings. Much of the album’s words, and specifically “Forgive Yourself and Let Go,” and are drawn from the musicians’ personal answers to questions one faces when confronting death and the associated sadness, confusion and violence of the event. “There’s a realization, a moment of perfect clarity that comes from meditating on these ideas,” says Robinson, “and that is, at the end of it all, we are perfectly and utterly alone.”) 22.00

YUNG WU - Shore Leave LP + Flexi Disc (The Feelies percussionist, Dave Weckerman, takes center stage as the primary singer / songwriter for Yung Wu, a 1987 Feelies side project that includes all of the Good Earth era members plus John Baumgartner, keyboardist for The Trypes and Speed the Plough. Shore Leave leans towards more acoustic guitars and simplified drumming that trades the Feelies’ neurotic intensity for a more pop gentleness. Produced by Glenn Mercer and Bill Million and originally released on Coyote Records, it was largely overlooked at the time but is considered among Feelies enthusiasts to be an important part of their discography. Shore Leave is a minor classic of 80s jangle pop ripe for rediscovery.) 20.00

ZERUM / RIVERSRUNDRY - split LP (New split LP by Berlin's Zerum and RiversRunDry from Hungary. Both bands plays a dark and crushing blend of Crust, Hardcore and Sludge Metal. ) 12.00


TAPE

KALMÄUSER - No.4 TAPE (Newest output by experimental math rock / free jazz band Kalmäuser. 12 nervous improvised tracks with guitar and drums.) 6.00

RATFEAST - demo TAPE (coloussus - Bielefeld metalheads (current members of MAYAK) trying to play crust - and they fucking rip. Think of Disfear and Wolfbrigade rehearsing with Lemmy.) 5.00


T-shirts

VENDETTA - stalingorgel T-shirt (vendetta black label shirt with front and back print in S/M/L/XL) 14.00

VENDETTA - stalingorgel Longsleeve (vendetta - black long sleeve with front and back print in S/M/L/XL) 20.00


MAGAZINES

THE WIRE - #411 MAY 2018 MAG (On the cover: Larry Heard: The Chicago house of Mr Fingers altered the shape and sound of club and electronic music, and a new album proves the producer is still looking to the future. By Jacob Arnold. Plus: Doris Norton: Spanning Italian occult prog, computer music and consultancy work for IBM, the reissued back catalogue of Doris Norton takes us deep into the machine. By Emily Pothast. Pekka Airaksinen: After the 1960s performance provocations of The Sperm, the Finnish polymath went travelling the spaceways in search of zen inspiration. By Matt Wuethrich. Aïsha Devi: The vibrational rave of the Swiss born Nepalese-Tibetan vocalist and producer is designed to move bodies at both subatomic and social levels. By Daniel Neofetou. Plus: Ben LaMar Gay, Lana Del Rabies, Experimental Sonic Machines, Lucrecia Dalt, Collateral Damage by Chal Ravens, Global Ear: Istanbul, plus the usual mass of albums, books and gigs reviewed, and much more.) 8.00
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ADAGIO830
Faudrai' qu'jarrête de bédave, que j'arrête de pillave
 
Messages: 754
Inscription: 31 Déc 2005, 14:38
Localisation: Berlin

Re: BIS AUFS MESSER April news

Messagepar ADAGIO830 » 20 Avr 2018, 12:35

lovers, the sun is out and we blasting augustus pablo through our speakers. finally!! Anyway - a day before RSD and as usual lots of resources got wasted for a lot of pointless & overpriced re issues. What was meant to be as a good cause is definitely not what it was probably meant to be. Maybe its important to say that small labels & record stores need your support through the whole year while you pick a record here and there and not just on this one specific day dominated by overpriced re issues etc. So THANKS A LOT to all of you that support us & other small record stores every day, every week, every month, every year. We much appreciate your support!!!!!!!!!!!!!

Anyway - we got lots of great records this week (also a few RSD titles cause not all of them are shit). We got new stuff from Aarght, BASTION - s/t LP re issue, ITCHY BUGGERS LP (Josh from DIÄT), BONNIE PRINCE BILLY - Wolf of the Cosmos LP, BONNY DOON - long wave LP on Woodsist and a bunch of woodsist restocks, new Total Punk releases plus restocks (PERVERTS AGAIN - Friday Night Light LP etc), amazing new États-Unis re issues!!!!; HAWTHONN - Red Goddess LP on Ba da Bing, RLYR - Actual Existence LP on Flenser … and many more

Also the new YOUTH ATTACK stuff etc is on its way. (records, shirts etc)

We also got those shows lined up for your


MAY 5th - ADAGIO830 B*day with The Rememberables, Caudal, Cold Leather and more …

https://www.facebook.com/events/135737467123253/


JUNE 21st SHOPPING at Zukunft am Ostkreuz IS CANCELED!!!!!

https://www.facebook.com/events/1991308174523639/


JULY 27th MAJORITY RULE & ERAI

https://www.facebook.com/events/740824039449971/


Thank you
 
 Robert & Klose & Norman
 
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7“

THE COWBOYS - Live At Tony's Garage 7“ (feel it - While touring the West coast in May 2017, Bloomington rock'n'roll heroes THE COWBOYS stopped for a one-off recording session at a friend's garage in sunny Whittier, California. The result: an impressively tight and vibrant batch of tracks, brimming with crunchy, direct-to-tape production. Instead of letting this powerful session dwindle on the original cassette that it was recorded on, we've opted to press Live at Tony's Garage to a proper destination format, 7" vinyl at 45 RPM. The session kicks off with possibly the best recorded version of a Cowboys staple, "Mint Condition," plus two more raw originals that were recently featured on their debut LP for Hozac. The session also features a roaring cover of the 1964 garage rock classic, "The Witch," as originally performed by The Sonics. This perfect four track EP sits nicely between The Cowboys' incredible string of studio recordings and the raw energy of their live performances. Live at Tony's Garage has been remastered for vinyl by JOSH BONATI and includes a Cowboys sticker plus digital download code with an exclusive bonus track. 500 copies on black vinyl, housed in a foldover sleeve printed on textured Stipple stock.) 7.00

DARK BLUE - Fight To Love 7“ (12xu - It’s 2018 and it’s another shite year in America. But hey, the Philadelphia Eagles finally made it to the Super Bowl, so it’s only fitting there’s a new DARK BLUE single recorded by none other than JEFF ZIEGLER, The band’s 2016 LP—Start of The World—was as much an ode to the powerless as it was an effort to lay bare uncomfortable realities: the working poor keep working only to get poorer, oh and ICYMI, there’s a violent occupation happening in Palestine. Dark Blue’s latest 7” for 12XU continues to sing to the unsung with two tracks that are unwilling to sugarcoat issues many seem to turn a blind eye to. The A side, “Fight to Love,” is a brit-pop ballad that feels arena huge thanks to JOHN SHARKEY III's distinct vocals, which are the strongest and most emotional they’ve ever been. Like all Dark Blue songs, bleak is always embedded in the pop. This track rails against gentrification, which according to Sharkey, doesn’t matter if it’s lead by “slime who dress their rescue dogs in Lycra,” or if it’s cloaked in Zionism. The flip side to this is a reimagined version of Anti-Nowhere League’s 1983 classic, “For You.” Instead of the cut’s street punk grit, Dark Blue turns the track inside out to expose a song that goes right for the heart instead of the usual brick to the gut.) 7.00

DISAVOW – half empty 7″ (epidemic - The band, based in Gothenburg, has previously released a demo and started touring across Europe right away after that. This new release is a 7” called “Half Empty”. Six tracks of pure hardcore fury with no compromise. Harsh, angry and dark, but still as sharp as a razor blade. Disavow features current members and former members Anchor, Gust, Murderofcrows, Oak and Painted Wolves. “Half Empty” has been recorded and mixed by David Zackrisson and mastered by Daniel Husayn at North London Bomb Factory. The artwork has been created by Isabell Kirstinä. Two tracks sees guest vocals by Derek Archambault (Defeater, on “Sick”) and Fredrik Larzon (Millencolin, on “No Devotion”).) 6.00

DUSK - The Pain Of Loneliness (Goes On And On) B/w Go Easy 7“ (in the red - Dusk was formed in 2014 by Amos Pitsch (bass guitar, vocals) and Colin Wilde (drums) as an informal recording project—mostly of obscure soul covers and country-rock indulgences—and later gained traction as members Julia Blair (described by Pitchfork Media as a “smooth country-soul alto”), Ryley Crowe (electric guitar, vocals) and Tyler Ditter (electric guitar, vocals) joined the fold at the onset of serious songwriting and recording. They recorded a series of demo recordings and later a two song single for Forward Records. They’ve toured America twice thus far: once doubling as the backing band for Tim Buchanan in Oklahoma City-based cosmic-cowboy punk band Cherry Death, and the other time doubling as an extended lineup of Pitsch’s other group, Wisconsin punk band Tenement.) 7.00

RABID DOGS - s/t 7“ (aarght - Much like the group’s name indicates, RABID DOGS pumps out a frenzied and ferocious onslaught that is both barbarous and barbed. The band’s sound is wiry and tough, durable and formidable but not without malleability.) 12.00

SIMPLY SAUCER - She's A Dog / I Can Change My Mind 7“ (schizophrenic - Formed in 1973 in the east end of Hamilton, Ontario SIMPLY SAUCER crafted a distinct sound that combined kraut rock, prog rock, psychedelia and a heavy dose of power to create their unique proto-punk sound. By the time punk exploded, Simply Saucer had once again shapeshifted to include to tapping pop melodies while maintaining that hard driving beat. Released 40 years ago, Schizophrenic Records is pleased to reissue a Limited Edition of "She’s A Dog / I Can Change My Mind" 45 originally released via Pig Records, which was a NME single of the week in 1978. Includes a 12-page booklet and many never before seen photos. Edition of 300 copies.) 13.00

SPOTTING - s/t 7“ (aarght - Four tracks of driving female fronted synth punk from Melbourne, Australia. Mastered by GEZA X and MIKEY YOUNG. Edition of 500 copies.) 12.00

UBIK - s/t 7“ (aarght - 4 tracks of catchy brat-beat punk from the new Melbourne punk 4 piece UBIK. Upbeat and simple Ubik draws on the melodies and anarcho drum beats of bands like CRISIS with bratty vocal stylings reminiscent of THE COMES spitting lyrics about the mundanities, paranoia and bigotry of modern Australian life. Featuring members of MASSES & RED RED KROVVY….) 12.00

WRISTMEETRAZOR - I Talk To God ... But The Sky Is Empty 2x7“ (zegema - Just months after releasing their 3-song demo, Virginia’s WRISTMEETRAZOR recorded and released their debut LP ‘I Talk to God,…But the Sky is Empty’ on double 7”. Blending screamo and metalcore seamlessly, the three-piece drop four tracks per 7” with blistering hardcore (“Nothing Gold Can Stay”, “De Nadie”) as well as slower, expansive and epic post-hardcore (“This Summer’s Sorrow” , “Anesthetic”). Definite ties musically to .gif from god and SeeYouSpaceCowboy and member-wise with grindcore solo project Secondgradeknifefight. Phenomenal debut. ffo: Letters To Catalonia, Neil Perry and The Bled) 12.00


LP

ANNEA LOCKWOOD - Glass World LP (etat - New Zealand-born sound artist and composer Annea Lockwood received formal training at various institutions before exploring the sonorous potential of glass in a series of performances in the late 1960s. With plates of wired glass, glass discs, chunks of green cullet glass, glass tubing, sheets of micro-glass, glass jars and other incarnations of the material, Lockwood elicited a staggering array of sounds, some subtly uncanny and others as outlandish and alien as anything emitted from the era’s early synthesizers. Lockwood’s glass concerts yielded a text-score published in Northern California new-music journal Source: Music of the Avant-Garde and attracted the attention of South African producer Michael Steyn, who encouraged her to record the glass pieces for his label Tangent. They worked for two years in a small, resonant church in London to document a veritable catalogue of the materials’ tone and timbre; Lockwood wished to present each sound as if it were a piece of music in and of itself. Glass World originally appeared on Tangent in 1970. “I wanted to entice people into really listening intensively,” Lockwood once reflected. “Into really listening. I wanted a deep immersion in the sounds of themselves, for the audience.” First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.) 27.00

ANMLPLNET - Fall Asleep LP (ba da bing - Nobody is more surprised about having created a full ANMLPLNET album than the group itself: Slothrust leader Leah Wellbaum and drummer / singer Mickey Vershbow. The two met while they were both immersed in the Boston music scene, and then went on to pursue separate musical careers on opposite coasts. Their debut album Fall Asleep truly displays their magnetic musical bond, even while withstanding physical distance and hectic schedules. The band was formed originally on a number of rules, including writing lyrics that are antonymic translations (meaning nouns, adjectives and verbs were replaced with their antonyms) and playing songs straight through as one giant piece, no breaks.= 20.00

AQUARIUM - s/t LP (lumpy - BACK IN STOCK!!!  Debut LP by this most precious Minneapolis supergroup and it’s a real cobra. We’re talking hot meat moist spuds whiplash punk AND a hefty dollop of sauerkraut (that’s vocals in German, BENCH). They’ve tapped the unhinged energy of Hans-A-Plast and Crap Detectors but ditched the nostalgia. No tears for these salty schnitzels, not like the other punkies of the late 2010s who were born 40 years to late. Featuring the frantic rhythms of the world renowned STAG BITCH BABY (LEMONADE, URIANIUM CLUB) Pressed to 45 rpm 12” the greatest format of all time.) 18.00

AUGUSTUS PABLO - Africa Must Be Free By 1983 Dub LP (greeb - Prince Jammy dubs the Augustus Pablo production for Hugh Mundell’s Africa Must Be Free by 1983 in heaviest style at King Tubby’s studio, turning Mundell’s signature falsetto and Pablo’s melodica into an echo chamber maze of smoke and mirrors. Stone cold superb.) 16.00

BASTION - s/t LP (ACC - ACC Records is proud to present the reissue of Bastion’s self-titled LP, one of the most scintillating and coveted records of the Yugoslav 1980s. Recorded in Skopje in 1983 and originally released on the state-owned PGP-RTB in 1984, Bastion is the only remaining document of the short but extremely sweet collaboration between singer-actress Ana Kostovska, composer and musician Kiril Džajkovski, bassist Ljubomir Stojsavljević and film director Milčo Mančevski. One of the first electronic bands in the Republic of Macedonia – hailed by the press as “Macedonian electropop sensation” – the four young artists crafted a quick-footed jewel of eclectic, expert synth-wave, genre-curious yet grounded in a bright, glamorous pop sensibility.  Bastion moves between crazed stadium bubblegum and a serious, seductive solemnity: whirlwinds of womanly wave such as “Hollywood” and “Mister Kompleks” open onto the dark electronic landscapes of “Deca Sunca” and “Mesec u Šolji”, while “Molitva” lifts the record into a soulful, torch-lit, and typically Macedonian mysticism. Across the record, Džajkovski’s luscious, sparkling synths and Stojsavljević’s dexterous bass tease and sustain Kostovska’s vocals as she croons, chants and coos her way in and out of one of the freshest, most surprising records to have ever come out of Eastern Europe. ACC Records is a new imprint born out of Flora Pitrolo’s radio show A Colder Consciousness, broadcasting since 2011 on Resonance FM (London) and Kanal 103 (Skopje).) 19.00

BONNY DOON - long wave LP (woodsist - Arriving in the early months of 2017, Bonny Doon’s self-titled debut was a warm introduction to the band for many. Hazy and bright, the album’s woozy melodies and swirling webs of summery guitar textures were easily ingested as low-key slacker pop. But the nonchalant breeziness belied a serious attention to songcraft, and hinted at depths yet unexplored. Lo and behold, before the ink was even dry on the first record, work had already begun on its follow-up Longwave, a conscious about-face from the sonic experimentation of the first album, and a journey inward.) 20.00

BONNIE PRINCE BILLY - Wolf of the Cosmos LP (domino - "It's one of the best Bonnie 'Prince' Billy albums for a while." - Record Collector Bonny sings Susanna, to simply try and save the world. Sonata Dwarf Mix Cosmos is an old companion of his, and with the Chijimi house band + 1, they bring it all back home again, this time to the space in Bonny's place.  “As other practitioners are leaving the room in favor of novel forms of recording and distro and consumption, we are left with a virtual PALACE, fantastical and real structures and practices. Like we are allowed into the museum at night. We can make a great essentially live record with great songs and great players because nobody else is? Wolf of the Cosmos...is about, as much as anything, direct engagement with recorded music. So step right up to the replicant.” — Bonnie Prince Billy) 25.00

COME HOLY SPIRIT - Asters And Disasters LP (water wing - Formed in 2012 in Pittsburgh PA, COME HOLY SPIRIT wields the age-old trifecta of guitar, bass, and drums in unexpected configurations. The songs embody a complex aggregate of musical influences, ranging from the angular deconstructivism of early experimental anarcho-punk (think Dog Faced Hermans and Poison Girls) to the tender repetition of far-flung folk music. GINA FAVANO's (JOHN DENVER’S AIRPLANE, BEWARE THE BLUNTED NEEDLE) bass playing lies somewhere between a thunder storm and a runaway train. And her striking vocal range alternately spits and croons a shrewd critique through a caul of poetry, while SAM PACE CENTIPEDE EEST, RICKETY RECORDS) incorporates unconventional percussion with elaborate poly-rhythms to add another layer of tonal melody to the mix. The trio is completed and complimented with AARON LINDBERG's (HEX, GARMONBOZIA) sometimes percussive scratchy guitar work, sometimes melodic and patient with bouts of blistering heaviness. After two self released efforts, Asters and Disasters marks their third album and their first on Water Wing. The album's six songs (seven including the digital download bonus track!) run the gamut of anthemic joy and punishingly noisy mayhem, all the while never losing the groove. Two songs "Elephantine" and “Essayons” feature the iconic voice of GW SOK (THE EX, KING CHAMPION SOUNDS) who was given the song titles and a peek into the imagery that was swirling around Favano's head when the songs were named. Sok took the germs of ideas, wrote the lyrics and performed them on the album. Cover photo by underground filmmaker BILL DANIEL. Limited to 300 copies.) 18.00

THE COWBOYS - 3rd LP (hozac - BACK IN STOCK!!!  "Bloomington, Indiana has something to really be proud of in hometown heroes THE COWBOYS. One of the most exciting and indescribable bands of the last five years, this band manages to escape all of the pitfalls of modern DIY punk/garage and break out into a field of their own instantly. First off, nobody is supposed to have vocals this good, like almost bewildering talent-wise, but to actually be able to sing like this and be sweating it out in front of a packed room of rock’n roll revelers all night is almost charity work. The songs have this hard-to-pin Midwest je ne sais quoi and and the guitar and rhythm section are just off-the-charts in their ability to bridge themselves between the polarity of tightness and looseness. Coming off like summery sons of The Gizmos circa 1981 at one minute, and then diving head-first into their other-worldly piano-based tracks, which surprisingly simmer along perfectly next to their punkish rockers without any abject knee-jerk derailment. Just arty pallet-cleansers? I wish it was that simple, but The Cowboys have too many chops to minimize their effort, and this LP is nothing short of a riveting ride through a range of rock’n roll styles that should NOT work when liquifyed as such, yet with this band and it’s subversive magic, their songs come off as perfectly original, yet warmly familiar.Housed in silk-screened LP jackets, and equipped with a rock’n roll wanderlust that keeps them in perpetual touring formation, The Cowboys new LP wont last long, and once the irresistibilty of their songs seeps into your pores, it’s going to be hard to pull back, and impossible to ignore. Definitely one of the Midwest’s finest musical operatives of the last 10 years, this band has really got it all, and we cannot wait for you to bathe in it’s pleasures."—VictimofTime.com. First pressing of 500 copies.) 18.00

THE COWBOYS - Volume 4 LP (feel it - At long last, a proper American pressing of the incredible Volume 4 cassette from Bloomington, Indiana's hometown heroes, THE COWBOYS. By now, you might be familiar with the stripped down, yet intelligent and powerful rock'n'roll force of The Cowboys—perhaps from their recent full length on Hozac or from their earlier cassette output which was collected onto an LP by Lumpy Records. Volume 4 captures The Cowboys at a near-perfect intersection of their earlier, lo-fi moments of Gizmos-esque Midwestern punk snarl and the more tuneful, soul-spun moments of recent output. This definitive edition of Volume 4 reproduces the ten-song tracklisting of the original 2016 cassette edition released by fellow Bloomingtonian Kora Puckett (of Bugg, Laffing Gas, and Chud) on his Turd Wurld imprint. This definitive edition of Volume 4 has been cut at 45 RPM by Josh Bonati and includes a new insert with artwork from The Cowboys' own Zack Worcel plus a digital download code. 500 copies on black vinyl including a 2" square hype sticker. From the opening hook of "When She Came Back" (available on vinyl for the first time here, as well as the lead cut on side B, "Porridge"), The Cowboys showcase a songwriting knack and musical ability that is rarely achieved, nor captured so well in a studio setting.) 18.00

DRINKS - Hippo Lite LP (drag city - The latest from CATE LE BON and TIM PRESELEY as DRINKS. "A month spent in an old mill in the under belly of France. River swimming thrice a day. Hot nights soundtracked by the rattle of randy frogs. Scorpion fear. In the sheets, on the face. Hours of bird watching—no phone service. No wifi. 3 DVDs. Jurassic Park 1, 2 & 3. Violin practice. Bread scoffing. Early morning coffee drinking before the sun was too hot to do anything but snooze in the thick walled house. Music in the afternoon after a dip in the river and a cold beer on the square. With all the ease and air needed, in this mysterious place, we made an album made for each other by one another with no hands, eyes or ears piercing the bubble other than our dear friend Steve who slid in under the door and took note of it all."—Cate Le Bon) 22.00

DUNGEN & WOODS - Myths 003 LP (mexican summer -With 2018’s Marfa Myths festival slated to take place in the idyllic namesake backdrop of far West Texas, Mexican Summer once more reveals the fruits of the previous festival’s recording residency. For the third Marfa Myths release, we’re proud to present seven all-new songs written and recorded by Stockholm’s psychedelic masters DUNGEN and adventurous Brooklyn indie-folk pioneers WOODS. As the Marfa Myths record series progresses, the spirit of the collaborations between the artists chosen—one a member of the Mexican Summer family, the other for which we share deep admiration—deepens as well. In the case of Dungen and Woods, the two bands were tourmates in the summer of 2009, traversing America and bonding with one another in the process. The familiarity with one another’s music and personalities was already well in place, but the eight years that passed between the tour and the making of this record reveal that nothing was lost in the interim.  That this is the most music assembled for a Marfa Myths release to date is telling of a rare and special connection between Dungen and Woods, reignited by the circumstances of the occasion. Dungen’s GUSTAVE EISTES and REINE FISKE, and Woods’ JEREMY EARL and JARVIS TAVENIERE were provided the freedom to acclimate themselves to the unique frequencies of the Marfa experience without distraction. Myths 003 showcases a seamless merging of two bands following the same track to different locations throughout their career, as if they’d been playing together for decades, an exhilarating and buoyant example of how shared experiences can foster truly wonderful music.) 20.00

THE ENTOURAGE - Ceremony Of Dreams: Studio Sessions And Outtakes 1972-1977 LP (tompkins square - Received a 7.6 rating from Pitchfork.  Sampled by Four Tet, their name whispered in reverence through the decades, ENTOURAGE forged bold musical ideas on their two rare '70s Folkways LPs. Now, collected for the first time, on three CDs are 30 previously unreleased tracks from their archives. LP version features a selection of the CD tracks. Notes by J.D. CONSIDINE, and by sole surviving Entourage member, guitarist WALL MATTHEWS.) 20.00

GHASTLY - death velour LP (20 buck spin - While Finland’s Ghastly may be a new name to many, those who delve deeply enough into the Death Metal underworld, as we here at 20 Buck Spin often do, will recall the band’s debut album ‘Carrion Of Time’ released a few years back on cult Death Metal tastemaker label Me Saco Un Ojo (Morbus Chron, Undergang, Phrenelith). A few years have passed and the band now resurfaces with their masterfully executed 2nd album ‘Death Velour’.  While there’s no question Ghastly’s ‘Death Velour’ is a pure Death Metal album, it could hardly be confused with most of the current bands making the rounds. The nightmarish hallucinatory sound Ghastly invokes conjures the horror of rotting in incomprehensible obscurity, passing into oblivion guided by a many-colored specter of strange origin across the styx. An air of psych-induced weirdness and shrieking dread permeates the decomposed palette throughout the album’s cryptic duration.  Like discovering a forgotten relic of mysterious brilliance from the early Finnish Death Metal scene, Ghastly’s ‘Death Velour’ is a phantasm of blinding light onto the foreboding darkness of this mortal coil.) 20.00

HAWTHONN - Red Goddess LP (Of This Men Shall Know Nothing) LP (ba da bing - The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band’s chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape. Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to music-making. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil’s Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of “phantom words”—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery.) 25.00

HIDE - Castration Anxiety LP (dais - Started in 2014 as a collaboration between visual artist HEATHER GABEL and percussionist SETH SHER, the Chicago based industrial duo known simply as HIDE was formed. The following three years have seen HIDE crash through with a number of aggressively rendered singles and EP’s while quietly collecting the shattered pieces that would form their debut full length album on Dais, Castration Anxiety. Those familiar with HIDE’s provocative live performances will already be accustomed to the hypnotic low-end and sinister vocal delivery that has become the band’s signature. The opening track, "Fall Down," sets an eerie tone that permeates Castration Anxiety until the end. Throbbing pulses swirling around Gabel’s death laden mantras succumb to themes harvesting power from desperation and hopelessness. Castration Anxiety was recorded by engineer JOE CARDAMONE at Valley Recording Co, who contributed additional instrumentation and arrangements, with additional recording and mixing by ADAM STILSON at Decade Music Studios. Edition of 400 copies on black vinyl.) 22.00

INSTANT MUSIC - same LP (darke entries - Instant is the trio of Bernd Schöll (Bass, Vocals, Rhythm), Mike Hauer (Guitar, Synth, Percussion), and Marion Siekmann (Vocals) from Munich, Germany. They formed in 1980 after meeting through mutual friends attending the local art and graphic design school. The trio were dissatisfied with their surrounding musical environment. Inspired by the Velvet Underground, Kraftwerk, and Giorgio Moroder, they set out to create their own brand of Neue Deutsche Welle fusing Dada, disco, and Krautrock. Over the course of 2 weeks in Summer 1980 the band teamed up with local producer Mario Strack to record 6 songs. These would make up their debut eponymous album that was originally self-released on 10” vinyl in 1981. They utilized a simple set up of guitar, bass, and keyboards, plus the BOSS DR-55 Dr. Rhythm drum machine. Metal scraps clanging appear on the tracks “Do Not” and “Optimate Minimum”, and a washing machine was sampled on the track “Joyboy”, which features Marion reading from the appliance’s instruction manual. The A-side features 4 tracks in 11 minute, while the B-side hosts 2 songs in the same stretch of time. “Charade” features no wave saxophone accompaniment from Kai Taschner of Munich New Wave band Luna Set. Marion’s vocals are between Nico’s Teutonic chill and Alison Statton’s (Young Marble Giants) playfulness, while Bernd takes a monotone approach. Lyrics for “My Boy” and “Everybody's Gotta Mutate” were adapted from ‘Rotwang’, a fragmented novel written by Tim Hildebrandt, one of the brothers famous for illustrating the works of Tolkien. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the original jacket design, which features a neon red screen-printed drawing of a cut-out doll family on a stark white background. Each LP includes a postcard insert with lyrics.) 20.00

ITCHY BUGGER - Done One LP (low - “The freak's flyin solo.” Basically Josh from DIÄT and Heavy Metal wrote some songs and then recorded them on 4-track over a few loooong nights last summer with the help of a wheezing drum-machine and fellow HM mensch Robert. He made a tape of it and passed it to mates as a sort of leaving gift as he prepared to head back to Oz after a blurry half-decade’s stint in Europe. When we heard it we were blown away, and wasted no time in emotionally blackmailing him into letting us press an LP version. So here you have it, the maiden release on our softly-softly shop label (is it softly softly if you say it out loud?), which we started purely so we could give this incredible record the run it deserves. Musically, it's a wry, whimsical, oddly poignant DIY/jangle/part-time-punk micro-odyssey that feels like the introspective, acid-bleary yin to Heavy Metal’s cranked-up hooligan yang. If you’re familiar with Josh’s other bands then you’ll already know what an effortlessly gifted songwriter and guitarist he is, but this set is a world away from DIÄT and HM, actually, although it shares a world-weariness with both, his bittersweet lyrics - and half-sung, half-spoken vocals - perfectly evoking the beauty and banality of life on the lamb, Hearts in Exile, and a sense of reality/normality every day deferred if not defeated. Instead these brittle, self-deprecating but incorrigibly romantic songs put us in mind of Dan Treacy/TVPs, Swell Maps and of course classic fractured Oz/NZ pop from The Clean, Cannanes ++. The whole thing has a diaristic, unaffected, please-itself quality, as if it was made entirely for its own sake with no real audience in mind - which, essentially, it was. Tunes like ‘Baker Man’, 'Next Time I Fall In Love, Man' and ‘Good For Nothing Man’ have quickly become cast-iron anthems round here. Edition of not very many, with self-portrait picture sleeve and hand-stamped inner. Man.” - Low Company) 17.00

JEAN DUBUFFET - Musical Experiences LP (etat unis - The legendary French painter and sculptor Jean Dubuffet exalted naivety and spontaneity in visual art, and his brazenly experimental recordings on Musical Experiences evince the same spirit through sound. He once reflected, “Certain unexpected windfalls ... come of improvising on an instrument one doesn’t really know how to use.” Dubuffet, who famously founded the art brut (or outsider art) movement, began making music in the early 1960s with avant-garde figure Asger Jorn. With no training, they played a range of instruments: saxophone, bassoon, detuned piano, hurdy-gurdy, cabrette, bombarde and so on. Soon, Dubuffet reserved a room in his home for making music and bought two tape-recorders in order to manually edit the results. He wrote fondly of the recordings’ crudeness and the sense that they “had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score.” Dubuffet’s discography begins in 1961 with the release Expériences Musicales, a six 10-inch record set produced in an edition of fifty with original artwork and lithographed sleeves. Musical Experiences, compiled by composer Ilhan Mimaroglu and released in 1973 on his Finnadar imprint, collects eight of the twenty pieces on the much sought-after Expériences Musicales. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl. • 1961 recordings by legendary French painter/sculptor) 27.00

JOHN DUNCAN - Organic LP (etat unis - The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art’s influential compilation Sound. Duncan’s debut album, Organic, released in a tiny edition on the artist’s own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: “Broken Promise,” a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and “Gala,” a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl.) 27.00

KING GIZZARD & THE LIZARD WIZARD - Gumboot Soup LP (ato - Received a 7.7 rating from Pitchfork. As they promised at the beginning of 2017, Melbourne’s KING GIZZARD & THE LIZARD WIZARD has released their fifth album Gumboot Soup, just before year’s end. "We don’t expect everyone to like everything that we release, but I hope people can view these five records as one body of work,” says STU of this grand creative undertaking. “They’ve been made at the same time, by the same people, in the same place, and they all overlap.” 2017's previous four records—February’s Flying Microtonal Banana, June’s Murder of the Universe, August’s Sketches of Brunswick East and November’s Polygondwanaland—have all received critical acclaim and contributed to a whirlwind year for the band. Some benchmarks include their first Coachella performance, their worldwide TV debut on Conan and headlining sold out shows at landmark venues including two nights at Chicago’s Lincoln Hall, two nights at New York City’s Webster Hall and San Francisco’s The Fillmore. In years to come King Gizzard & The Lizard Wizard will be judged not by their separate albums, but by a body of work where themes, melodies, motifs, riffs and ideas resurface and recur, each album peeling back a layer of the onion to glimpse at past and future alike.) 25.00

MASSA NERA - Los Pensamientos De una Cara Palida LP (zegema - Insanely beautiful screamo from New Jersey. Album art by Connie Sgarbossa. For fans of: Raein, Shizune, City of Caterpillar, Reveries) 12.00

MAYA DEREN - Divine Horsemen Of Haiti LP (psychic sounds - MAYA DEREN journeyed to Haiti to make a film of ritual dances, instead, she came to be accepted as a Voudoun initiate, whose devotees commune with the cosmic powers through invocation, offerings, song and dance of the Voudoun pantheon of deities, or Loa, whom are witnessed as being living gods and goddesses, actually taking possession of their devotees. Deren describes the relationship between magic, science and religion bringing a uniquely lyrical voice to her narrative. This paints a multi-textured, infinitely complex portrait of a spiritual tradition with roots stretching back to the very dawn of humanity. Joseph Campbell calls Divine Horsemen “the most illuminating introduction that has yet been rendered to the whole marvel of the Haitian mysteries as ‘facts of the mind.’” Included in this album are some of the first recordings ever made during religious ceremonies near Croix de Missions and Petionville featuring selections that serve as a soundtrack to the film she shot documenting Voodoo ceremonies and festivals conveying the incantatory power of the ritual drumming and singing. One can hear the sounds of nature while processions begin across the landscape further giving the effect of an audio memoir. For the first time in almost 40 years, this long out-of-print cult classic is now available in a limited edition featuring a beautiful screen print cover by GRANT CORUM, risograph insert with liner notes by CHEREL ITO, original cover art by TEIJI ITO and mastered for the first time by TIMOTHY STOLLENWERK.) 25.00

MOURNFUL CONGREGATION - The Incubus Of Karma DLP (20 buck spin - After more than six years since The Book Of Kings, Mournful Congregation, Australia’s stone pillar of funereal dirge, presents their regal fourth full-length, The Incubus Of Karma. Since that time the band has made several trips to the U.S. and Europe, released the mini-album Concrescence Of The Sophia, and increased their reputation as the pinnacle of extreme / funeral doom and as one of the most influential bands in the genre. Throughout these intervening years the band has also been meticulously crafting this new masterpiece. Everything that has made them the unchallenged masters of this style is here: the agonizing weight of extreme doom riffs, bitterly sombre dissonance, a painterly attention to detail and arrangement, and vocals summoned from the deepest hole. And as with each album before, the band expands upon their unique progressive tendencies, weaving beautifully constructed solos and lengthy virtuoso interludes into a bleak-yet-intricate tapestry of stately grandeur. An incredible twenty-five years into their existence, Mournful Congregation persist in refining and perfecting their immortal art. • The fathers of Funeral Doom return with their first full length since 2011) 27.00

OF FEATHER AND BONE - Bestial Hymns Of Perversion LP (profound lore - Emerging from their Rocky Mountain crypts, OF FEATHER AND BONE spread their virulent strain of cryptic death metal on Bestial Hymns of Perversion, due March 9, 2018 on Profound Lore Records. Bassist/vocalist AS and Guitarist/vocalist DG herald the endtimes with a dual guttural onslaught atop an everflowing stream of grime-caked riffs and PW’s whirlwind of blasts and d-beats. Invoking the claustrophobia of Autopsy and the visceral disgust of Incantation and Bolt Thrower, OF FEATHER AND BONE’s relentless death assault serves as the soundtrack to mankind’s fall. After garnering substantial praise for their long sold-out 2016 demo, OF FEATHER AND BONE returned to Goldberg Studios during the summer of 2017 with Steve Goldberg (Cephalic Carnage) at the helm. Mastered by Dan Lowndes at Resonance Sound and featuring stunning cover art courtesy of Stefan Todorovic, Bestial Hymns of Perversion’s seven tracks of unrelenting death metal portend the destruction of the modern age.) 23.00

PERVERTS AGAIN - Friday Night Light LP (toztal punk - Lace up your boots and get in line because PERVERTS AGAin are back with brand new marching orders. They brought punk’s most loveable mascot back for an 8-song study on judgemental video store clerks, sex offenders, high school football, and Billy Joel amongst other subjects. Perverts Again continue in the fine tradition of strange mutated Cleveland punk. Trudging, repetitive, sarcastic, and funny without being overly goofy. Dumb in the smartest imaginable way. Self-described as Eminem fronting CRUELSTER (one of their many other bands) and if that’s the case they are the best thing to happen to rap-rock since the Judgement Night Soundtrack and 100% TOTAL PUNK!) 18.00

PHYSIQUE - Punk Life Is Shit LP (iron lung - By now people know that most of the music coming out of Olympia WA is important in some way, be it artistically or politically. PHYSIQUE manages to hit both points by channeling the classic Discharge / Kawakami (RIP) model of poetic, simplistic sloganeering and carefully crafted, noise fueled D-Beat punk music. Punk Life Is Shit exists to fight the nightmarish reality of inept politicians, capitalism, colonialism, gender struggles, Jesus useless Christ and impending nuclear war that we all live in. Eight songs pressed on 500 copies of 140-gram black vinyl with an etched B-side, 22x22 double-sided poster and digital download card all housed in a 24-pt reverse board jacket.) 18.00

REGARDE – leavers LP (epidemic - Hailing from Vicenza, Italy, Regarde plays passionate music, songs full of poetry and tunes you’ll fall in love with immediately. “Leavers”, first full lenght album of the band, which is coming out this Fall via Epidemic Records, Wiretap Records (both vinyl, Europe and US) and V4V (digital and tape). It’s been engineered and mixed by Jay Maas (Defeater, Title Fight, Citizen) and Daniel Esteban Florez at Getaway Recordings (Boston, USA) in december 2016. Mastered by Azimuth Masterings (New Jersey, USA) in december 2016. All fans of Emo Punk of the 90s and current bands such as Title Fight and Basement will love Regarde too!) 13.00

REMKO SCHA - machine guitars LP (etat - Gnashing, thrashing and teeming with enchanting microtones—Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn’t play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow. Scha was a linguist and generative artist, enamored of computers’ capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman’s brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin. Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era’s minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha’s work falls somewhere between conceptual art and avant-garde music—a total revelation for minimalists and No Wave fans alike. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.) 27.00

RIK & THE PIGS - A Child's Gator LP (total punk - back in stock - RIK & THE PIGS have been plopping down some grade A slop for the last couple of years and we've been smearing our ears with every ounce of it. From the brooding droop of "Life's A Bust" to the greasy glam of "Don't Tell On Me" Rik and his Pigs have been the soundtrack to many a late night shenanigan and early morning blunder. Rik's been delivering some prime grime underneath all that tape scrape and on 'A Child's Gator' him and the Pigs give us a collection of songs new and old, recorded at High Command Studios in Olympia, WA and mastered straight from tape by DAVE ECK at Lucky Lacquers, that finally serve as a true testament of what a powerhouse this band is live. Loud, proud, and 100% TOTAL PUNK! Edition of 500 copies.) 20.00

RLYR - Actual Existence LP (flenser - Chicago-based experimental rock trio RLYR (pronounced “Relayer”) present their sophomore album Actual Existence on The Flenser, a new four song full-length that distills and expands on the explosive energy and anthemic catharses of the band’s 2015 debut Delayer. This album represents a step forward in complexity for the instrumental band. Comprised of Steven Hess (Locrian, Cleared, etc.), Colin DeKuiper (Bloodiest, ex-Russian Circles), and Trevor Shelley de Brauw (Pelican, Chord, etc.), RLYR have fine-tuned their MC Escher-esque song structures while preserving the indelible earworm melodies that are their hallmark. “This is uncommonly optimistic post-rock, then, deliberately using the strength of the style’s sound to summon something more than temporary fury.”) 20.00

SOCCER MOMMY - clean LP (fat possum - Received an 8.4 Best New Music rating from Pitchfork.  SOPHIE ALLISON got her start in the local Nashville DIY scene, going to shows and hanging out with other musicians, though she kept her own songwriting secret. All that changed the summer before Allison left for college at New York University. She bought a Tascam digital recorder and began to experiment with production, pushing the quality and craft of her songs to new heights. Allison decided to start releasing her songs for free on Bandcamp under the name SOCCER MOMMY in 2015. A buzz began to grow, leading to live shows, a record deal, and 2017’s critically acclaimed bedroom-recorded compilation Collection. The higher production values Soccer Mommy chose to incorporate on Clean play to Allison’s strengths, highlighting the maturity and growth of her songwriting. The music gains clarity and power, losing none of the trademark intimacy of her Bandcamp work, something Allison credits to days spent recording in Wax’s home studio. Clean is an emotional album, heavy on themes of growth, isolation, and change, but balanced by a lightness of touch, and with hooks to spare.) 20.00

SPACEMEN 3 - Dreamweapon DLP (superior viaduct - August 1988, Spacemen 3 embark on one of the strangest events in the band’s already strange history. Billed as “An Evening Of Contemporary Sitar Music” (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders’ film Wings Of Desire. Spacemen 3’s proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the “Sweet Sister Ray” of ‘80s Britain. Their signature sound is at once recognizable and disorienting —pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3’s classic Playing With Fire album. “Spacemen Jam,” featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects. Includes download card and new insert with liner notes by Will Carruthers.) 33.00

URANIUM CLUB - Live At Arci Taun - aka Live for the Very First Time (In Italy) LP (“Nothing like a carb-load Italian pre-show feast and table wine to grease the gears of some live action in Fidenza, Italy. A land-locked classico right where you would pinch to hike up the boot. A club packed tight with handsome men and women abused by sonic marauders. “Have you seen Uranium Club live? No? Drop everything. They are complete-package slayers. Watch-works drummer power, shred-haired bass magic (glasses flying), ripped twin guitar flexing on nerd beach, vocals poured through the skylight into your e-holes and over your thought center, sunglasses all around: fucking hypno-wheel.) 18.00

WARM BODIES - s/t LP (lumpy - BACK IN STOCK!!!!  Received a 7.7 rating from Pitchfork.  Two years deep and finally these beloved KC wingdings have blessed us with a debut album. WARM BODIES are quintessentially the Rush of late 2010s punk. Each member gets their due time to flex in almost every song and at their gigs you’ll get a headache if you try to figure out what they’re all doing. But damn it’s good. A real question mark band who can sure pen a tune. Electric.) 18.00

WARNER JEPSON - Totentanz LP (etat - Considered as the first piece of electronic music to accompany a ballet, Totentanz is the arrestingly abstract and mightily expressive result of Warner Jepson’s experiments with tape and Don Buchla’s groundbreaking synthesizer, the Buchla 100. Totentanz, originally self-released in 1972, reveals a composer relieved of convention. In the 1950s and 1960s, Jepson was part of an informal circle of Bay Area artists that included Pauline Oliveros, Terry Riley, La Monte Young, Morton Subotnick and Steve Reich. A fixture of the legendary San Francisco Tape Music Center, Jepson was among the performers who realized the world-premiere of Riley’s seminal minimalist composition In C and worked closely with postmodern dance figure Anna Halprin as well as the Welland Lathrop Dance Company. Jepson’s affection for the performing arts meant that he was thrilled to be commissioned by the San Francisco Ballet Company to compose a piece to accompany Carlos Carvajal’s beguiling, danse macabre-inspired Totentanz. Jepson, who passed away in 2011, incorporated concrete sounds from his collection as well as creations on the Buchla 100, which had recently migrated to Mills College. As the composer once wrote, “Don Buchla’s box ... offered numerous sound possibilities without a map.” First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.) 27.00

YOUR FOOD - Poke It With A Stick LP (drag city - Poke it with a Stick—the only record by Louisville legends YOUR FOOD—is a sui generis gem of the American underground, now faithfully reissued for the first time by Drag City. Recorded in 1983 by four scarecrows from Kentucky subsisting largely on cheap beer and baked beans, the album is a burbling burgoo of hypnotic rhythm, uncoiling tension, and sharp invective—a proud bastard of post-punk royalty. In the fall of 1981, the residents of 1069, Louisville’s original punk house, began to spy three teenagers lurking outside the decrepit environs. Eventually the teens grew bold enough to approach, and soon two, JOHN BAILEY amd WOLF KNAPP were learning guitar and bass in the trashed rehearsal space within. CHARLES SCHULTZ had been the drummer for Louisville’s recently defunct DICKBRAINS, a band described by the Village Voice as freaky weirdos who couldn’t fit in if they tried. He started playing with John and Wolf. DOUGLAS MAXSON, the Dickbrains male singer, was lured back from New York with the promise of beer and cigarettes, and soon Your Food was playing weekly shows at the local Beat Club, mostly for free beer. Financed by a Pell Grant and what little cash the band could scrounge, the album was cut largely live in the studio by a guy who usually recorded church groups, and self-released on the band’s own Screaming Whoredog label. Your Food managed three short tours and earned the admiration of the few who heard them. But they were sonically out of step with the then-dominant hardcore scene, where speed and aggression alone were valued. It all came to a spectacularly bitter end on the side of some frozen, forlorn highway in West Virginia. The tour van broke down three times in four days. First the clutch went out, then the transmission. John’s dad drove eight hours to tow the van and band back to Louisville. The money for the planned second album went to repairs and the band, beaten and broken, called it quits.) 25.00

V/A - BEDROOM TAPES LP (minimal - back in stock - A Compilation of Minimal Wave From Around The World (1980-1991), The Bedroom Tapes features rare, unreleased, and licensed tracks all the way from Belgium to Australia to Japan. The Bedroom Tapes excitedly marks Minimal Wave’s 66th release and is a follow up in the series to The Lost Tapes, The Found Tapes, The Hidden Tapes and of course The Minimal Wave Tapes. The twelve artists on this compilation mostly recorded their music onto 4-track tape in their bedroom studios. The sounds on this record range from German new wave to experimental electronic, to early industrial body music from the Swedish countryside, to dreary melodic minimal synth. The theme is music recorded in the bedroom for listening in the bedroom. The Bedroom Tapes presents songs from Pink Elln, Karen Marks, Disque Omo, Vorgruppe, Iham/Echo, Perfect Mother, Arvid Tuba, Subject, Denial, Unovidual, Aural indifference, and Autumn all lovingly remastered. Limited edition of 999 numbered copies, pressed on 180 gram vinyl, and housed in heavy printed jacket accompanied by printed inner jacket with artists photos and info.) 25.00

V/A - Singapore A-Go-Go Vol. 1 DLP (sublime - Sublime Frequencies works its way down to the tip of the Malaysian peninsula with this superb collection of Singaporean 60’s beat, pop, and “off-beat cha-cha” instrumental classics from original vinyl 45’s. These 22 supercharged beat-a-go-go tracks defy a common held belief that the Chinese couldn’t rock, groove, or swing back in the 1960’s. The vocals are sung in the dialects of Mandarin and Hokkien and they soar with catchy hooks atop groovy, clever beats. There’s plenty of electric guitar, organ, and crazy percussion rocking and twisting behind it all, at times reaching quite a mad and freaky state of affairs. The record’s finale “Happy Lunar New Year” sung by Linda Yong may be the weirdest New Year greeting ever recorded. Every single cut is a winner and it never lets up from start to finish. Although most of the lyrics focus on love, innocence, and festive atmospherics, there’s an epic vibe to the music that rivals other extremely well-recorded and unique pop styles emanating from the surrounding Southeast Asian scenes during the late 1960’s. Seminal bands of the period like The Stylers and The Silvertones are well represented here backing up a wide array of popular vocalists with Charlie Electric Guitar Band’s Sound of Japan ripping it up on four brilliant instrumental tracks.) 32.00


CD

MELANKOLIA - vividarium intervigilium viator CD (Tragic  sounding  keyboards  start  off  the  album  along  with  some  elements  of  neo-classical  while  the  music  also  mixes  in  a  great  amount  of  dark  ambient  style  atmosphere  as  well  as a  great  amount  of  programmed  beats  and  most  of  the  music  is  instrumental  and  always  sticks  to  an  instrumental  direction,  nature  sounds  are  also  utilized  at  times  as  well  as  most  of  the  tracks  being  very  long  and  epic  in  length  and  also  sounding  very  different  from  each  other  and  as  the  album  progresses  a  brief  use  of  spoken  word  parts  can  also be  heard. Melankolia  plays  a  musical  style  that  takes  neo-classical,  ethereal  and  dark  ambient  and  mixes  them  together  to  create  a  sound  of  his  own  as  well  as  keeping  most  of  the  music  instrumental  and  the  production  sounds  very  dark.) 10.00

NONE - s/t CD (Chilling and despondent music from the Pacific Northwest. Make no mistake, this music is fucking cold and would serve as a perfect soundtrack to your death. An endless blizzard in a vast tundra. An album that will certainly appeal to Atmospheric Black Metal and DSBM listeners of such groups as Shining, Coldworld, and Woods of Desolation.) 10.00

NONE - life has gone on long enough CD (NONE's new album Life Has Gone On Long Enough takes its haunting shape through eight organic tracks of foggy mountainous atmosphere and bleak music. Moving in and out like the long shadows of an ancient forest, Life Has Gone On Long Enough entertwine and die through forlorn atmospheres, devouring and nourishing a hopeless life.) 10.00

WILD HUNT - afterdreams of the reveller CD (Vendetta - feat. members of VOID OMNIA and DISPIRIT "Man, this is an interesting one. Afterdream Of The Reveller is a unique sonic journey, taking you across mythical landscapes and forcing you to embrace the bleak unrealities of the black metal soundworld. Adventurous, titanic and filled to the brim with all sorts of interesting musical ideas this album is a thrilling journey. There is something punishingly perfect about Wild Hunt, their massive sounds and transcendent blasts of nihilistic black metal feed into something greater. With doom metal fringes filling out ritualistic blasphemy it's hard not to fall in love.  The thing that really gets me here though is the quality of the songwriting. While Wild Hunt certainly understand how to craft some really twisted riffs and punish the listener with hooks they also step into the groove now and again. Beyond that, there is a lot of melodic content here to sink your teeth into. They use this record to sort of paint themselves as a group who can tackle it all, but never stray too far from their black metal roots. It makes for a thrilling listening experience. It's rare you find black metal this dynamic that isn't also a little bit silly, but Wild Hunt seem to revel in extremes and use it to guide you through a wicked path.  I've always had a passion for black metal records you could get lost in. On a sleet filled nightmare of a day like today, Wild Hunt seem especially fitting, carrying me beyond the hyperborian wasteland that Brooklyn has become and into a dark fantasy. While this album is not without its moments where it pushes a little too far, I can't help but to admire the drive and 'togetherness' of this release. It makes Afterdream Of The Reveller the sort of thing that you want to come back too and truly enjoy, no matter how far removed you may be." (towguysmetalreviews)) 10.00


TAPE

KING SLENDER - s/t TAPE (zegema beach - Tight as fuck hardcore punk with strong leanings towards emotive hardcore and I guess therefore screamo. Desperate yells, driving drums, rolling bass and intricate guitar riffs envelop all four songs in late 90s emo. ffo: Wolves, Daniel Striped Tiger and Secret Smoker) 5.00

SAMARRA / МЯТЕЖ (MRTEX) - Split TAPE (A dark and seething split, USA/New Zealand collaborative project мятеж and Richmond, Virginia's SAMARRA each drop three tracks of chaos with some dreamy, chill passages. мятеж has released a plethora of splits and have members of Yaphet Kotto, Makara, Jenny Piccolo, The World That Summer and Swallow's Nest. SAMARRA are the wonderful folks in .gif from god, Truman, Caust, Majorel, This Land Is Now Dead and Tri-State Killing Spree. ffo: Orchid, Makara, Welcome The Plague Year and Truman) 5.00

SYNODUS HORRENDA / МЯТЕЖ (MRTEX) - split TAPE (The split features just over 12 minutes of caustic, screamy and sometimes atmospheric hardcore. The 50 cassettes are each housed in a unique photograph (so there are 50 different covers!) wrapped around a black tape, all within a plastic, resealable sleeve. мятеж play dreamo-violence whose members have spent time in Yaphet Kotto, Makara, Jenny Piccolo and The World That Summer. From Baltimore, SYNODUS HORRENDA are a new band with members that have spent time in Eyelet, мища, Dawntreader and Sunners, to name a few. Their five debut tracks trade off vocals from June and Nick and generally are pulsating, raw and dirty screamo with a heavy emphasis on punk rock and hardcore. 50 black tapes that come in a foldover picture cover housed in a plastic, resealable sleeve. 2 songs by мятеж and 5 by SH. FFO: Makara, Orchid, Envy, ….) 5.00

V/A - It's More Like An Homage To You - Jeromes Dream Tribute TAPE (zegema - 29 band/song compilation paying homage to the greatest screechy hardcore band of all time, Jeromes Dream. Comes in a plastic sleeve with j-card. All digital sales go towards the Flint Rising charity. Coma Regalia, Thismenotthinkingofyou, Eaglehaslanded, …….) 5.00


MAGAZINES

MAXIMUMROCKNROLL - #419 APRIL 2018 (Maximum Rocknroll #419 features Spain's Rata Negra, Florida's Protocol, Wyoming's Cows, Italy's Dots, Sweden's Katastrof, Portland's Woolen Men, Michigan's Cloud Rat, Japan's Illya, Lemuria, Forced Order, Score, Neck Chop Records, and a history of Finnish KBD punk.) 5.00
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