BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, False,

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BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, False,

Messagepar ADAGIO830 » 09 Nov 2018, 18:00

h. welcome to our first newsletter for November. Filled with tons of great new releases like the new FALSE - Unitled DLP, two amazing re issues on Aguirre from INFINITE SOUND - Contemporary African-Amerikan Music LP and BLACK ARTIST GROUP - In Paris, Aries 1973 LP, new stuff and restock from PAN, the long awaited DE FABRIEK re issues, the killer new J MASCIS - Elastic Days LP, ELIANE RADIGUE - Jouet Electronique / Elemental I LP, the new ELI KESZLER DLP, CHARLES BRADLEY - Black Velvet LP, the new MOLLY NILSSON - Twenty Twenty LP and many moreeeee

Thank you
 Robert & Norman


CUNTROACHES - EP 7“ (eratology Sound & Vision and Instruments Of Discipline are joining forces to unleash the first vinyl release of Berlin’s infamous noise rock squad CUNTROACHES, previously only available on tape. A real standout in a time oversaturated with what is called „extreme music“, Cuntroaches are living up to the term by spewing out tracks that are simply unparalleled by any current band in their intensity and viciousness. At times reminiscent of the metal depravities of BLASPHEMY, NUCLEAR DEATH or ARCHGOAT and vanguards of sonic warfare such as SWANS and HARRY PUSSY but at no point indulging in any worship, the six tracks on this EP are a welcome reminder of the musical urgency of which Berlin was once home to.) 6.00

PISSE - Hornhaut Ist Der Beste Handschuh 7“ (phantom - Neue EP mit 4 Songs, die ordentlich brettern! Generell hochgeschwindig mit Schreigesang, scharfer Schrammelgitarre und viel schrägem Orgel-Einsatz.) 6.00


AMNESIA SCANNER - Another Life LP (PAN - 'Another Life' is the debut album from Amnesia Scanner, the Berlin-based music duo, performing arts group, experience design studio and production house, created by Finnish-born Ville Haimala and Martti Kalliala. Founded in 2014, Amnesia Scanner's approach is informed by a unique perspective on technology and the way it mediates contemporary experience. System vulnerabilities, information overload and sensory excess inform their work, which has found a home in both clubs and galleries. Building on their mixtape 'AS Live [][][][][]' (2014), Amnesia Scanner’s critically acclaimed audio play 'Angels Rig Hook' (2015) laced a potpourri of dancefloor tactics with a machinic narrator. Their dual EPs for Young Turks, 'AS' and 'AS Truth' (2016), distilled this immersive environment into an abrasive collection of cryptorave tools. The most striking detail of ‘Another Life' is Amnesia Scanner's use of both human and inhuman voices. The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner. Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions of ‘Another Life’ evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology. Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing’s English and Mandarin vocals taking over for Oracle. At its most intense, as in ‘AS Faceless’, Amnesia Scanner's doombahton overheats into nu-metal-gabba. Amnesia Scanner has presented work at art institutions such as ICA London, HKW Berlin, and the Serpentine Gallery Marathon in London. They collaborate with PWR Studio for their design and visual direction. The AS live experience is co-created with Stockholm-based Canadian designer Vincent De Belleval. When unplugged from the Amnesia Scanner stream, Haimala works as a composer and producer with a wide range of musical and visual artists, and Kalliala co-directs the think tank Nemesis. The album is mastered by Jeremy Cox, featuring photography by Satoshi Fujiwara, and visual direction from PWR Studio.) 23.00

BENOIT PIOULARD - Slow Spark, Soft Spoke LP (duw - Shortly after releasing his highly acclaimed ‘The Benoît Pioulard Listening Matter’(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik. Once returned to Seattle, these new impressions and memories formed the inspiration to make ‘Slow spark, soft spoke’. Not surprisingly, the album continues in the same vein as his tour cd ‘Lignin Poise’ - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers. ‘Slow spark, soft spoke’ was initially released on tape on Dauw but sold out quickly during pre-order. After having received only sublime reviews and tons of request to re-issue the album, we now decided to give it a well deserved vinyl repress. For this vinyl edition, Pioulard decided to add 2 new tracks in addition to the 4 initial ones. All together, the initial EP and the 2 new tracks (Athanasy, 1993 + With this, I disappear) form a consistent full length which adds to his impressive and ever growing catalogue.) 23.00

BLACK ARTIST GROUP - In Paris, Aries 1973 LP (aguirre - LP: Edition of 500 copies - Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG. It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists’ Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester’s younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group’s own label. Since the formation of Black Artists’ Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.) 23.00

CAUDAL - Let's All Take The Yellow Pills LP (käptain - Caudal is a trio of Canadian guitarist Aidan Baker, Irish bassist Gareth Sweeney, and Columbian drummer Felipe Salazar, formed in 2012 in Berlin, Germany. The trio plays 'trance punk,' combining Baker’s multi-layered, heavily affected guitar with Sweeney and Salazar’s motorik, propulsive rhythms, creating music which draws from krautrock, mathrock, post-punk, and spacerock influences. Baker also performs with the dreamsludge duo Nadja and the collective Hypnodrone Ensemble; Salazar also plays in the no-wave trio Muerte En Pereira and Hypnodrone Ensemble; Sweeney also plays with the post-post-punk trio Faulty Rabbit. Caudal released their debut album, Forever In Another World, on the environmental charity label, Oaken Palace Records, in 2013. Their second album, Ascension, was released in September 2014 by Consouling Sounds, a their third full-length, Fight Cry Fight, came out in April 2018 on Drone Rock Records/Katuktu Collective.  The EP Let's All Take The Yellow Pills, released in 2016 as a limited edition CD and only available directly from the band, was recorded during the same sessions as the material from Fight Cry Fight. But whereas Fight Cry Fight is quite structured and composed, the tracks on ...Yellow Pills are much more free-form and improvisational, eschewing structure for texture, form for atmosphere... The vinyl rerelease on Kapitän Platte is limited to 300 copies and comes with a silk-screen printed banderole including download-code and senseless insert. ) 17.00

CHARLES BRADLEY - Black Velvet LP (Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership. It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal. Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.) 18.00

CYANIDE THORNTON - s/t LP (bedroom suck - The eagerly anticipated self-titled debut album from Naarm (Melbourne) band Cyanide Thornton. Featuring members of Two Steps On The Water, the band was founded in early 2016 and has been steadily gaining traction in Melbourne's alternative rock circuits.While incorporating elements of folk and rock, Cyanide Thornton transcends its composite parts, moving into a space of raw emotion and fierce determination. Ellah Blake (drums) and David Pesavento (bass) provide understated yet resolute punctuation for each song, holding together the music with a remarkable tenderness and affection, and providing a cradle for Sienna Thornton's masterful and harrowing lyrics and guitar work. Thornton's voice is at once wistful and melancholic, painting narratives with a tender immediacy. The album evokes a sense of magical realism, with its lyrics transforming painfully human experiences of love and loss into magical and ethereal moments. Cyanide Thornton is a record wreathed in tenderness, honesty and intimacy, and will guide you from the dark corners of your mind to somewhere unearthly and supernatural. "There's something about this recording from Melbourne's Cyanide Thornton that reminds me a little bit of Painful-era Yo La Tengo in its patience and confidence - exploring time as secondary, irrelevant in the pursuit of getting the most out of the strongest ideas in a song." - Eucalyp) 25.00

DAME AREA - Centro Di Gravitá LP (burka - First offering from this duo which operates between two poles: Industrial tribalism and synthetic minimalism. For fans of Malaria, Liaisons Dangerouses, Suicide, Muslimgauze … Just listen and enjoy the travel into a jungle of cables, wires and grease) 16.00

DE FABRIEK - Schafttijdsamba LP (burka - Reissue of the first De Fabriek album originally self-released in 1982. A masterpiece of minimal experimental music. It has been remastered and includes a new artwork done by the band. Limited edition of 300 copies. The digital download includes 2 songs that have been removed from the vinyl edition due to the actual lenght limits.) 16.00

DE FABRIEK - Made In Spain LP (burka - Official reissue of this experimental industrial electronic classic originally released by Discos Esplendor Geométrico in 1987. "After 41 years you should know De Fabriek means The Factory, a name not chosen because of a love for Andy Warhol or the UK label of the same name (which hardly existed at the time De Fabriek started), but because of what a factory represents; there are workers, creating a small portion of the final product. In the early days these workers were a bunch of friends whom knew each other from the city of Zwolle, and as such they recorded their first LP ‘Schafttijdsamba’ at home in 1980. After that the group splintered and expanded, odd as it may sounds. The original core went each own way and De Fabriek sought outside help. This was a time of independent cassette culture, home production of music, corresponding and mail art and so it happened membership, co-workers in De Fabriek lingo, were fanatical home tapers around the world, with a director at the helmet in Zwolle, albeit not a director not in the capitalist sense of the word, but someone directing the sound. Listening to the cassettes received, deciding upon order and layering of various sounds. Some of the releases from De Fabriek were recorded at home still, but for record releases they now used studios. For ‘Made In Spain’ De Fabriek headed out to Nijmegen, Studio De Tempel, and home of Mekanik Kommando. But workers and a director is not enough for a factory, it also needs machines, and machines were plenty around in De Tempel. Following a decision on what goes where along with what other received contribution, and then mixed together, using the vast amounts of effects racks available in this studio, which put their fingerprint on this record. ‘Made In Spain’ was first released by Discos Esplendor Geometrico and is a expansion of an earlier release ‘Mont Cantis’, slightly the same yet significantly different and exploring the industrial sound a bit further, taking cues no doubt from the music of Esplendor Geometrico, taking matters a bit further and deeper, to stay within the theme of old mines in the German Ruhr area that runs through these ten pieces, this is a record that at that time saw De Fabriek fully connecting to the industrial scene without forgetting their earlier post-punk and krautrock roots; there is a line from the Ruhr area to Spain via the highly minimalist rhythm approach. ‘Made In Spain’ is a wild ride, almost like that scene from Indiana Jones & The Temple Doom, the Mine Car Chase. You feel the speed, the railway lines cracking, and the carts trembling and shaking, you feel the heat, the mayhem that you can also find in a foundry. Yet unlike so many other industrialists back in the day, De Fabriek always remains to have some melody to be part of their music. It is not the noise for the sake of noise. This is somehow a very pleasant factory." - Frans De Waard Sept 2018) 16.00

ELIANE RADIGUE - Jouet Electronique / Elemental I LP (alga margin - Alga Marghen presents the new edition of Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape. This LP was first issued in 2010, and it's now presented for the first time with its own specific artwork and layout. Both works were recorded at Pierre Henry's Studio Apsome in Paris. Between 1967 and 1968, Radigue was Henry's assistant, mainly for the editing of L'Apocalypse de Jean (1969). Henry also put her in charge of organizing his sound archive; Radigue enjoyed doing this work, even if it took a long time. She decided to set the machines of the studio to do some work of her own. "Jouet Electronique" and "Elemental I" were born this way during her time as an assistant; working with feedback is something that Radigue learned through Henry. Do you remember Henry's Voyage (1969)? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback; one has to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. Fine-tuning could yield beautiful results: low pulsations, high-pitched sounds (sometimes both at the same time), or long sounds. All of these could be slowed down or accelerated, which gave beautiful source material. With "Jouet Electronique", Radigue had a lot of fun, hence the title. As far as "Elemental I" is concerned, it was the first attempt at something which was important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. Using it, Radigue built a minimal sound library, consisting of not more than ten reel tapes. This was the starting point; in 1968 she used these recordings for her work with two reel tape machines. New edition of 200, with liners by Radigue and portrait photos by Arman.) 27.00

ELI KESZLER - Stadium DLP (shelte r- 2LP: Incl. printed inner sleeves, black vinyl, ltd. to 600 copies NewYork-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author La´szlo´ Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize– winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never. “Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space. Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer — he’s a world-building percussionist.”) 28.00

FALSE - Unitled DLP (At long last, we have the new album from the Minneapolis black metal project, False. After an Untitled EP in 2011, and a split LP with Barghest in 2012, they now return with their first proper full-length album, once again an untitled release. Throughout the sixty-minute run time of the album, False dive deeper into the realm of visceral and relentless black metal for which they’ve become well-known. Their live sound and ferocity is finally captured here, revealing a whole new depth and darkness that has only been hinted at on previous recordings. This album is far from a simple exercise in listening, and more akin to a journey to be experienced. The works contained therein are incredibly bleak and emotionally powerful, with a long lasting impact. This Untitled album was recorded live, mixed, and mastered by Adam Tucker at Signaturetone Recording, with artwork by Nicole Sara Simpkins.) 25.00

HYPNODRONE ENSEMBLE - Plays Orchestral Favourites LP (wolves and - Hypnodrone Ensemble was formed in Berlin in 2014 by the Canadian experimental/ambient guitars Aidan Baker (also of Nadja) and Eric Quach (aka Thisquietarmy), along with the drummers David Dunnett, Jérémie Mortier (also of Alice In The Cities, Nearest Gas Station), and Felipe Salazar (also of Caudal). A quintet at its core, though occasionally expanding or changing members, the group creates free-form, semi-improvisational studies in rhythmic, psychedelic, atmospheric spacerock. Hypnodrone Ensemble released its self-titled debut, a live recording from NK in Berlin, on Consouling Sounds in 2014 and followed that up with the studio album, The Shape of Space, released on Calostro Recordings and Little Crack'd Rabbit Records in 2015. Following an expanded line-up performance in 2016 in Berlin, the group returned to the studio in 2017 to record 'Plays Orchestral Favourites' as a 9-piece group, with Simon Goff (also Molecular, Bee And Flower) on violin, Duchamp on baritone guitar, Felix-Florian Tödtloff (ex-Sun Worship) on bass, and Diego Ferri on synths.) 17.00

INFINITE SOUND - Contemporary African-Amerikan Music LP (aguirre - Conscious avant-garde free jazz featuring Roland P. Young originally released in 1975 on the eclectical 1750 Arch records. “1750 Arch was a beautiful Spanish-style hacienda,”recalls composer and multi-instrumentalist Roland P. Young. “It had a wonderful recording studio in the basement and the salon was converted into an intimate performance setting.” Young played solo gigs at that venue, in Berkeley, California, and also performed there in a duo with cellist Chris Chaffe. He remembers it as a particularly “transcendent” setting for concerts by Infinite Sound, his trio with singer Aisha Kahlil and bassist Glenn Howell. Infinite Sound’s Contemporary African-Amerikan Music appeared in the uniquely diverse 1750 Arch catalogue in 1975. For Roland Young such a context was not incongruous. Contemporary African-Amerikan Music is a title that positioned the record quite specifically in 1975. But Young shares Buckner’s distaste for labels that fix expectations too rigidly and close down creative possibilities. Culturally and politically the early 70s appeared to Young to be a time of change and spiritual renewal. “There was a vibe in the air that we connected with, along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.” In 1968 Young was working as a DJ at KSAN, an underground rock station in San Francisco.. Infinite Sound, and their enlightened host Tom Buckner, were decidedly ahead of the game. - Julian Cowley) 23.00

J MASCIS - Elastic Days LP (sub pop - Near the end of Reagan’s first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.  A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J’s songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J’s and J’s alone.) 19.00

J.Ö.S. - Ultra LP (ideal - LP: Edition of 200, hand numbered - Underground mutant synth music, futuristic and historical at the same time. Even though the music sounds basically like nothing else, connections can been made to the rougher parts of John Carpenter, horror film music as we would have wanted it, or some of those German things from the 70s that we love. Johan Öhman Sollin has been around forever and has released great things in tiny editions on almost non existing labels. He has done stuff in bands like and hidden under names as Johan Rohbau, Time Deleters, Knife And Ape, Minimen and Sphynxs…) 20.00

KODE9 & BURIAL - Fabriclive 100 4LP (fabric - For the 100th and final instalment of the FABRICLIVE mix series, in its current form, two UK pioneers unite for a hypnotic 74-minute mix. Burial and Kode9 are each credited with fostering esoteric, hyperlocal sounds and steering them to global recognition, helping to shape the landscape of contemporary electronic music as we know it. They are also close peers, having influenced each other’s careers immeasurably over many years. FABRICLIVE 100 reaches into obscure corners and a disorienting range of tempos across its 37 tracks. Featuring artists from Africa, China, South America and Japan as well as the Europe and US, the mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorisation. It covers many of the musical styles that have found their home within fabric’s walls but at the same time looks outward for inspiration. The quadruple vinyl package of FABRICLIVE 100 features 28 of the 37 tracks from the mix.) 38.00

KYLE DIXON & MICHAEL STEIN - Stranger Things: Halloween Sounds From The Upside Down LP (Pumpkin Orange Vinyl! Bringing the Halloween sounds of Hawkins to vinyl for the first time! This LP is the brooding darker atmospheric score from season two only previously available as a bonus download from iTunes. Now on vinyl and ready for Halloween.) 28.00

MAISHA - There Is A Place LP (brown - There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present. The six-piece group, led by bandleader Jake Long, bring a fresh slant to the weighty spiritual jazz tradition. Their 2016 debut EP was released through Jazz Re:freshed (whose weekly shows and record label are an institution for forward-thinking jazz), and were part of We Out Here, Brownswood’s early 2018 record which documented London’s genre-bending, jazz-influenced underground. They’ve been featured on Boiler Room, supported the Sun Ra Arkestra, and played at Church of Sound, a live series that’s quickly become a staple of the emergent scene. The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has helped nurture him and his peers: rehearsal rooms, friend’s houses and intimate venues. Its band members, Amané Suganami, Twm Dylan, Tim Doyle, Yahael Camara-Onono, Shirley Tetteh and Nubya Garcia, the latter of whom played a part in shaping the early sound of the band, are musicians who’ve come through the same circles as Long. It was recorded across three days in mid-2018. The songs have grown out of their live sets over the past year or two, where each of them would take shape in rehearsals to then be tweaked as they worked out different approaches to them in their performances. It’s an organic kind of refinement, and one that’s audible in the music: songs unfold slowly, each of their parts given time to breathe, building up to crescendos which are patiently earnt. It’s possible to trace a personal geography of music, place and memory just through the album’s track titles. On ‘Osiris’, the track’s beguiling melodies are framed in terms of Egyptian mythology, imagery prompted by old books that Long found in his grandparents’ house; ‘Azure’ hints at the blues forms winding their way through the track’s textured wandering; ‘Eaglehurst Place’, where a tense, rhythmic groove drives the track forward, is reference to a house share with musical peers like Joe Armon-Jones, Femi Koleoso and Rosie Turton. Spiritual jazz is a tradition that’s leaden with its own traditions, histories and stories. Maisha carve out out their own style through that weight of expectation: they take stock of that history, channelling the greats like Pharoah Sanders, while filtering their own influences – which range from jazz to Afrobeat – through every part of their musical process. It’s a sound which rests on trance-inducing rhythms, instinctive musical interchange and repeated, deeply enriching melodic refrains. It’s a combination which has made for their own singular sound. ) 27.00

MARY JANE LEACH - (f)lute songs LP (modern love - Mary Jane Leach has played an instrumental role in NYC’s pioneering Downtown avant-garde community since the 1970’s, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman’s legacy since his death in 1990. Her vinyl debut Pipe Dreams arrived last year via the Blume imprint. For (f)lute songs, Modern Love is honoured to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Mary Jane explains: “In the late 1970’s I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn’t play was Trio for Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more “extra-notated” sounds are created than appear on the page. Bruckstück (1989) was originally written for eight sopranos, but is played on flutes on this recording - using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals - primarily major and minor seconds. I initially wrote Dowland’s Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a “solo” tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind”. These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums.) 26.00
MOLOCH - A Bad Place LP (feast of tentacles - Six tracks of pained uneasy sludge. Coming off the back of splits with the likes of Thou, Cloud Rat and Disrotted; Moloch release their 2nd full length LP. Recorded by James Atkinson (Rot in Hell, Gentlemans Pistols) and mastered by James Plotkin. Moloch create a brutal and uncomfortable listening experience.) 15.00

MICHELE MERCURE - Beside Herself DLP (rvng -Beside Herself collects the dream music of Michele Mercure’s self-produced and distributed albums, offered in scarce analog editions between 1983 and 1990. Traversing the DIY cassette trading scene and sensory bending soundtracks for experimental theatre and television, Mercure’s night-lit, minimal synthesizer music expresses an ambitious vision and (simulated) voice swelling from the electronic music substratum of the 80s.) 26.00

THE MEN - Hated: 2008-2011 DLP (sacred bones - NYC’s The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy’s Tavern, Matchless, and Don Pedro. That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings. These songs show the huge range and potential of a band still in its infancy, when they were just beginning to blaze the path they’re still on to this day.) 26.00

MOLLY NILSSON - Twenty Twenty LP (night school - “After a cancelled flight I found myself stranded at the Tokyo airport overnight. Between my interrupted bench naps the surroundings found their way into my dreams, particularly the big banners in the departure hall stating: 2020. Not aware that they were announcing upcoming Olympic games, my imagination wandered. 2020, a leap year. The year of the rat, the election. Perfect vision. The year of hindsight. The repetition, the ritual of the superstitious. A spell cast on the approaching future; not yet there, but close enough to be seen with full clarity. The year itself seems to draw a circle around its followers, as to protect anyone who dares enter. And it all begins on a late-Capitalist night…” Twenty-Twenty is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. Twenty-Twenty is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love. Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb. Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future.) 19.00

MOLOCH - A Bad Place LP (feast of - Six tracks of pained uneasy sludge. Coming off the back of splits with the likes of Thou, Cloud Rat and Disrotted; Moloch release their 2nd full length LP. Recorded by James Atkinson (Rot in Hell, Gentlemans Pistols) and mastered by James Plotkin. Moloch create a brutal and uncomfortable listening experience.) 15.00

MOTOHIKO HAMASE - Reminiscence LP (studiomule - Motohiko Hamase's 1986 album. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe he played in the Isao Suzuki sextet and was part of their classic landmark jazz-funk album "Ako's Dream" from 1976. From 1985 to 1993, Hamase released five solo albums. "Reminiscence" features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothingly beauty of an album, that reflects Hamase's search for spaces of melancholy.) 24.00

PAN DAIJING - lack LP (pan - Culminating as the purgative ‘finale’ to her improvisational live performances, Pan Daijing’s debut album also offers an insight to her future works. The process was intuitive and raw, born out of her previous explorations. Over the past 2 years, she has composed, recorded and edited different concerts and field recordings across Europe, China, and Canada, forming the basis of the record. Arriving as her first full-length album, ‘Lack 惊蛰’ was crafted from this long, painstaking mental and physical practice.  Daijing’s pieces are created around a very intense and intimate mental catharsis, often expressed through a close physical interaction with strangers in her live sets which seek to engage them in a highly personal way. “When I was finalising this album, they didn’t feel like tracks to me anymore, but more like a psychoanalytical process,” she says. “I saw myself being this absurd, mad person ‘acting’ out the sounds… It’s rather physical, and became like a mindgame. All things came out naturally as part of me.”  The narrative of the album presents a perspective of the world as ‘the theatre of our minds’ – where Daijing sees the record as an ‘opera piece’ in its storytelling and drama.  The release is mastered by Rashad Becker at D&M, featuring photography by Ralf Marsault, and artwork by Bill Kouligas. ) 23.00

RIMARIMBA - Below The Horizon LP (freedom to - The first in the Rimarimba series, 1983’s Below The Horizon, features Robert Cox in exploratory mode, figuring out exactly how to make his music. There’s a pleasure in hearing how he feels out the parameters of his aesthetic, here – there’s a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It’s ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being “pre-wired” to making this music, but that only makes it more compelling: “Were I to be properly musical, it wouldn’t actually work as well in some ways; it’d be just another album of contemporary clattery music.”) 19.00

THE SCORPIONS & SAIF ABU BAKR - Jazz, Jazz, Jazz LP (habibi - I heard about Seif Abu Bakr and The Scorpions for the first time maybe 3-4 years ago. Their album “Jazz, Jazz Jazz” ended up on my radar because of an eBay auction; it might have been the first auction for this particular album on the platform. While the bids kept on rising daily up to a staggering 1000$, if I recall correctly, I was intrigued about the snippet preview bits of the music on this album as well as by the impressive artwork. This album happens to be my first conscious connection with Sudanese music. Habibi Funk must have already existed for a year or so but I had not yet come across any recording from Sudan that I felt fitting in the context we set for our self. I remember I did some quick research in the aftermath of the auction (which I obviously did not win) to gather some information about the band but apart from some vague bits and pieces I could not find anything. In most encyclopedic overviews of the Sudanese music scene of the 1970s the band appeared as a mere footnote. How come? I really do not know. To me the music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions of traditional tribal rhythms and even an excursion into Soukouss. While all of our reissues so far have been compilations in the sense that we put together our favorite selection of tracks by one artist, this album will be our first 1:1 re-release, simply because the quality of the albums does not fall off on a single track. With its eclectic influences it birthed a one-of-a-kind new mixture and serves as a blueprint for what we are looking for when we release music on Habibi Funk.) 22.00

THIS IS WHERE - This Is Where LP (hallow ground - This Is Where is the collaborative project of Algis Kizys, Norman Westberg and Lynn Wright. Having previously released a limited edition cassette tape in 2016 under the name of ALN, their self-titled album for Hallow Ground is to be considered the three-piece’s definite studio debut as This Is Where. Recorded and mixed by Kizys, This Is Where delves even deeper into the psychedelic and at times cosmic drone sound previously to be heard in the New York City-based trio’s live recordings. As a logical next step after what the Swans guitarist Westberg has presented on recent solo albums like The All Most Quiet for Hallow Ground, it integrates three distinct musical visions into a whirling ocean of sound. This Is Where's sound is neither dominated by the thundering brutalism of Swans - where also Kizys took over bass duties for a while - nor the gloomy Doom Pop of Wright’s Bee and Flower. Instead Kizys, Westberg and Wright use delay, reverb and effects to weave a pulsating web of sonic textures, moving effortlessly from dark depths to almost jubilant high notes. With Kizy’s roaring bass guitar as a sonic backdrop, Westberg and Wright give rise to a musical dialogue marked by density and tension. Over the course of 40 minutes, This Is Where create a mesmerising musical experience, divided into four discrete movements. This Is Where is a blissful journey through space, time and most of all a yet unheard-of approach to guitar-driven drone and ambient music.) 25.00

THOMAS ANKERSMIT - Homage To Dick Raaijmakers LP (shelter - Thomas Ankersmit’s new album for Shelter Press “Homage to Dick Raaijmakers” is an all-analogue electronic music composition inspired by legendary Dutch composer / electronic and tape music pioneer / multimedia artist Dick Raaijmakers (1930-2013). The work takes inspiration from Raaijmakers’ music from the 1960s, his texts on sound composition like “Cahier M”, and notes on his own music. On this recording Ankersmit plays Serge Modular feedback and sine/pulse/random generators, contact mic, and tape speed variation Mirroring some of Raaijmakers’ work, Ankersmit plays his Serge synthesizer as a kind of weather system. He references storms, thunder, crashing and falling objects, and distant radio transmissions in his electronic sounds, as well as dragging a contact mic across his equipment. Despite the abstract nature of the material, a sense of loss or mourning sometimes emerges from the music. With his homage Ankersmit re-contextualizes Raaijmakers’ ideas about electric sound, composition, and spatial experience. Like Raaijmakers himself Ankersmit exclusively uses analogue devices, such as sine/pulse/random generators, modulators, filters, and especially feedback processes between them. The music focuses on the sounds of raw electricity through creatively abused electronics, composing with analogue micro-sounds, and the creation of three-dimensional sound fields. The piece also uses tones produced by the listener’s own ears, inspired by Raaijmakers’ thoughts on “holophonic” sound fields to be individually explored by the listener. With this phenomenon, the listener’s inner ears actively generate sounds that don’t exist in the recorded signal, and which can change with a small movement of the head. “Homage to Dick Raaijmakers” was commissioned by Sonic Acts and was premiered live at the Stedelijk Museum in Amsterdam in February 2016. Ankersmit also dedicates the work to his father Thijl Ankersmit (1947-2016), who first demonstrated feedback to him.) 20.00

THOM YORKE - Suspiria (Music for the Luca Guadagnino Film) DLP (XL - ollowing the fleeting reveal of instrumental passages in two trailers and the release of the track 'Suspirium' - Thom Yorke’s Suspiria (Music for the Luca Guadagnino Film) is finally here. "Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score. As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell. Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.” ) 30.00

THOUGHT GANG - Thought Gang ( Angelo Badalamenti & David Lynch) DLP (By the time Twin Peaks’ second season had aired and Fire Walk With Me had just began principle production, Thought Gang had been born. The esoteric jazz side­ project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks’ trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid­-soaked free­jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me’s soundtrack would ultimately showcase two preliminary tracks (‘A Real Indication’ and ‘The Black Dog Runs at Night’) from a full­length album that wouldn’t see release for the next two and a half decades. Between May of 1992, and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces...dove­tailed into a string of contracted sessions for other Lynch­/Badalamenti projects. The defining elements that would birth Thought Gang into a fully­-formed concept and eventually an entire album, however, happened during the 1991 session for ’A Real Indication.’As the oft­-told story goes, Lynch and Badalamenti had just finished recording the initial instrumental take for ‘A Real Indication.’ A set of lyrics had been penned, leaving Lynch with the question: who would he get to sing them? Eager to prove and deliver, Badalamenti suggested that he himself give it an attempt, much to Lynch’s uncertainty that he’d actually be the right fit. “I’d heard Angelo sing before...he used to sing on demos and things...I knew what Angelo sounded like and I thought he was going to embarrass himself...I thought there’s no way this was gonna work.”) 23.00

THURSTON MOORE & TOM SURGAL - Klangfarbenmelodie.. And The Colorist Strikes Primitiv LP (glass - Thurston Moore (guitar) and Tom Surgal (drums) rinse out a heady tangle of shreds and splayed rhythms. Originally released by Bruce Russell’s Corpus Hermeticum in 1995, now edited by Bruce and reissued on vinyl for first time by London’s Glass Modern) 28.00

WILLIAM FOWLER COLLINS - Field Music LP (sige - A fluid dream logic runs deep in William Fowler Collins’ Field Music. The New Mexican composer of dark minimalism has long centered his practices upon the slow burn of the drone through guitar, electronics, etc. That remains the case for Field Music, with Collins extending his strategies through compositional exercises into rhythm and a diverse array of conceptual signposts that push his work along unfixed, sometime oppositional directions. The idea of ‘field music’ can relate to the archaic use of military drum corps in battle, whose patter Collins has intermingled with the polyrhythms associated with Voodoo ritual. Collins also proposes that the ‘field’ be defined as the physical self as gleaned from his secular readings of the Bhagavad Gita. The ‘field’ as the fabric of time and space also becomes a possibility when Collins literally wraps this album in the history of the atomic bomb, as the cover photo portrays the humble ranch where the first nuclear weapon was assembled. Field Music grounds itself upon sustained tones that churn through controlled oscillations as the fundamentals to activate a trance-state in the listener. Out of this, Collins introduces hypnotic machine-looped convulsions and almost EVP-like disembodied voices on “Contact Is A Mother” as well as those those aforementioned polyrhythms that ripple across the title track. He pushes a motorik thump to the foreground of “They Wept Together” to the glowing dilation of foreboding ambience, running parallel to the restrictive strategies of Wolfgang Voigt. The subtle complexities of Field Music address the primal nature of rhythm in connection with the body and the building blocks of energy, matter, and consciousness. Fans of Eliane Radigue, Christophe Heemann, and Demdike Stare would be well served to investigate Field Music.) 25.00

V/A - Cosmic Visions of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond VOLUME TWO DLP (soul jazz - This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country – their music a blending of progressive rock, jazz, experimental electronics and disco –created mainly in the 1970s – during a time when the country was both a cultural and economic powerhouse in Latin America. While much of 1960s Venezuelan rock music emulated British and USA styles, and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan. Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau, and the tropical funk of Un Dos Tres Y Fuera and beyond. Aside from the relatively known Vytas Brenner and Daniel Grau, most of the music on this album is incredibly rare (even in Venezuela)! The album is released as heavy double gatefold vinyl with full colour inners, exclusive text on artwork, CD with slipcase and large booklet, and digital album. ) 28.00


JOHN, PAUL, GEORGE, RINGO & RICHARD - Easy Listening TAPE (phanto - Nach der "Augen Zu, Malibu" LP nun eine Cassette mit 11 weiteren Stücken des Solo-Projekts von PISSE Sänger Richard. Experimental Punk Audio Collagen at its best. Limitierte Auflage von 150 Stück mit Booklet und Obi-Strip.) 6.00
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Re: BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, Fa

Messagepar ADAGIO830 » 16 Nov 2018, 18:21

hi. welcome to the 2nd newsletter for novmeber. Lots of things are on its way like the King Gizzard re issues, Surfbrot Lp etc etc.

But this week we also got some very fine releases like the new RYLEY WALKER - The Lillywhite Sessions DLP, ENEFERENS - The Bleakness Of Our Constant LP (col. Vinyl), V/A - A New Life Vol.2 DLP, BOHREN & DER CLUB OF GORE - Beileid LP and a couple restocks …

Thank you
 Robert & Norman


BOHREN & DER CLUB OF GORE - Beileid LP (pias - Beileid is the seventh album by the jazz/ambient band Bohren & der Club of Gore. Originally released in 2011. It features a cover of the song "Catch My Heart" by German heavy metal band Warlock. This cover is also the first track by the band to feature vocals by Mike Patton (Faith No More).) 23.00

ENEFERENS - The Bleakness Of Our Constant LP (col. Vinyl) (Imagine that a lone spirit has worn the tread of his shoes many times over, travelling the globe in search of the answers to the mysteries of the natural world and the human condition. Battle-hardened but spiritually enriched, the hermit returns, many questions answered, some still buzzing wasps in his tired brain, but somehow unable to communicate the great wisdom he has accrued. Undeterred, the wise wanderer instead decides to convey his message in musical form as the answers are too ethereal for mere words. Imagine all this and you will begin to comprehend the wraithlike sonic magic in which Eneferens deal. Two years have evaporated since In The Hours Beneath and The Bleakness Of Our Constant takes the project of Minnesota-based sage Jori Apedaile to its inevitable destination. A place where sorrow, loss, reverence and yearning collide in a primordial soup of soul-wrenching black metal and atmospheric doom. A place where harshness and warmth are entwined as one and such dichotomies are rendered worthless hyperbole. A place once visited, from which there may be no return.) 24.00

GILLIAN CARTER - .​.​.​This Earth Shaped Tomb LP (moment of - After blowing minds and making best-of lists across the world with their 2016 full-length, Dreams of Suffocation, and jaw-dropping splits with Eyelet and Coma Regalia, Palm Bay, FL based trio Gillian Carter is back with ...This Earth Shaped Tomb, a 35 minute sonic assault developing further on their impressive atmospherics and chaotic abilities that we've all come to know and love.) 14.00

RED APOLLO - The Laurels Of Serenity LP (moment of - The Laurels Of Serenity' the new Album by RED APOLLO. "The Laurels of Serenitys" sounds THICK and MASSIVE with a precision and rawness that serves as glue between the soundscapes that every single song evokes!“ For Fans Of Isis, Mastodon, Russian Circles.) 13.00

RYLEY WALKER - The Lillywhite Sessions DLP (dead oceans - On The Lillywhite Sessions, Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews' infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust. With a delicate rhythmic latticework and vocals that ask you to lean in, "Busted Stuff" recalls Jim O' Rourke's golden Drag City days. Emerging from a wall of distortion, "Diggin' a Ditch" becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty-something pals writing rock songs in the garage. Walker's "Grace is Gone," the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician. This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. On The Lillywhite Sessions, he has, in turn, created his own.) 23.00

SUFFOCATE FOR FUCK SAKE - In My Blood LP (New album by SUFFOCATE FOR FUCK SAKE. Undoubtedly, one of Sweden’s best kept underground secrets are SUFFOCATE FOR FUCK SAKE. Without having played a single show for ten years now, the band ! nally shows a new sign of life by releasing the successor to their critically acclaimed album 'Blazing Fires and Helicopters on the Frontpage of the Newspaper. There’s a War going on and I’m Marching in Heavy Boots' from 2008. The upcoming full-length “In My Blood” comes via Moment of Collapse Records and contains nine songs of post-rock driven, sludgy heaviness, that is buried deep down between desperation, anger and salvation. Once again, the band proves their willingness to write long-lasting songs of atmospheric soundscapes that are rounded off by layers of additional instruments and samples. SUFFOCATE FOR FUCK SAKE are not just known for crafting album concepts by using radio reports, but also for their ability to incorporate them into their distinctive sound. With such a stylistic composition, 'In My Blood' rather assumes the form of a soundtrack than a simple album compiled of loose tracks. With such an intense atmosphere on 'In My Blood', SUFFOCATE FOR FUCK SAKE demonstrate that they are indispensable for the Swedish underground scene. 'In My Blood' was recorded and mixed by the band in several different studios and places across Sweden and Germany while being mastered by HENRIK WIKLUND afterwards. The vocal samples are taken from the radio documentary “Förädlade svenskar” by Bosse Lindquist. Additional vocals on the album have been contributed by CHARLEE (who is also known for performing with the pop-act THE CHAINSMOKERS). Highly recommendable for everyone who enjoys GODSPEED YOU BLACK EMPEROR, ENVY, CULT OF LUNA and BREACH!) 14.00

SUFJAN STEVENS - Songs For Christmas 5LP-BOX (Recording traditional favorites alongside unique originals, Sufjan has, over the course of five years, constructed an odd, impressive, and compelling collection of Christmas hits (and some misses) that will either warm your heart or make you throw up eggnog all over the bath mat (depending on your constitution) From 2001 through 2010, Sufjan Stevens recorded an annual Christmas album that he gifted to friends and family. The recording process took place every December for one week, usually at home, provoking collaborations with friends, roommates, and musical peers. The 5-vinyl boxset includes all original package design with illustrations by Sufjan Stevens, Stephen Halker, and a family portrait painting by Jacques Bredy, as well as lyrics, chord charts, and full recording credits for all the songs.) 78.00

V/A - A New Life Vol.2 DLP (jazzman -It’s been three years since Jazzman's A New Life collection alerted jazz heads to the existence of an unknown world of British jazz private pressings and indie obscurities. Back for a second round, compilers Francis Gooding and Duncan Brooker have dug deep into the archives to assemble another ground-breaking collection of Brit jazz anomalies and outliers from the 1970s and 1980s. A New Life Vol. 2 picks up the story where volume one left off, searching out overlooked jazz gems from across the length and breadth of the British Isles. When the major labels and the record industry left jazz out in the cold, musicians and jazz enthusiasts took the initiative. Indie labels made space for established artists and experimental outsiders alike, while local groups and youth bands turned to private pressings to document their music and build their own scenes. From London blues renegade Billy Jenkins's spiritual tribute to Pharoah Sanders and the swinging vocal artistry of Belfast-born Gerry McClelland, to the thunderous big band sound of Leicester's Music Explosion and the modal drama of the Don Rendell Five, A New Life Vol. 2 reveals another fascinating layer of forgotten Brit jazz history. Fully researched and presented with in depth liner notes, again we bring you the unheard, unorthodox and under-rated sound of the British jazz underground! Double LP gatefold with free download card inside.) 27.00


WIRE - #418 | December 2018 MAGInside this issue - Eiko Ishibashi & Jim O’Rourke: Moving from Tokyo to the country has permitted Eiko Ishibashi and Jim O’Rourke to realise new goals and projects, including Ishibashi’s new album The Dream My Bones Dream. By James Hadfield JPEGMAFIA: The politically provocative hiphop of Barrington Hendricks is leavened with a sly wit that sees him taking on Trump, Morrissey and bro culture at large. By Emily Pothast Michele Mercure: Reissues of her 1980s and 90s cassette and soundtrack work have given the Pennsylvania-based musician and now film composer the attention she deserves. By Emily Bick London Improvisers Orchestra: Since 1997 an ever changing group of players in the capital have sought to further the radical ideas of conductor and composer Butch Morris, bolstering a global network in the process. By Phil England Wume: The compulsively kinetic Baltimore duo hit their stride. By Larry Mizell Jr Waistdeep Clique: The future looks weird for the US collective. By Joseph Stannard Deena Abdelwahed: The Tunisian DJ and producer preaches liberation through dance. By Holly Dicker …) 8.00
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Re: BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, Fa

Messagepar ADAGIO830 » 23 Nov 2018, 18:16

hi. welcome to another newsletter for November. A bunch of great new releases arrived like the fantastic AKIRA RABELAIS - Eisoptrophobia DLP, the long awaited „lost“ album of Bremens CAROL via Per Koro, a bunch of Dog Knights releases, the FELICIA ATKINSON & JEFRE CANTU LEDESMA - Limpid The Solitudes LP, FLETCHER TUCKER LP restocks, SIGLO XX re issues, the SONGS: OHIA - Love & Work: The Lioness Sessions 2LP-BOX, VERONICA VASICKA - In Silhouette LP, IDLES - Joy as an Act of Resistance. LP restock, JACCO GARNDER - Somnium LP, DEVO, HÜSKER DÜ and BAUHAUS shirts, DEVO shirts, KHORADA - Salt DLP , new UNCLE ACID LP, new OSTRACA - Enemy LP, the great SONGS: OHIA - Love & Work: The Lioness Sessions 2LP-BOX re issue, Rise Above restocks …

also a bunch of stuff is on its way like new Youth Attack stuff, Candy LP, DRUG CHURCH LP, SLEEP 12“,, MERCURY PROGRAM - a data … DLP, ASYLUM PARTY LP re issues, last LITHICS LP (finally) and many more!!!


12.12. CONTRACTIONS + TBA at TIEF (peeps of Baton Rouge & Daitro)

15.15. TINE FETZ - good morning vernissage

Thank you
 Robert & Norman


AKIRA RABELAIS - Eisoptrophobia DLP (boomkat - Boomkat Editions presents a first vinyl edition of Akira Rabelais’ sophomore album, ’Eisoptrophobia’ a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the 20th century and a bittersweet embrace of new technological possibility. It’s required listening for lovers of The Caretaker’s haunted ballroom elegies, Stephan Mathieu’s electro-acoustic microphony, or indeed the original, classical pieces. First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, ‘eisoptrophobia’ was an early iteration of Akira applying his Argeïphontes Lyre software to classical music, opening a fascinating schism between the original object and his modern, subjective perspective in the process. Made up of spellbinding, uniquely decayed renderings of solo piano pieces, it forms a poetic farewell to the 20th century and a reluctant embrace of new technological possibilities. The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed by Argeïphontes Lyre with beautifully elusive results. The recognisable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at othere, smudged into mind-bending obfuscation or spectral, timbral thizz. They have the uncanny capacity to resemble exhumed artefacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener’s mind. But they also capture that elusive yearning for early life; the distant crackle of AM radio playing in another room, scratched records, a piano playing, somehere. The title eisoptrophobia itself means ”fear of mirrors“, in an interview with L.A. weekly back in 2002, Rabelais explained that he picked it as a way of articulating his dread of limitation. ”I exist in a much larger space than what I am physically. But if I were to look into the mirror, I would suddenly pull back into my body.” A feeling not unlike the experience of sitting through this remarkable album before suddenly being snapped back to your surroundings.) 28.00

CAROL - 1996 Reconstructed LP (per koro - Next exit Bremen. Hell yeah, 22 years is a f**king long time and it’s hard to believe that the recording of these nine tracks are that old - and yet, the "1996 reconstructed" stands the test of time - it's still as fresh and vital as when it was recorded. CAROL was permanently disbanded in 1997 after their brief existence and was another legendary band of the almighty mid-90s Bremen scene, with members involved in bands such as SYSTRAL and MÖRSER. It's very difficult to find the words to describe their music - they obviously take all kinds of elements from hardcore and metal just to create the most perfect mutation of all of them in the form of songs that come alive as new and unique entities. Their blend of discordance and precise, barrelling riffs, laid out within the framework of frantic bursts of violence and chronic brutality, combined with the most ear-splitting vocals around is what CAROL was all about. What really sets CAROL apart was their absolute, unrelenting passion for the chaotic brand of hardcore they played. "1996 reconstructed" is what you've been waiting for: a collection of nine lost songs (two previously released tracks from the "cry now, cry later vol.4" compilation and their split 7" with STACK) and seven new tracks from the same recording session in 1996. Everything has been remastered for pristine sound quality, while maintaining the raw, frenetic feel the band had always given off. Listening to this album repeatedly just might kill you, but at least you will die with a smile on your face. Do not pass on these lost songs - fury, emotion, intensity, it's all here in spades. CAROL has helped to shape a style that has been imitated over decades by countless bands but remains unequalled. There’s no better time to (re)acquaint yourself with a band that’s gone, but certainly not forgotten. Vinyl comes with an inlay, a small poster and includes a digital download card with the three additional tracks from the 7". ) 13.00

ELLE - She LP (dog knights - "She" is the long-awaited debut LP from Elle (Oakland, CA), featuring members from Loma Prieta, Beau Navire, and Yearbooks. I absolutely loved their s/t EP that was released back in 2017 and it’s so great to get the chance to work with them on their first full-length. This record is everything you were hoping it would be, and more!) 14.00

FELICIA ATKINSON & JEFRE CANTU LEDESMA - Limpid The Solitudes LP (When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of theThird Mind. Likewise, "Limpid AsThe Solitudes" cuts through sound-making techniques to enter a new zone of sonic revelations. If you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic "dream house" drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s/ 1970s, 4AD’s floor gazing guitar sound circa CocteauTwins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. "Limpid As The Solitudes" has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy. Felicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards - "things and sounds that happen vertically as a slow ascension, vessels communicating in dreams." In this collaborative recording, there is a feeling of "becoming" - things metamorphose - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls / unfurls at the same time. The title of the album - "Limpid As The Solitudes" - as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes "like dropped pearls from a lost collar. "Trying further to capture the records poetic impulses she notes it’s reflects "Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape." But notes with a sharpness that "the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.“ If you look at the cover, you’ll find another key clue - you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note - "think films such as by "Trust" (Hal Hartley, 1990) or "Chuncking Express" (Wong Kar Wai, 1994)." They add "it’s the 'ultra modern solitude' of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.“ Among the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics "Sacrifice" (Tarkovsky), "Passenger" (Antonioni) and "Last Year In Marienbad" (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.) 21.00

HORRENDOUS - Idol LP (seasons - HORRENDOUS explode out of the underground with their incredible new album 'Idol'. Drawing inspiration from both personal and national crises, 'Idol's' music is a methodical and unapologetic take on dynamic, progressive death metal. The highly anticipated new album sees HORRENDOUS at the highest echelon of their musical creativity to date. Thematically, the ambitious new album is an exploration of defeat, of the gods we build in our minds to escape the responsibility of action and change as we relinquish our agency. The music in 'Idol' mimics this act of deity building, with sprawling compositions that are imposing in scope and mirror the great turmoil of our times. Tracks such as "Soothsayer", "Golgothan Tongues" and the monumental "Obolus" position the band in a league of their own, as one of the death metal's leading new entities.) 22.00

I LP ON - Äänet LP (editons mego - Ilpo Väisänen returns to Editions Mego under the guise of I-LP-ON with an immense tribute to the outfit he played in alongside his friend and former creative partner Mika Vainio. ÄÄNET takes inspiration from the life of PAN SONIC, the outfit they inhabited for over 2 decades. Recorded in Kuopio, Barcelona and Karttula, ÄÄNET is made up of a series of minatres that harness the many shadows this legendary act absorbed: Industrial, ambient, dub and club all figure into this edgy slow burning menace of a release. Featuring recordings made on the 2000 PAN SONIC world tour Väisänen has crafted a unique homage to the outfit which redefined experimental electronic music by embracing pulsing club aesthetics coupled with more abstract avant garde tendencies. The seismic fingerprint left by PAN SONIC avoids dating and genre identification finding a new definition here both as a nod to a notorious past whilst laying the groundwork for reigniting something utterly contemporary. ÄÄNET is an essential release of Väisänen’s as it allows further expansion and broadening of the paths carved out from this resolutely unique form of scratchy and sublime electronic music.) 18.00

ISKANDR - Euprosopon LP (Iskandr now returns with it's second full-length album entitled “Euprosopon”. The album's title expresses the impossibility of the ideal man. However, formulating new concepts of heroism is nessecary to preserve ideas of strife and longing in an age of eternal devaluation. The record departs from previous works in it's more pronounced songwriting, confrontational attitude and triumphant regal flourishes. Euprosopon aims to evoke heroic medieval symbolism, while taking musical cues mainly from Norwegian classics such as Enslaved's “Eld”, the “Dark Sorcery EP” by Aeternus and “...Again Shall Be” by Hades, to enrich it's already established style and sound. Supported by the session drums and production assistance of M. Koops of Fluisteraars, Euprosopon surely will be seen as a definite leap in an attempt to chart a path of noble and austere black metal art. Euprosopon consists of four tracks, clocking a respectable fourty-five minutes. Battle scarred and worn, the tortured vocals tell, in four cuts respectfully; of defiance in the face of mortal odds, impermanence of kingly might, banishment under pain of death and the resurgence of a new age. The informed listener will detect in the music an increased complexity in composition, range and atmospheric elements. Coupled with an increased clarity in sound while retaining a natural and uncompromising outlook familiar for those who are aware of the previous output of the Haeresis Noviomagi circle, this record will certainly demonstrate the heights this project is yearning to reach.) 18.00

JACCO GARNDER - Somnium LP (full time hobby - Dutch multi-instrumentalist JACCO GARDNER's third full-length album, Somnium, sees the psych pop champion diving deeper into otherworldly adventures. Gardner deliberately abandons the use of vocals altogether, and instead forces the listener to experience the album as one whole entity. The album is a psychedelic escape, crafted to take you out of the rush and into a mysterious dream world shaped by your own imagination. Somnium is meant to be an all-encompassing experience. One piece of transformative pop music. Turn off your notifications and enjoy the journey uninterrupted.) 20.00

JAY BOLOTIN - No One Seems To Notice That It's Raining LP (delmore - Kentucky native Jay Bolotin is a renaissance artist, equally at home crafting music and stories as he is creating otherworldly creatures carved from woodblocks, who are then masterfully animated into being.  To step inside his world is to forget what was and what is. Described as sounding like Leonard Cohen crossed with John Jacob Niles recording Blood On The Tracks, Bolotin's songs were championed by Kris Kristofferson, Mickey Newbury, Merle Haggard, and Norbert Putnam; and recorded by David Allen Coe, Dan Fogelberg, and Porter Wagoner. His own studio sessions and demos reveal a voice calling from the shadows, spinning tales full of majestic imagery, that until now remained as elusive as the creatures in his visual art, that have graced the halls of galleries and museums worldwide. Limited edition of 1,000 featuring: Full album download code + bonus song / story; "Lester And The Gold Coin", deluxe linen old style tip-on jacket, 12-page Saddle Stitched Book containing excerpts from Jay Bolotin's personal letters from the era, accompanied by newly commissioned woodcuts depicting the people and the times, printed inner sleeve with full lyrics on the front, and woodcut print "The River" - suitable for framing - on the back. "LISTEN! You gotta hear this guy!" - Mickey Newbury "That song, ‘Traveler’ — a lot of people have been trying to write that for a long time..." - Kris Kristofferson "...a great genius" - Norbert Putnam "His lyrics have the impact of Loretta Lynn revised by Poe; his pictures are as unsettling as Dore' or Bosch." - Steve Eng) 35.00

KAREL GOEYVAERTS - Pour Que Les Fruits Mûrissent Cet Été / Op Acht Paarden Wedden LP (Original released 1977 on 'Alpha Brussels', this LP includes two compositions by Karel Goeyvaerts, who created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized “punctual” serialism in the 50s. In 1970s the BRT appointed him as producer at the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. Since 1974 he was in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen and was in addition the pupil of Maurice Martenot at the “Conservatoire National” in Paris. In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51, he wrote the “Sonata for two pianos”. Because of its decisive and total stylistic novelty he designated this work as “Composition No 1”, thus rejecting all his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized “punctual” serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nrs. 4, 5 and 7. During the period 1951-1956, he influenced directly through personal contact and intensive correspondence the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR in Cologne. In 1970 the BRT appointed him as producer at the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. Since 1974 he is in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Neder-landse Omroepstichting). His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the “International Society for Contemporary Music” (ISCM) Brussels 1950, Oslo 1953, Graz 1972 and Bonn 1977.) 21.00

KHORADA - Salt DLP (Rising from the ashes of Agalloch and Giant Squid, a new group is born: Khôrada. Featuring former Agalloch members Don Anderson (guitar), Jason Walton (bass) and Aesop Dekker (drums) alongside former Giant Squid guitarist / vocalist Aaron John Gregory, KHôRADA creates colossal, textured, and emotionally powerful music. As a completely fresh concept, Khôrada is an opportunity for the musicians to explore new soundscapes while challenging themselves creatively. With their debut album "Salt", KHôRADA forges breathtaking swathes of sound that swell, stretch, submerge and recede with panoramic power. At once atmospheric, aggressive and apocalyptic, the album's emotion is driven by the band members' view of today's world; these are precarious times. "Salt" was written under the pressure and uncertainty of the beginning of the Trump-era, standing as a musical exploration of the routine madness we now live. Paired with the surreally visceral artwork by internationally renowned painter & sculptor Cedric Wentworth, the visual explorations prove to be as haunting as the ethereal vocals of Aaron himself. The dissolution of two of America's most beloved underground groups has resulted in the formation of perhaps the scene's most highly anticipated new band. With a sound built upon a resolute sense of purpose, KHôRADA has arrived.) 32.00

KID, FERAL - Live And Let's Die LP (dog knights - Live and Let's Die!' is an album about growing and developing, as well as the experience of losing a few people (including my best friend) during my formative years. It's not a depressive album however, it was born out of the need to explore an unsatiated hunger for the world and for new experiences. It's about the thrill of taking chances and going outside your comfort zones, the building up of courage to find your place in the world, the pain of loss and how I used it to build myself up again. In a lot of ways it's a childish album. I don't write lyrics in metaphors and pretty allegory, which fit the kind of honest aggression we try to channel with the instrumentals. Musically we also wanted to break some screamo taboos and go for some big no-no's such as piano and guitar solos. We'd be more than thrilled if we can inspire bands to be more compositionally daring within the genre, and really see what new directions screamo can be taken in the future.) 14.00

LINGUA NADA - Snuff LP (dog knights - Formerly unknown as Goodbye Ally Airships, LINGUA NADA is a four piece from Leipzig, Germany. Decribed as loud, noisy, emo and complex, LINGUA NADA abuses pedals and effects to alienate thousands of sounds to create an electric mix between garage, mathrock, shoegaze, post­hardcore and pop which somehow glues together when played at insane volume with a wild stage presence. Imagine 90ies Indie Rock from bands like Weezer, Pavement or Built To Spill tortured with todays Noise-Rock without losing the pop-appeal combined with nowadays math-rock à la And So I Watch You From Afar.) 14.00

OREN AMBARCHI & JIM O'ROURKE WITH U ZHAAN - Hence LP (editions megs - Hence is the third collaborative release from Oren Ambarchi and Jim O’Rourke, following on from 2013’s Behold. Building on the refined combination of electronics and acoustic instrumentation found on their previous releases, Hence presents two side long pieces combining synthesizers, heavily effected guitar tones, and tabla rhythms played by special guest U-zhaan. On the first side, an explosive opening chord sends out ripples of sparse, irregularly pulsing guitar and synthesizer tones, aleatorically changing in pitch and jumping around the stereo image. Combined with the tabla, which gradually builds in busyness throughout the side, the piece is like a dream collaboration between David Behrman and the Henry Kaiser of It’s a Wonderful Life, gradually overtaken in its second half by a swarm of lush live electronic sizzle. The second side begins in a similar area, combining tabla, shimmering Leslie cabinet guitar tones, and a wandering melodic line. Undergoing a series of subtle variations, this initial area eventually builds to a climax of twittering synthesized birdsong reminiscent of Alvin Curran’s 70s work. As on the first side, Ambarchi and O’Rourke craft a piece that is both comforting and subtly strange, as the constantly shifting dynamics and changes of focus (which recall the flow of improvised music) refuse to allow the music to settle into any one moment for too long or to build in too linear a fashion. Combining influences from post-minimalism, the pioneers of live electronics, and eastern music into a unique sound world, Hence is a seductive work from two of the most singular sensibilities in contemporary music.) 18.00

OSTRACA - Enemy LP (i corrupt - Richmond, VA trio Ostraca is back with their most sonically destructive material to date. enemy explores new territory (even showcasing a piano part or two [!!]), while driving forward with the chaotic and dynamic elements of their sound we've all grown to love. Recorded, mixed, and mastered by Lance Koehler (Municipal Waste, Cloak/Dagger, Chuck Ragan) at Minimum Wage Recording. "...a mountain collapsing down on you in a haze of post-metal, screamo glory." - 14.00

PUSH - For Sale By Owner LP (dog knights - Push is a two piece band made up by Josh Wyble and Matthew Kupka. Josh and Matt both are familiar to the music scene, with Josh coming from playing drums in hardcore project Tiger Lily, and Matt being the previous singer/guitar player in Southtowne Lanes. The music you hear is representative of those influences.) 14.00

SANS VISAGE - Moments LP (dog knights - Incredible European-inspired Japanese Screamo.) 14.00

SIGLO XX - The Art Of War LP (onderstroom - In 1978 a few friends started rehearsing and playing music together in a garage in Genk, an industrial and former mining town in Belgium. They called themselves Siglo XX. The group's name is Spanish for "Twentieth Century" and refers to a Bolivian mine named Siglo XX, where there was social unrest, so the link with the city of Genk was obvious. Genk also had to cope with social issues as unemployment, poverty and drug related problems after the closure of the coal mines. The members of Siglo XX were Erik Dries (vocals), Antonio Palermo (guitar), Dirk Chauvaux (guitar, bass), Klaas Hoogerwaard (drums), Chris Nelis (synthesizer ; 1980–1982) and Guido Bos (bass ; 1978–1984). Under influence of the punk spirit coming from England, they wanted to make their very own kind of music that expressed their feelings, emotions and views on society. Technical skills on musical instruments were only required to a lesser extent. In 1980 their debut 7" single “The Naked And The Death” was released on their own independent label Straatlawaai Records (the label still exists today). This single was followed by the release of a selft-titled cassette in 1982, distributed only in very small quantities and reissued on Onderstroom in 2010 on vinyl. Shortly after they signed to Antler Records. This was probably the most important and prolific era of the band’s existence. In the time span of a few years the band released two EP’s and one mini-album: The Art Of War (1982), Answer (1983) and Dreams Of Pleasure (1983), containing altogether 13 songs, which constitute the heart and soul of the oeuvre of Siglo XX. On these songs produced by label owner Roland Beelen, Siglo XX lingers between cold wave, new wave and post punk. They were often named the Belgian Joy Division, which makes sense listening to their dark and gloomy sound, but they also experimented with strange sounds and incorporated these cleverly in their songs. Listening back to the tracks such as The Art Of War, La Vie Dans La Nuit, Youth Sentiment, Autumn, Until A Day and Endless Corridor, it still moves me and brings up memories of that exciting period in the eighties, when we were much younger, living the life and listening to music that we associated with our life, our dreams, plans and expectations. That’s the essence for us in the music of Siglo XX. That’s the simple reason why these songs still mean so much to us, and why they always will. (MARC VOS)) 17.00

SIGLO XX - Dreams Of Pleasure LP (onderstroom - In 1978 a few friends started rehearsing and playing music together in a garage in Genk, an industrial and former mining town in Belgium. They called themselves Siglo XX. The group's name is Spanish for "Twentieth Century" and refers to a Bolivian mine named Siglo XX, where there was social unrest, so the link with the city of Genk was obvious. Genk also had to cope with social issues as unemployment, poverty and drug related problems after the closure of the coal mines.) 17.00

SIGLO XX - Answer LP (In 1978 a few friends started rehearsing and playing music together in a garage in Genk, an industrial and former mining town in Belgium. They called themselves Siglo XX. The group's name is Spanish for "Twentieth Century" and refers to a Bolivian mine named Siglo XX, where there was social unrest, so the link with the city of Genk was obvious. Genk also had to cope with social issues as unemployment, poverty and drug related problems after the closure of the coal mines.) 17.00

SOLAR TEMPLE - Fertile Descent LP (Emerging from the edge of the ancient forests of the Veluwe, Solar Temple offers their debut full length. 'Fertile Descent' lures you in with its direct yet swirling black metal impression and unique approach. Like something sinuous at the edge of your vision but not quite perceivable, the two tracks of this album twist and bend with a dizzying ferocity. Pummeling sounds entwined with a distant echo that also feels warm and inviting. 'Fertile Descent' takes the foundation laid with the 2017 demo, 'Rays of Brilliance' and expands on its reverberant nature. Subtly giving the nod to a wide variety of bands ranging from contemporary dutch black metal to Swans, it weaves a veiled path for the listener.) 18.00

SONGS: OHIA - Love & Work: The Lioness Sessions 2LP-BOX (secreltly canadian - The Lioness is the first Jason Molina project to fully turn away from the battlefield folk and deconstructed Americana of earlier Songs: Ohia recordings. At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers — Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avant-garde tones and arrangements of Arab Strap are absorbed here into Molina’s songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love & Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best. Off the bat, The Lioness can be tricky listen. Doom-y elements abound — the chord choices, the guitar tones and the molasses movement of it all. But rather than an album about wrestling some inner darkness, this is a man finding new love. Newly fallen for the woman who would ultimately become his wife, here Molina crafted songs about submission and the rapture of submission. By the time we get to “Being In Love,” the ice has fully melted off a once frozen heart: “Being in love/Means you are completely broken/Then put back together/The one piece that was yours/Is beating in your lover’s breast/She says the same thing about hers.” It is the first — and likely best — love song of the new millennium. It remains stunning that this song, poetically on the level of William Carlos Williams and sonically both industrial and hymn-like, was penned by a 26 year old. It is a crucial piece of the modern lover’s musical lexicon. Sigmund Freud once said, “Love and work are the cornerstones of humanness.” Say what you may about the psychoanalytical theories of Freud, but this one sticks. Love and work give our lives purpose. And satisfaction from one feeds into the other. We know Molina was diligent in both love and work. He treated songcraft like a job at the mill — an ethos directly tied to his low-income upbringing in Lorraine, Ohio. Up at the crack of dawn (perhaps to capture the lingering fumes of dream logic), Molina would aggravate numerous roommates with these 5 AM writing sessions in the living room or on the porch. His approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love — an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he’d carry with him around this time as a symbol for his burgeoning love. He was a workhorse for art and love. And so, the head-over-heels, make-out album that is The Lioness has its workman counterpart. Nearly another album’s worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. Songs like “On My Way Home,” “Never Fake It,” “It Gets Harder Over Time,” and “I Promise Not to Quit” are working man’s blues. These are songs for aching muscles getting soothed in the third-shift pub. But they’re also examples of Molina’s diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina’s well of words and ideas. But then, there is the devastating Sacred Harp hymn “Wondrous Love” from the London session. Over the 4-track hiss, a barely audible ghost track and a delicately plucked guitar, Molina gives himself wholly to the performance. While he may have had his new love in mind, one can’t help but think of Molina’s legacy as he softly warbles “Into eternity I will sing/Into eternity I will sing.” You don’t have to try too hard to mythologize Molina. He did all the work for you.) 45.00

UNCLE ACID & THE DEADBEATS - Wasteland LP (rise above - You can probably feel it already. Amid the shimmering haze of dusk. In the marrow of your bones. The darkness is getting darker. Malevolent forces are on the prowl. The wasteland is beckoning. Uncle Acid is on his way home. The brainchild of mercurial Cambridgeshire mystic Kevin Starrs, Uncle Acid & The Deadbeats have been making extraordinary music since 2009. Always too bold and idiosyncratic to be easily pigeonholed, they emerged from an obscure corner of the labyrinthine English underground as shadowy purveyors of a new and overwhelmingly psychedelic take on the gruff and gritty rudiments of hard rock and turbo-blues, powered by the dark, lysergic heart of the late ‘60s and early ‘70s and drenched in woozily macabre imagery. Steeped in both the wayward melodies and mischievous arrangements of psychedelic pop and the dissonant thunder of proto-metal and doom, Starrs’ greatest feat has been to create an entirely fresh sonic world from these most familiar of ingredients. Uncle Acid & The Deadbeats’ reputation was swiftly built on towering, riff-driven milestones like 2011’s breakthrough opus Blood Lust and its warped and wicked follow-up, Mind Control (2013); both released through Rise Above Records and subsequently showered with critical acclaim. By the time Starrs’ band created The Night Creeper in 2015, their mutation into heavy music’s most unmistakable eccentrics was complete, as their leader cranked up the melodic weirdness, rendering his monstrous ideas in something approaching three-dimensional Technicolor.) 22.00

V/A - The Black Book 3LP (ideal - Joachim Nordwall marks 20 years of his iDEAL label with ‘The Black Book’, a blinding sweep of original material from JASSS, Stephen O’Malley, Ramleh, Robert Aiki Aubrey Lowe, Carlos Giffoni & Prurient, Ectoplasm Girls, JH1.FS3, JS Aurelius, Autumns, John Duncan, and many more. The story of iDEAL starts out in London 1998, when Nordwall was living the hardscrabble life: working in an underwear shop near Liverpool Street station; living in a filthy Bayswater apartment; scoring industrial records from the Music and Video Exchange; getting drunk in cheap pubs, and dreaming of starting a new record label and platform. He called it iDEAL, and 180 releases, 20 years later, it has become an invaluable node for non-standard, wayward expressions of modern electronic noise in all its mutable variation. iDEAL’s success and longevity may well be down to the way that Nordwall treated it as a social and artistic home, offering a place where mutually exclusive styles could bed down away from the mainstream or the genre police, and feed into a much larger, work-in-progress definition of fringe music. ‘The Black Book’ extends, in the spirit of the label, an idealised compilation of disparate possibilities connected by a sense of musical mystery and chaotic energy. To focus on just a few highlights, the ever unpredictable JASSS makes a notable inclusion with the serene vignette of LP opener, ‘Parental Youth’, while Jim O’Rourke unfurls 17 minutes of gloaming post-industrial drone with ‘In Regards’. Label friend Jonathan Uliel Saldanha contributes the tense, searching horns of ‘Siren Frontier’, and Ectoplasm Girls cook up the grim, thrumming electronics of ‘Neuropean’. John Duncan parses the airwaves to find the curdling organism of ’Shortwave6’, and Frederikke Hoffmeier (Puce Mary) and Jesse Sanes seduce with the narcotic drone-pop of ‘At The Bottom Of The Night’ as JH1.FS3, alongside a powerful rhythmic oddity from Stephen O’Malley, a stark death rattle from Trepaneringsritualen as Ty´r × Reið × Vend with 'nd þau né átto, óð þau né hfðo', and Norn Iron’s Autumns ‘Lose It’ on a mucky acid ‘floor swille.) 36.00

VERONICA VASICKA - In Silhouette LP (minimal - Pivotal, peerless DJ/selector and Minimal Wave overse’er Veronica Vasicka serves her solo debut on Downwards in ‘From Here’, a dank industrial-pop workout recorded in 2004 and now issued for the first time, backed with sick remixes by Regis, Paul Kendall (Depeche Mode, Nitzer Ebb) and Robert Hampson (Loop, Main) in his lesser-spotted Chasm alias. Penned on analog synth and 4-track tape recorder in 2004, one year before Veronica established the Minimal Wave label, the ripped metal textures and spectral vox of ‘From Here’ forms a rare snapshot of her daily, diaristic working practice, putting sounds to tape as a personal form of expression that was never intended to be heard by other ears. Lucky for us then, that Downwards’ Karl O’Connor (Regis) has coaxed this dark, anxious beauty out for release, and teamed it with some very special remixes. ‘From Here’ renders Veronica in the dark, naturally working against the grain of 2004’s underground dance music trends to pursue her passion for classic and obscure strains of dance music, from New Wave to Italo and early house - all the kind that would turn up on her regular show for East Village Radio; the Manhattan, NYC station she co-founded in 2003. With hindsight, we hear Veronica as a displaced soul doing her thing in a way that would become inarguably more widespread over the coming decade and more, which was in no small part due to her focussed efforts working behind the scenes, overlapping and fomenting a nexus of musics that shared more in common than was usually acknowledged at that time. Now appearing in 2018, ‘From Here’ perhaps finally feels at home in the skin of a scene obsessed with ghosts in the machine. And the remixes only emphasise the material’s timeless, out-of-joint nature: from a slickly arpeggiated Regis version which sounds like it could have been made any time between 1981 to 2018; thru to a pummelled and serrated industrial remix from Paul Kendall, who has previously worked on classics by Depeche Mode and Nitzer Ebb; to a killer and maybe surprising highlight from Robert Hampson as Chasm, stoking it with gnashing drum machines and keening dub FX for a sort of industrial-dub-dance-pop sidewinding outta time and place.) 17.00

WITCHSKULL - Coven's Will LP (rise above - The riff hits. The adrenalin kicks in. The darkness erupts. All heavy metal hell breaks loose. The Coven is awake… The philosophy behind Witchskull’s take on the essence of primeval heaviness is simple enough. Listen to the first few seconds of the Australian trio’s brand new, second album Coven’s Will and if the vibe doesn’t instantly grab you by the balls and the synapses then maybe you walked in through the wrong door. Channelling the spirit of the metal gods and injecting every last moment of their rampaging anthems with a jolting dose of lysergic menace, Witchskull are the unstoppable real deal. Formed in Canberra in 2014, Witchskull grabbed the attention of the hirsute, underground hordes with their first demo in 2015. The band’s debut album, The Vast Electric Dark, emerged soon after to great acclaim: its thunderous, turbo-charged squall striking an instant, devilish chord with headbangers hungry for life-affirming riffs, a dash of grubby-fingered authenticity and lashings of supernatural venom. Honed and nurtured in sweaty practice rooms and on stages across the band’s native Australia, the Witchskull sound has subsequently evolved, leading to Coven’s Will: a sophomore outing that looks certain to thrust the three-piece to the upper echelons of the stoner world. Recorded at Studio G in Brooklyn, NYC, with producers Billy Anderson (Neurosis/Sleep/Buzzov.en) and Jason Fuller (Blood Duster) and mixed at Jason’s Goatsound Studio in Melbourne, Coven’s Will has mutated into a snarling, muscular acid-metal monster.) 18.00


BAUHAUS - Bela lugosi's dead T-shirt (plastic head - official BAUHAUS shirt. White shirt w/ black Front print in S / M / L) 18.00

BAUHAUS - press the eject ... T-shirt (official BAUHAUS shirt - black shirt with two colored front Print in M/ L / XL) 18.00

DEVO - atomic logo T-shirt (plastic head - Offical DEVO shirt w/ classic logo as a two colored front print in M/L ) 18.00

HÜSKER DÜ - candy apple green T-shirt (plastic head - OFFICAL HÜSKER DÜ shirt - white shirt with red front print in M/L) 18.00
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Messages: 874
Inscription: 31 Déc 2005, 14:38
Localisation: Berlin

Re: BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, Fa

Messagepar ADAGIO830 » 30 Nov 2018, 13:19

hi. welcome to the last newsletter for November filled up with tons of great new releases (we also got lots of restocks like the last SUMAC LP, Fugazi, Gorilla Biscuits, Braid, American Football, Jawbreaker, Gray Matter, Lungfish)

The new iron lung releases arrived (C.H.E.W. - Feeding Frenzy LP, Geld 7“s etc), lots of DAIS stuff (Choir Boy, SRSQ - Unreality LP etc), SHEER TERROR - Pall In The Family 7“, RAINER MARIA re issues via Polyvinyl, SHOGUN AND THE SHEETS - Hold On Kid / Pissing Blood 7“ (ex ROYAL HEADACHE), CANDY - Good To Feel LP on triple B, lots of shirts (hüsker dü, devo, chain of strength, bauhaus etc), SLEEP - Leagues Beneath 12“ and the Holy Mountain re issue, DRUG CHURCH - Cheer LP and new Terror LP on Pure Noise, JUTE GYTE - Oviri DLP, VOUNA LP, SUPER UNISON - Stella LP and Birds in Row restocks from Deathwish, new TIM HECKER LP, THIS WILL DESTROY YOU`s new LPs, EVOKEN - Hypnagogia DLP, new TY SEGALL LP and 7“, BRAINBOMBS re issues, BELL WITCH - mirror restock, HIS HERO IS GONE re issues, BOSSE DE NAGE - Further Still LP, JESU - Ascension DLP re issue, Sentinent Ruin stuff, NO STATIK - Earhammer Soundsystem LP and much more

we also got two things coming up

12.12. CONTRACTIONS (FR, peeps of Daitro, Baton Rouge) + Apostrophe at TIEF

15.12. Vernissage with Tine fetz at Bis Aufs Messer

Thank you
 Robert & Norman


CHOIR BOY - Sunday Light / Madeline 7“ (dais - “Choir Boy” was what the kids called singer/songwriter ADAN KLOPP in his early teens when he fronted punk cover bands in Cleveland, Ohio. An intended insult, the label seemed fair and fitting in a way, given Klopp’s religious upbringing and angelic voice. After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC’s underground music and art scene, left religion behind, and called his new band CHOIR BOY. ) 11.00

CONVENIENCE - Stop Pretending 7“ (iron lung -Meaty hardcore punk with off kilter vocals by members of IRON LUNG and NO STATIK. CONVENIENCE's debut EP confronts society and its shortcomings head on with contempt, with and a mountain of energy. Recorded, mixed and mastered by Greg Wilkinson. Art by the band. 300 copies on black 70gr vinyl housed in a 12pt custom ILR die cut glue pocket sleeve with insert and download card included.) 10.00

GELD - Soft Power 7“ (iron lung . A nasty followup EP to the Perfect Texture LP released earlier this year finds GELD in a more irascible and unhinged state. Soft Power expands on the band's vision of a freer form of D-Beat with noisier sounds, tighter dimensions, wilder visions and subtler experimentation with carefully placed nuances. Don't be tricked into thinking this is some sort of hippy dippy jamband bullshit though, every second of this is cruelly calculated and executed with the utmost care. Damn. Recorded by Billy Gardener and Julian Cue. Art by Sam McKenzie. Edition of 250 black vinyl copies housed in a custom ILR 80# felt weave glued pocket sleeve with insert and download code included.) 10.00

GINO AND THE GOONS - I Won't Fall In Love / Parasite 7“ (certified pr - "Budget rock will never die! After a fistful of releases on labels such as Slovenly/Black Gladiator, Red Lounge, Pelican Pow Wow, Total Punk and others, GINO AND THE GOONS have joined the Certified PR Records roster of All-Stars. Different than their previous Garage Rock/Rip Off Records styled output, this single shows The 'Goons at their SLEAZIEST! In the beginning "Head Goon", GINO BAMBINO wrote all of the bands' original material. Their last full length Rip It Up on SunWray Records had Gino and "Bass Goon", T-BONE JONES sharing the writing and singing responsibilities 50/50. This time around T-Bone wrote both sludge stompers that sound like something oozing out of The Dogs or DMZ catalogs. Not that it matters. As Gino puts it, 'Either way you look at it they are all GOONS TOONS!! So turn it up loud and go crazy!!!’) 7.00

LIARS / TROPICAL FUCK STORM - Less Artists More Condos Series #18 7“ (famous class - The eighteenth edition in Famous Class’ LAMC split series featuring an unreleased A-side track from one of the label’s favorite band’s, backed with a B-side track from a lesser-known artist handpicked by the A-side group. The series gets its name from the epic Less Artists More Condos concerts that the late ARIEL PANERO threw in New York, showcasing amazing bands in some strange and unique venues. Ariel’s driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea. Features LIARS "Total 3 Part Saga" backed with TROPICAL FUCK STORM’S "The Happiest Guy Around.“) 10.00

MORNING AGAIN - Survival Instinct 7“ (revelation - For the first time in over 20 years, Morning Again returns with their "Survival Instinct" 7" EP, offering up four brand-new, powerful, riff-heavy tracks. The lineup still consists of vocalist Kevin Byers, guitarists John Wylie and Stephen Looker, and bassist Gerardo Villarroel. Now, they are also joined by Joshua Williams (formerly of Culture) on drums.) 7.00

NO STATIK - What Did You Give Away When You Gave In? 7“ (25 diamonds - Three exclusive new songs that work as a companion piece to their upcoming new LP on Iron Lung Records. This is NO STATIK. This may be the end—count your blessings while they exist. Edition of 200 copies on black vinyl.) 8.00

SHEER TERROR - Pall In The Family 7“ (Making their intentions clear since 1984, New York, NY's Sheer Terror has a long, ugly, and proud tradition of playing by their own rules and working at their own pace. Paul Bearer delivers one his greatest vocal performances to date and the band is harder and tighter than ever. Sheer Terror delivers four new tracks of gritty, hard-driving songs influenced by the sound of the NYHC scene. 7" includes digital download.) 8.00

SHOGUN AND THE SHEETS - Hold On Kid / Pissing Blood 7“ (wyr - "We were so bummed when ROYAL HEADACHE broke up this past summer but I knew they couldn't do it to us like that! TIM SHOGUN, lead singer of Royal Headache has a new band called SHOGUN AND THE SHEETS and they RIP. This is the first release from them and you can expect a full length out next year thank god.“) 8.00

STIFF LOVE - Attitudes 7“ (feel it - Hot on the heels of their debut "Trouble" 7" EP, STIFF LOVE are back with a smashing new single! These two tracks capture the Olympia-based group at their best yet—a fast-and-loose unit equipped with the kind of chops and confidence that simply cannot be faked or replicated. Stiff Love are the real deal; unrefined and unsophisticated; a near-perfect sonic amalgam of rock'n'roll, garage, and punk. There's a classic & undeniable '60s flavored, four-piece group dynamic at play; with CLAUDIA and ELYSA laying down the pounding rhythm section that allows DAHLIA and XTINE's trebly, twin-guitar charge to propel each track along. The perfectly desperate vocals and wailing guitar leads command the high end of the mix, sealing the deal on this highly memorable and downright catchy pairing of tracks. Recorded straight to tape with CAPTAIN TRIPPS and packaged in a textured stipple stock glue pocket sleeve with lyric insert and digital download.) 8.00

TY SEGALL - fanny 7“ (aaggoo - Aagoo Records is proud to announce the release of TY SEGALL's “Fanny”—a psychedelic ode to his dog—on standard 7” and limited-edition picture disc editions. Not only does Segall’s single feature various cover and insert art painted by Segall himself, but the track in three different forms: the demo, a revved-up “sketch” and a live recording from San Diego, California. Each side of the picture disc features a yellow dog face painted by Segall, from his acrylic painting “Goopy Poodle.” Stare at it long enough: it’s oddly comforting! And the “Fanny” 7” is for a canine cause: all proceeds will go to animal rescue organizations NKLA and Mighty Mutts, which are dedicated to rescuing and rehabilitating the strays of Los Angeles and New York. It’s a tribute to our canine friends only Segall could make.) 8.00

XIU XIU / (r) - split 7“ (stoned to death - Unique split between california's avantguarde pop queens XIU XIU and prince of Torino (r) explores the mystery of one of the most exciting heavy rock band ever - the ZZ TOP! The ZZ Top side offers Xiu Xiu's new wave / noise take on "Sharp Dressded Man", ZZ Bottom side delivers (r)'s glamy serving of hairy romance with timeless classic "Gimme All Your Lovin'") 8.00

IV - s/t 7“ (total punk - Total Punk is proud to present the debut 7" from Minneapolis supergroup IV (featuring members of JOUST, CITRIC DUMMIES, COLOR TV) A four-song fist pumping face pummel. A band well aware of the power of punk simplicity and wielding it with perfection. Buzzsaw guitars, quick chords changes, and the occasional stop/ start all propelled forward by huge vocal hooks. I first saw these guys at an American Legion last year and the songs were still stuck in my head when they sent these recordings four months later. 100% TOTAL PUNK.) 8.00

VANILLA POPPERS - I Like Your Band 7“ (feel it - Quite simply one of the hardest working bands in contemporary punk and hardcore, VANILLA POPPERS are back with their most urgent material to date. Following an excellent 2017 LP on Lumpy, 3/4 of the original lineup relocated from Cleveland to Melbourne, Australia, home of vocalist CHRISTINA PAP. The four new tracks on I Like Your Band find the Poppers on top of their game, driving home hook-laden punk hits beneath Pap's ruling vocal presence. And what's more? The band's gritty, live charm is captured at its best here by BILLY GARDNER (Ausmuteants, Antifade Records) and dialed in on the mix by MIKE GILL (Perverts Again, Cruelster). A near-perfect EP delivered with the precision and attitude of first wave '70s PUNK and executed with the style and confidence that few contemporary acts possess. I Like Your Band comes packaged in a glue pocket sleeve with artwork from WILLIAM CHAPMAN plus lyric insert and download code.) 8.00


ALVIN CURRAN - Canti E Vedute Del Giardino Magnetico LP (superior - American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early ’70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.  Canti E Vedute Del Giardino Magnetico, Curran’s solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome’s The Kitchen).  Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer’s alluring voice—converging in an immersive realm of Curran’s inner / outer experiences.  This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.) 25.00

AMERICAN - Violate And Control LP (sentinent ruin - The second album—ten wretched tracks of astonishing sonic abuse that knows no end. With their own brand of crazed, sadistic, and raw industrial black metal american have reached a new zenith in musical depravity that will leave old fans of the band and new admirers alike horrified by the sheer cruelty reached in this new work, and disgusted by the band’s mindless and lawless evolution into complete and triumphant aural perversion. A work of absolutely magnificent sonic abhorrence that coerces together the abyssal darkness of black metal bands like Leviathan and Ash Borer, the earthshaking noise abuse of Prurient, Bastard Noise and The Body, and the glacial magnificence of blackened noise sound sculptors like Sutekh Hexen and Locrian.) 18.00
BASEMENT - Beside Myself LP (red) (fueled by ramen - Fresh off tours with Turnstile, Joyce Manor, and countless others, UK indie/emo kids Basement return with yet more of what they do best, melodic, emotional and powerful music. It follows up 2016's "Promise Everything" and is the band's first proper full-length for Fueled By Ramen. Vinyl version includes digital download.) 25.00

BIKINI KILL - The Singles LP (diy - Bikini Kill Records is excited to announce their reissue of "The Singles" on both vinyl and CD. "The Singles" was initially released in 1998 as a CD only compilation of all of Bikini Kill's 7"s. Once called "their defining document" by Pitchfork, it includes Bikini Kill's legendary collaboration with Joan Jett on the "New Radio" (1993) single as well as the long-out-of-print "Anti Pleasure Dissertation" (1995) and "I Like Fucking" (1995) singles. Vinyl version includes download code.) 18.00

BLOOD PRESSURE - Surrounded LP (beahc -  Two years away from the studio clearly didn't turn Blood Pressure into slouches. "Surrounded" supplies an undeserving world with ten tracks of seething and hate-filled hardcore punk that is bound to tickle the fancy of any and all "real ones" or whatever.) 18.00

BOSSE DE NAGE - Further Still LP (flenser - San Francisco-based post-black metal act Bosse-de-Nage have returned to The Flenser for their fifth studio album titled Further Still.  This latest album sees the band eschew the sprawling arrangements and hypnotic repetition of their previous efforts in favor of tight, propulsive song structures. It is deliberately succinct in approach while maintaining the band’s unique lyrical style set to unpredictable melodies.   Bosse-de-Nage takes their name from a character in the book The Exploits and Opinions of Dr. Faustroll, Pataphysician by the French symbolist author Alfred Jarry. They recorded their first demo in 2006, which was subsequently released on cassette by Aesop Dekker’s The Funeral Agency label. Their first album was recorded the following year, but the band became inactive for awhile, and their debut sat on the shelves until The Flenser released it in 2010. This sparked new life into the project and they recorded and released two more self-titled albums over the next two years. In 2012 BDN released a split EP with fellow Bay Area “blackgaze” upstarts Deafheaven. They subsequently released their monstrous and surreal masterpiece, All Fours (Profound Lore), in 2015 to critical applause. Further Still sees the band refine their multitude of ideas, distilling them to their most basic forms yet retaining their idiosyncratic footprint.) 20.00

BRAINBOMBS - Fucking Mess LP (armaggeddon - Armageddon Shop is proud to announce the long-awaited reissue of the BRAINBOMBS' fifth album Fucking Mess. Originally released in Sweden in 2008 on the Lystring label, it quickly sold through two pressings. After many years out of print, it will be available for the first time domestically in the USA. It has been freshly re-cut for this vinyl release by CARL SAFF Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Seven tracks of blown out noise rock from the depths of Sweden's sub/urban landscape. Blood soaked lurching riffs taking you through a horrific police report. An audio notebook filled with disturbing and murderous events. A serial killer walking down a dark road listening to a blown out cassette on a dying walkman as he wipes the blood off his hands and into the dirt... In their own words: "Brainbombs Fucking Mess as a testament/funeral. BB found previous releases to be too naive, this time it's for real.“) 25.00

BRAINBOMBS - Burning Hell LP (armaggeddon - Armageddon Shop is proud to announce the long-awaited reissue of the Brainbombs first album Burning Hell. Originally released in 1992 on the Blackjack label. After many years out of print in the USA, it has been freshly re-cut for this vinyl release by Carl Saff at Saff Mastering (Fu Manchu, Elder, The Residents, Pallbearer). Ltd to 600 copies on black vinyl with download. Nine tracks of abrasive noise rock that will drill into your skull. Abrasive music that surges with hypnotic Stooges riffs that have been laced with acid and drenched in the sweat of physical fear and danger. Mutated and disorienting songs with lyrics that deliver first person accounts of the most disturbing and darkest events that are part of the human experience... Murder, sex, drugs, blood, and violence.) 15.00

BRAINOIL - Singularity to Extinction LP (tank crimes - "Singularity To Extinction" is the new full-length from Oakland, CA, sludge bringers Brainoil, featuring within its ranks current and past members of Deathgrave, Graves At Sea, Stormcrow, Destroy, and Grimple, among others. Their first output since 2011's punishing "Death Of This Dry Season" full-length, the long-anticipated "Singularity To Extinction" was captured at Earhammer Studios by bassist/vocalist Greg Wilkinson, mastered at Audisiege by Brad Boatright (Tragedy, Necrot), and offers up seven ravenous hymns of gnarly, audio antagonism all swathed in the apocalyptic cover art of John Santos (Torche, Neurosis). Infusing their signature sludge with unorthodox time signatures, "Singularity To Extinction" stands as Brainoil's fastest, crustiest, and most monolithic offering to date. LP includes download card.) 23.00

CANDY - Good To Feel LP (triple b - Candy has once again teamed up with Triple-B Records for their most fantastical and sinister release yet. Keeping in line with the artistic dualities of pleasure and pain, fact and fiction, peace and violence, their debut full-length, "Good To Feel," delivers nine songs of their most ambitious and focused material to date. Aligning with the esteemed engineer and producer Arthur Rizk, Candy has finally achieved the type of artistry that transcends the confines of its own medium.) 25.00

C.H.E.W. - Feeding Frenzy LP (iron lung - Do you have unexplained scars on your body, piercing eyes, an unquenchable thirst for intricately relentless hardcore punk music, deep compassion for the fate of mankind, a notion toward punishment by stoning or the capability to disrupt electrical appliances? If so, Feeding Frenzy will be your audio guide to unlocking the delicate depths of this confusing planet. Though you may have a keen sense of not belonging to the human race, it will help you to blend in and go unnoticed so you can quietly further your agenda. Enable yourself. Recorded by Matt Russell, mixed by Russell Harrison, mastered by Sean K. M. Daily. Art by Daniel Harris. Edition of 350 copies of 150 gram black vinyl housed in a 24pt jacket with a 4 panel poster insert and download card included.) 20.00

CHOIR BOY - Passive With Desire LP (dais - Since his recording debut as CHOIR BOY in 2016, ADAM KLOPP mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti. The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album’s tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp’s original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp’s hazy youth. Engineered by Klopp, BRET MEISENBACH and STEPHEN COPE, Passive With Desire is the entry point to Choir Boy’s world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.) 23.00

COMMON EIDER KING EIDER - A Wound Of Body LP (sentinentn ruin - The masters of contemporary ritualistic black ambience return with the first part of their "Wound" duology, two separate releases linked sonically, visually and spiritually, together forming the group’s most focused and fully realized work to date. The two releases together will offer up a sprawling, audial exploration of wounds at once physical and spiritual, social and societal, natural and environmental. Sonically, A Wound Of Body is a beautifully stark soundscape, dolorously dense, suffocatingly oppressive and utterly claustrophobic. An immersive black hole of bleak, cavernous dronemusic and disquieting, desolate ambience, each track a hushed and harrowing ritual; the surface minimalism underpinned by a churning morass of sound, a layered liturgy of blackened invocations and nebulous strings hovering in the shadows. Black vinyl housed in a duotone printed silver/black jacket with black flood inside, printed inner sleeve and download card.) 18.00

DRUG CHURCH - Cheer LP (pure noise - Drug Church is the other lyrical vehicle for frontman Patrick Kindlon, also of Self Defense Family. This project is more accessible than Self Defense Family, delivering much more straight-forward punk, bringing together Revolution Summer sounds with the modern melodic punk/rock sound of bands like Culture Abuse. Vinyl version includes download card.) 20.00

DUNBARROW - Dunbarrow II LP (riding easy - There’s a hauntingly classic feel to Dunbarrow’s sound that gives it, in the band’s own words, “an eerie rawness.” It’s not raw in a lo-fi or distorted sense—far from it, the production is exceptionally clean and powerful. It’s the vibe to the music that has a dreamlike and ghostly quality, like a mysterious recording imprinted onto an old cassette tape. The band’s pristine, unadorned sound shares the unpretentious brilliance of classic heavy progenitors jamming in basements and barns.  Without the Haugesund, Norway quintet’s exceptional musicianship, such an intimate sound would be impossible. Drummer Pål Gunnar Dale sets the skeletal core with driving urgency and tastefully punctuating triplet fills, bassist Sondre Berge Engedal slinks throughout with the limber bounce of John Paul Jones, while Kenneth Lønning’s and Eirik Øvregård’s guitars weave dark, bluesy tapestries with emphasis on melodic chord structures without burying them in distortion or other effects. Vocalist Espen Andersen ties it all together with his warm, folky delivery that gives it all the feel of a bygone era of storytelling in song. ) 25.00

EARTHLESS - From The West LP (silver current - On the eve of the release of Black Heaven, their debut for Nuclear Blast Records, Earthless turned in this incredible live performance in San Francisco on March 1st, 2018, captured and released on vinyl by Silver Current Records. Since their inception seventeen years ago, this band has become an icon of 21st century heavy music and a cult unto themselves. On From The West the band’s signature high-volume drive and unbridled horsepower create an almost mantra-like repetition as a framework for infinite improvisation. That, and beer-can crushing, fist-pumping riffs and solos delivered by an unstoppable rhythm section.  This album is a complete, hypnotic, psychedelic experience in a way that remains totally unique to the band’s virtuosic expression. A live album that captures the band at peak powers and a quintessential fan piece from one of the best live rock bands in the world. Album tracks includes looser, rawer versions of Black Heaven favorites, a nearly twenty minute version of their instrumental titan “Uluru Rock,” and a blazing cover of Led Zeppelin’s “Communication Breakdown.” The album jacket is also a meticulous reproduction of the band’s favorite TMOQ (Trademark Of Quality) Zeppelin bootleg.) 20.00

ENGINES - Obsolete LP (ENGINES is a five piece noisy indie/punk rock band from Chicago. Originally conceived as a solo project for Philadelphia-based songwriter Craig Woods (TOWERS, ELDER, PETER AND CRAIG, TWO PIECE FEST) under the moniker HOT BAGELS, Woods moved to Chicago in 2014 and soon recruited fellow east coast transplants Lee Zickwolf (RIBBONHEAD, COSTANZA) and Jeff Twietmeyer (ALMOST ARGYLE) and Chicago native Justin Wexler (STILLWELL, FORGE AGAIN RECORDS) as permanent fixtures of the band. After two years of performing and writing as a four piece, they decided to add a full-time vocalist to the mix. Emily Jancetic (HOLY ROMAN EMPIRE, LONGDISTANCERUNNER), once lovingly described as the “the Kelly Clarkson of post-hardcore” by All Music Guide, joined in 2016. And thus ENGINES was born. Obsolete, the debut full length from ENGINES, was recorded over several weekends in late 2016 by Neil Strauch (JOAN OF ARC, OWLS) at Shirk Studios in Chicago, with vocals recorded by Pete Grossman and Andy Nelson at Bricktop Recordings and additional instrumentation recorded by Craig Woods at the band’s Kildare Studios practice space. ENGINES plays a brand of indie/punk rock that is is loud but not lacking in dynamics. Noisy, but beautiful, Chaotic, but calm. Dissonant, yet melodic. Obsolete is the complete expression of all of these elements spread out over twelve songs that stand alone but also flow into one another over the course of thirty-six minutes.) 14.00

EVOKEN - Hypnagogia DLP (profound lore - Known as one of the founding fathers of American death / funeral doom, New Jersey’s Evoken have been a long-standing pillar of the scene during their 25 year pillage. Their new full-length album Hypnagogia is the band’s sixth album, their first in six years since the landmark Atra Mors, and is a towering monolith that develops and redefines the band’s sound, strengthening their position within the metal hierarchy. This release is an expression of doom metal artistry: one will bear witness to how the band creates new and even more daring expressions, expanding their musical dynamics through meticulous care and discrimination in the song writing process. A multitude of varying and flourishing emotions exists herein, pushing their trademark penchant for grandiose melodicism and pulverizing heaviness into the band’s most intense, compelling, and soul crushing experiences yet—one of euphoria, desperation, and hopelessness.) 35.00

GABI - Empty Me LP (GABI (née GABRIELLE HERBST) is a composer and vocalist residing in Brooklyn. Herbst’s experience writing for chamber orchestra and mixed instrumentation inspired her to develop a repertoire of short-form, vocal-centric compositions under the moniker GABI. These were driven by solitary explorations in early 2013 with a dual-track loop pedal. The nine songs composed for her debut album, Sympathy (produced by Daniel Lopatin (Oneohtrix Point Never) and released on Software Recording Co), embrace the vast potential of the human voice as an instrument, story, and landscape. In 2015 she toured Sympathy in Europe and North America—highlighted performances were David Byrne’s Meltdown, Pop Kultur, the Andy Warhol Museum, The Great Escape, Marfa Myths, SXSW, and a series at Roulette curated by Meredith Monk. She is a current Artist-in-Residence at Roulette which, with the Jerome Foundation, commissioned her to compose her second opera, Ashes. She will be studying composition at the Yale School of Music in the Master of Music degree program starting in fall 2018. GABI’s anticipated sophomore full-length will be released on Double Double Whammy. Limited edition of 1,000 copies on baby blue vinyl.) 20.00

THE GET UP KIDS - Eudora DLP (vagrant - Seventeen tracks of unreleased, extremely rare, vinyl only, compilation material from one of todays most popular emo/post hardcore bands. Now available again on vinyl with a gatefold cover.) 30.00

HIS HERO IS GONE - Monuments to Thieves LP (prank - Immense metallic heaviness churned at hardcore velocity. This 15 song second album surface more melody among the speeding combustion with no compromise in intensity. Fueled by powerful lyrics, dredging bleak landscape for remnants of hope. "The real truth is told, and like a weed we will grow!“) 15.00

HIS HERO IS GONE - 15 Counts of Arson LP (prank - Agitated immensity in explosive velocity. Volatile pieces of thrash fused with metallic influences in an expansively loud combination of distortion, feedback and noise. Destructo-core with everything amplified into the red to fuel powerful lyrics. 15 song debut LP.) 15.00

JESUS PIECE - Only Self LP (southenr lord - Jesus Piece has left craters in their path over recent years, quickly developing a reputation as one of the heaviest, most uncompromising acts both on record and on the stage. With the brutalizing grooves of Y2K-era metallic hardcore greats like Disembodied, Deadguy, and Buried Alive at the core, the band incorporates elements of noise, ominous tones, and haunting atmospheres into their dynamic songwriting. With 11 new tracks packed into a debilitating 32-minute attack, "Only Self" was recorded in Chicago at Bricktop Recording Studio with Andy Nelson (Weekend Nachos, Like Rats, Lord Mantis), mastered by Brad Boatright at Audiosiege (Integrity, Nails, Obituary), and completed with artwork by Dom Pabon.) 18.00

JUTE GYTE - Oviri DLP ("Mice Eating Gold" and "Yarinareth..." have sections in which one guitar gradually increases in tempo while a second guitar gradually decreases in tempo in a manner similar to Conlon Nancarrow's Study No. 21. For instance, "Yarinareth..." opens with a left-panned guitar decelerating from 400 BPM to 100 BPM, while a right-panned guitar accelerates from 100 BPM to 400 BPM. At the midpoint of this process (0:36), the left and right-panned guitars momentarily converge at 200 BPM and a third, centered guitar enters at a stable 200 BPM. The guitars proceed through different configurations of these tempo gradients each time this section recurs in the track, always playing manipulations of the 24-note series 0, 3, 22, 21, 14, 17, 8, 7, 4 19, 18, 5 6, 15, 16, 23, 20, 1, 2 13, 10, 11, 12, 9.  Double LP on 180 gram black vinyl in gatefold jacket. Includes two bonus tracks: "Deleatur" (an alternate version of "Mice Eating Gold"), and "Coincidentia Oppositorum III" (a collage of the album's electronic elements). The album's vinyl mix is somewhat different than the digital/CD mix, crossfading between some tracks and slightly truncating the closing portion of "Yarinareth, Yarinareth, Yarinareth". ) 28.00

LA DISPUTE - Somewhere At The Bottom Of The River Between Vega And Altair: 10th Anniversary Edition (no sleep - La Dispute's biting debut full-length "Somewhere At The Bottom Of The River Between Vega And Altair" is the culmination of sleepless nights and exhausting recording sessions. To mark 10 years since it's inception, No Sleep will be releasing an entirely new version of the anthemic album which remains a huge part of the label's on-going success. The LP was taken to Grammy-nominated recording vet Will Yip (Code Orange, The Menzingers, Circa Survive) who re-amped the guitars from the original recording files, features a new mix Dave Schiffman (Thrice, Charlie XCX, Trash Talk), and was then mastered by Emily Lazar (Coldly, Beck, Morasses). 2xLP includes download.) 32.00

LITHICS - Mating Surfaces LP (kill rock stars - Mating Surfaces is the second full length from Portland, Oregon's Lithics. Twelve tightly wound fragments of brittle abstract twin guitar, impellent rhythm, and absurd, imagistic lyricism.  "A stern danceable sound that summons cut up snapshots of Su Tissue and Mark E Smith, an imagined landscape where Captain Beefheart hits that 99 Records “Too Many Creeps” beat."  -Layla Gibbon (Maximum Rocknroll, Skinned Teen).) 21.00

LUX VANITAS - The Secret Life Of ... LP (25 diamonds - "In the mid '90s there was a band from the Twin Cities called IMPETUS INTER (Bloodlink Records, etc) who were easily the most influential local band to me ever to this day. And so they broke up. Then 3/5th of them started a new band with a new rhythm section and named it LUX VANITAS. They took the sound of '90s hardcore via Gravity Records/Vermiform that Impetus Inter had championed but incorporated a distinctly more 'garage rock' sound (think The Cramps, The Mummies, The Peechees). Lux Vanitas released a 7" on Mark Telfian's old label, Paralogy Records (that unfortunately suffered a horrible mastering job), and in 1997, created this—a 9-song LP, recorded by former member DAVE GARDNER (who's since done mastering for Hot Snakes, Dillinger 4, The Marked Men, etc.) and mixed by TIM GREEN (of Nation Of Ulysses, The Fucking Champs). Originally planned to be split released by GSL Records and Troubleman Unlimited, it was instead scrapped and lost when the band called it quits before it could come out. And now, here it is. 21 years later. Pressed in a micro-quantity of just 138 copies, all on random color vinyl with hand glued covers, hand stamped center labels, each copy hand numbered—a true labor of love for you from 25 Diamonds.) 22.00

LYED - The Immolated Earth LP (middle man - On their debut album "The Immolated Earth" LYED from Austin, TX combine MySpace era harmonies reminiscent of bands like Emory or The Beautiful Mistake with blistering drums and heavy riffs comparable to older Cave In and deliver them with a passion that is inarguably real.) 14.00

MARBLED EYE - Leisure LP (digital regress - DIgital Regress is thrilled to announce the debut LP from Oakland's MARBLED EYE. Following in the same vein as their first two EPs, playing sharply detached staccato post-punk with call-and-response guitar interplay, the band manages to expand upon and refine their sound making Leisure their strongest release to date. This first-time pressing is limited to 1,000 copies on black vinyl. Includes download card.) 20.00

MINDFORCE - Excalibur LP (/triple b - Hudson Valley, NY, all-stars make their debut Triple-B release with "Excalibur." Ten tracks of blistering crossover-influenced hardcore in the vein of Cro-Mags, Leeway, and Burn. After selling out multiple pressings of their debut 7"s and split with Dead Heat, "Excalibur" takes Mindforce to the next level in aggressive music. LP includes digital download.) 23.00

NO STATIK - Earhammer Soundsystem LP (25 Diamonds - Vinyl version of the limited Earhammer Soundsystem' cassette released by NO STATIK. A complete reworking of their LP Everywhere You Aren't Looking (Prank)—this is an entirely new beast in itself. Anyone who's heard No Statik knows they're easily one of the best contemporary hardcore bands going. 400 copies pressed on heavy weight black vinyl.   Remixed and completely fucked with by the band and their engineer, Greg Wilkinson. They incorporate elements of techno, noise and loop effects to tear their songs apart and put them back together anew. I'm still on the fence, but this might be my favorite NO STATIK release to date.' (Remote Outposts)) 17.00

PETER BRÖTZMANN / HEATHER LEIGH - sparrow nights LP (trost - Heather Leigh: pedal steel guitar Peter Brötzmann: tenor saxophone First studio album from the furious duo of pedal steel player Heather Leigh and reedist Peter Brötzmann. The extraordinairy collaboration quickly gained a well earned international reputation for their cutting edge music and frenetic but sensuous playing) 26.00

PHILL NIBLOCK - Niblock For Celli / Celli Plays Niblock LP (superior - Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early ’80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.  The second album and perhaps the most rare in Niblock’s vast catalogue, 1984’s Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli’s oboe and English horn to create seamless, enchanting drones.  Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.  This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.) 25.00

RAINER MARIA - Past Worn Searching LP (polyvinyl - REISSUED ON VINYL!!! Following several compilation appearances and a self-titled EP released the previous year on Polyvinyl, Rainer Maria delivers a debut full-length full of loud and soft dynamics, off key belts and dueling vocals. The album features many fan favorites including "Tinfoil" and "New York, 1955." Pressed on red vinyl.) 23.00

RAINER MARIA - Look Now Look Again LP (polyvinyl - REISSUED ON VINYL!!! The guitar is tuned open and sings through a cranked old Fender amp, the melodic bass rolls, drums pound and the lyrical trade-off between Kaia and Caithlin is capable of puncturing a grapefruit size hole through the heart. Without a doubt, Look Now Look Again is the definitive Rainer Maria album to own. With the aid of Smart Studios' Mark Haines (Poster Children, Son Volt) and Elliot Dicks (Joan of Arc), Rainer Maria's second album has become a Polyvinyl classic and set the standard against which the band will always be judged. Pressed on white vinyl.) 23.00

RAINER MARIA - Long Knives Drawn LP (polyvinyl - REISSUED ON VINYL!!! Long Knives Drawn continues the shift in songwriting duties Rainer Maria first displayed on A Better Version of Me. Here, Caithlin focuses more on vocals and the lyrical aspects, while Kaia fine-tunes her sonic assault on guitar. With a third album (A Better Version of Me) and over a hundred more shows under its belt, Rainer Maria was ready to return to the studio with a vengeance in September 2002. Recorded at Smart Studios in Madison, Wisconsin, Long Knives Drawn comprises nine incendiary performances. Pressed on purple.) 23.00

RAINER MARIA - Catastrophe Keeps Us Together LP (polyvinyl - REISSUED - ON VINYL FOR THE FIRST TIME!!! Catastrophe Keeps Us Together, Rainer Maria'’s fifth studio album, brims with tightly structured songs, deep atmosphere, and contagious melodies. Equal parts restraint, taste, and power, this album shows Rainer Maria maturing and challenging themselves as they focus their expression without losing the signature edge that has gained them legions of adoring fans over the years. Pressed on black vinyl.) 23.00

RAINER MARIA - A Better Version Of Me LP (polyvinyl - REISSUED ON VINYL!!! Rainer Maria spent nearly two years writing and touring to create this transitory third album. After mastering the interplay between girl/boy vocals, A Better Version of Me saw Kaia Fischer concentrating more on guitar while Caithlin de Marrais became the primary lyricist. With A Better Version of Me, Rainer Maria completed a dramatic arc that no one had realized was forming over the course of the previous two albums. Refusing to be pigeon-holed as "couples rock," the band consciously wrote the album as a sound of solitudes circling one another, just as the poet Rilke described. Pressed on yellow vinyl.) 23.00

SHAIDAR LOGOTH - Chapter II: The Ritualist LP (sentinent - Originally released in 2015 by cult tape label Sol Y Nieve on a limited run of tapes, SHAIDAR LOGOTH's towering and imposing black metal masterpiece The Ritualist went all but unnoticed and now finally sees its first ever release on vinyl through a staggering audio-visual presentation customized to fit the utter majesty and uniqueness of the music. It's wretched spires and hideous silhouette appearing instantly magnificent and awe-inducing; its monstrous aura reaching far beyond the grasp of most trivial, uninteresting, tamed, and craven black metal that so much litters the underground today. Far from being anything traceable back to any "school" or restraining set of rules within black metal, with The Ritualist, Shaidar Logoth have instead unchained an inner beast of utmost dread and freed it of any form or restraint to let its savage and primordial instinct roam free to find its inevitable fate in inexorable chaos and destruction. Within these four vast movements of sickeningly magnificent atmospherics and dismal intensity the listener will face the same demons and blood-chilling premonitions of horror and torment which have famously plagued other secretive and reticent black metal projects.) 20.00

SLAVEHOUSE - taste in pain LP (fallen empire - "By now anyone’s who been following Fallen Empire Records is aware of their decision to close up shop at the end of this year. Before that happens, though, the label still has some new releases in store for their loyal supporters. One such release is the new full-length from Ohio-based black metal punks SLAVEHOUSE, titled Taste In Pain, which came out on August 5 in cooperation with Knife Vision. Slavehouse play a raw, primitive form of punk-infused black metal that might appeal to fans of bands like Bone Awl. On listening to Taste In Pain it’s clear that they have no intention of doing anything other than going straight for the listener’s throat from the get-go. Opener 'Self Punishment' races out of the gate with blasts aplenty and never lets up even as it settles into a rocking groove over its last 30 seconds. The following two songs, 'Fresh Meat' and 'Spent,' employ more of a dirty black and roll approach, with 'Spent' deploying some eerie melodies to great effect (I’m almost reminded of a rawer, stripped-down version of Tribulation or Cloak here). Tracks like 'Scorpion Whip' and 'Sacred Flesh' take this melodic approach even further and really showcase Slavehouse’s ability to contrast dirty riffs against something a bit more atmospheric. Finally, the album closer 'Putrefaction' shows that the band are as comfortable working at a slower, sludgier pace as they are when going full-throttle. Taste In Pain showcases an economy of form that’s refreshing. With only one track exceeding the three-minute mark it’s clear that Slavehouse aren’t interested in taking any more time than absolutely necessary to tear your face off. The fact that they do it while still managing to cram enough interesting ideas into each song to keep listeners engaged is what makes this album a success.“—nocleansinging) 20.00

SLEEP - Leagues Beneath 12“ (third man - "Leagues Beneath" is the first release immediately following Sleep's long-prophesied, critically-acclaimed opus "The Sciences." The song is a testament to what has made "The Sciences" such a success: bottomless tone, spacetime-melting riffs and a unparalleled aural experience from start to finish. "Leagues Beneath" features the full 17-minute hadal plunge on the A-side. 12" Single includes an etched B-side.) 16.00

SLEEP - Sleep's Holy Mountain LP (earache - Named after the epic Adrian Jodorowsky film and released in 1993, this is undoubtedly the closest thing you'll come to finding anything that comes as close to sounding like Black Sabbath without actually being Black Sabbath. Guitarist Matt Pike later went on to form High On Fire.) 25.00

SLEEPWALKER - Ichi-go Ichi-e LP (sentinent ruin - Ichi-go ichi-e (for this time only, never again). This Japanese idiom is the central theme of the new, second, unbelievable album of the same name by the elusive psychedelic/avant garde black metal enigma SLEEPWALKER. Once again fusing drone, raw black metal, kraut/psychedelic rock, free-jazz, noise rock, and tribal ritualism to absolutely mind-melting effect, Sleepwalker's idea behind this new record was to take central superstitions that rule the rhetoric of eastern lore and funnel them through the prism of the modern world. The final result: the band's staple psychedelic black metal mind-fuck ritual gloriously preserved and burning brighter and more insanely than ever. Suspended between the visionary opposites of bands like Voivod, Zeni Geva, Oxbow, King Crimson, Ornassi Pazuzu, Lurker of Chalice, and Xasthur, Sleepwalker have once again proven to be one of the most mind-expanding and visionary experimental black metal acts of our times. ) 20.00

STRÖER DUO - Fluchtweg Madagaskar LP (Hans P. and Ernst Ströer are the Ströer Bros. Based close to Munich, Bavaria, they work as composers, arrangers, musicians, producers and authors, traveling between many different musical worlds. Hans plays bass, guitars and piano, Ernst plays all kinds of drums and percussion. The two of them descended from the wildly expanded jazz brew of the ’70s. In early 1979 Hans went on a six week tour through eleven African countries as a bass player in Jazz guitarist Volker Kriegel’s group Mild Maniac Orchestra. Inspired by his experiences on tour, Hans suggested to do a freestyle album together with Ernst. Avantgarde pianist Wolfgang Dauner’s Jazz label Mood Records offered them one week of studio time in the well equipped rooms of an old sugar factory between Christmas and New Years Eve 1981. They spent every minute in the studio, sleeping in the recording room, switching between mixing console and musical instruments. The brothers recorded their own performances and engineered the mixes, drumming, playing bass, guitars, all kinds of percussion and keyboards, singing and yelling. The result was the album ‘Fluchtweg Madagaskar’ (“escape route to Madagascar”) released in 1982. The contrast between African and German lifestyles, underlined by the early 80s tensions between nuclear warheads and the peace movement can be felt at the very core of this album.) 21.00

SUPER UNISON - Stella LP (col. Vinyl) (deathwish - Oakland, CA, trio Super Unison features Meghan O'Neil (formerly of Punch) on bass and vocals, Kevin DeFranco on guitar, and Justin Renninger (formerly of Snowing) on drums. Their new album, "Stella," was recorded by Steve Albini (Nirvana, Pixies, Jawbreaker), produced by Don Devore (Ink & Dagger), and mastered by Jack Shirley (Deafheaven, Oathbreaker). Though they tackle dark and personal subject matter, they ultimately find a light that cuts through the dark, and a way to get through the loss and loneliness we all face.) 21.00

SRSQ - Unreality LP (dais - SRSQ (pronounced seer-skew) is the solo project of KENNEDY ASHLYN (vocalist/keyboardist of THEM ARE US TOO). Creative voids aren’t filled, but rather holes left that push the edges of the present into new realms of consciousness. SRSQ’s pulse began after the death of Kennedy’s closest friend and TAUT collaborator Cash Askew, a casualty in the sudden and tragic Oakland Ghost Ship Fire of 2016. Driven by loss, SRSQ became the vehicle for Kennedy’s transformative process, exploring nuance, nostalgia, reflection, and reconciliation, manifesting in the aural landscape of Unreality. As a debut, Unreality is entrance into a new form of storytelling, traversing the present while pulling from a deep swath of experience, immersion, and sound. Like the impulse it pulls from, each song evokes the complex duality of meditation—where simple intersects with infinite. Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy’s vocals as a lush weapon, weaving cloudlike fables over orchestration that’s familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency. Kennedy proves an adept architect of rhythm, using sequenced electronics as a deep backbeat that allows the harrowing beauty of her vocals to lead the journey. Produced by MATIA SIMOVICH of INHALT, Unreality is simultaneously crisp and full, each tone and note occupying its own unique sonic world—grief butted against power, tracked to a heavy heartbeat.) 22.00

THOU - Inconsolable LP (community - back in sock - Community Records is pleased to offer Thou's Inconsolable - a collaborative companion EP to 2018's full-length Magus - offering eight Thou compositions expressing the band's ongoing confrontation with the grotesquerie and power of modern civilization with a unique focus on melodic vocal and string performances by the band and guests. Inconsolable stands apart from any other Thou release as the first they would call "acoustic" for a radical instrumental stride away from the heavy, electric instrumentation that's seen them relegated to such genres as sludge, doom, stoner metal, post-metal, grunge, and post-hardcore but, despite this, establishes its potency in acoustic guitar, violin, and other strings and melodious lead vocals by guest performers.) 18.00

TERROR - Total Retaliation LP (yellow) (pure noise - Limited 1st press on yellow colored vinyl, limited to 300! Clocking in at just under 30 minutes, "Total Retaliation" is a succinct yet intense message of resistance within a world that can inspire little else. It's a helping hand for the disillusioned and a firm middle finger to the authorities that are tearing apart society as we know it. As the band's seventh full-length studio album, it serves as yet another example of why Terror has not only endured, but remained at the top of their game for over 15 years.) 23.00

THEM ARE US TOO - Amends LP (dais - THEM ARE US TOO was formed in the Bay Area by friends KENNEDY ASHLYN and CASH ASKEW in 2012 after meeting at school. Fast friends with an appreciation for the same music and art, they recorded a demo and began performing intimate and memorable gigs on the West Coast. They quickly gained a cult following as word spread about their youthful, innocent, and fresh take on the revered '80s dream pop and shoegaze sound, and Kennedy Ashlyn’s voice was immediately compared to Elizabeth Fraser, Kate Bush, and Harriet Wheeler—while Cash Askew’s washes of intricate guitar felt akin to Robin Guthrie, Ronny Moorings, or Kevin Shields. Their music felt familiar but new, nostalgic, and heartbreaking, with songs delivered simply and earnestly. They betrayed their age (both only 21 when they signed to DAIS) by releasing one of the most incredible debut albums of 2014, Remain. Tragically, Cash Askew passed away in the Ghost Ship fire in Oakland in December of 2016, sending a shockwave of loss through our community. While Kennedy Ashlyn would eventually emerge as a solo artist through her project SRSQ, there were unfinished Them Are Us Too recordings and demos that Kennedy and those close to Cash felt deserved be heard in her memory. Kennedy returned to the studio with producer JOSHUA EUSTIS (TELFON TEL AVIV), SUNNY HAIRE (Cash’s stepfather), MATIA SOMOVICH (INHALT), and ANYA DROSS (Cash’s girlfriend) to complete unfinished demos and sketches, write new compositions, and honor Cash Askew. The result is Amends: an album of tragic beauty and depth that tugs at emotions and inspires.) 22.00

THIS WILL DESTROY YOU - New Others: Part One LP (dark operative - "New Others: Part One" is the fifth studio album from This Will Destroy You. It was produced, engineered, and mixed by John Congleton, the man responsible for the sound of the band's wildly popular self-titled sophomore album of 10 years ago. Now comprised of core members Jeremy Galindo and Christopher King with the addition of drummer Robi Gonzalez, "New Others: Part One" captures the band in a familiar, but evolved ethos wherein the memorable melodic component present in their early work once again soars atop new sonic territories for the band and listener alike.) 25.00

THIS WILL DESTROY YOU - New Others: Part Two LP (dark operative - Surprise! "New Others: Part Two" is the unexpected sixth studio album from This Will Destroy You. By the time you're seeing this, the album has already been spotted on the band's merch table on the first date of their North American tour, Spotify and Apple Music users received new release notifications out of nowhere, journalists are scrambling to play catch-up, and Rev is already packing orders for stores and distributors worldwide.) 25.00

TIM HECKER - Konoyo DLP (kranky - Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.  As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.  Hecker will stage a series of special performances in tandem with the album’s release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale.) 26.00

TONY MOLINA - Kill The Lights LP (slumberland -  West Bay native Tony Molina has been following a fascinating trajectory on his recent string of releases. The ten songs on "Kill The Lights" continue in his evolution towards stripping the songs back to reveal each one's emotional and melodic core. Everywhere on "Kill The Lights" we hear Tony synthesizing his influences with great skill and intention; these classic folk and pop styles are being employed in the service of stellar songs and universal lyrical truths rather than just as aesthetic filigree. LP includes digital download.) 18.00

TRUE LOVE - The Pact LP (triple b - True Love has returned with another entry of their brand of nostalgic, straight edge-fueled hardcore with "The Pact." Featuring eight new tracks, the band blends their bleeding heart, early-2000s, Boston-hardcore worship with the aggression and ferocity of Los Angeles hardcore.) 20.00

TY SEGALL - Fudge Sandwich LP (in the red - Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. ) 18.00

UPSETTER - Scratch The Upsetter Again LP (antarctica - “The inventive record producer and vocalist Lee ‘Scratch’ Perry was involved in every musical shift of note in his native Jamaica, from the rhythm and blues that pre-dated the arrival of ska in the early 1960s through the slower and more spacious rocksteady style that appeared mid-decade and, of course, the frenetic sound of reggae, which he helped to birth as an independent producer during the late 1960s. Operating as ‘The Upsetter’ from his base in a downtown Kingston record shop, Perry found his greatest success with instrumental music during this phase, the organ and saxophone re-castings of standard vocal issues proving exceptionally popular overseas.) 25.00

VANITY - Evening Reception LP (beach - Hailing from the depths of New York City, Vanity features former members of The Rival Mob and plays some energetic punk consomme indebted to rock 'n' roll but coming across less like the deliberate broken chains of Vans slip-ons and Target 501s swapped for sequins, strides, and scarves - but more like an effort forged in Billy Zoom's living room on Warren Zevon's gear as played by the Saints' roadies in a bar that serves really, really, really cold beer.) 18.00
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VESSEL - Queen of Golden Dogs LP (tri angle - Queen of Golden Dogs -the third album from Vessel- was conceived, developed and rendered into life over eighteen months of solitude in rural Wales. In essence, it is an exploration of living a life devoted to uncertainty, curiosity and change. Influenced by a range of writers, the painter Remedios Varo, and a new love, the album is a marked departure from Vessel's previous work. The world of QoGD is saturated with colour; oscillating between grief, bombast and fierce joy, this is music shot through with both sincerity and irreverence. Whilst traces of his sonic signature remain, there is much changed since Vessel's second album, Punish, Honey. An infatuation with chamber music brought about in collaboration with his violinist lover, and a voice given by singer Olivia Chaney leave strong impressions, providing landmarks in a world that is essentially about the joys of difference.) 20.00

VOUNA - s/t LP (artemesia - Wolves In The Throne Room will be releasing the sorrowful and grand self-titled debut album by Cascadian funeral doom band Vouna through their own Artemisia Records. All music on Vouna was composed and all instruments performed by front-person and fellow native to the Pacific Northwest Yianna Bekris, previously of Vradiazei, Eigenlicht, and Sadhaka. This debut evokes the devastating and beautiful journey of becoming the last person on Earth. Razor sharp tremolo picked guitars cut through the heart like a knife. Mournfully sung vocals and cinematic melodies are combined with crushing doom drumming, while layers of primitive ’90s digital synths conjure a lush and rugged soundscape. The music is inspired and influenced by Finnish funeral doom, Eastern European black metal, and Greek folk music, a must-hear for fans of My Dying Bride, Skepticism, Shape Of Despair, and similar acts.) 20.00

VOLE - Nikdo Vám Nemůže Dát Tolik Kolik My Vám Můžeme Slíbit LP (stoned to death - VOLE are one of a kind, at least as far as czech punk scene goes. Dirty, psychdelic, raw, heavy and from first to the last minut, wild and extreme. Uncompromising punks from Prague / Roznov / Frýdek. This is their debut LP. Intense banger and must have for every fan of truskul punk that just wont give a shit, ever.) 13.00


CURTAINS - Castellate TAPE (middle man - Curtains is a new band featuring members of Nuvolascura (formerly VRIL) Letters to Catalonia and See You Space Cowboy!) 6.00

DRIP FED - Drip-Fed TAPE (The debut album by hardcore-punk newcomers Drip-Fed from Austin, Texas (featuring members of Portrayal Of Guilt, Thieves, and others).) 7.00

EUTH - s/t TAPE (The debut album from Wyoming's EUTH. 8 furious tracks of artful hardcore recorded by Jack Shirley.) 6.00

ZOMES - The First Stone TAPE (The First Stone is nine new instrumental songs by the Baltimore/Stockholm duo ZOMES. Zomes are Asa Osborne (Lungfish) and Hanna Olivegren.) 9.00


CHAIN OF STRENGTH The One Thing That Still Holds True (Soft Style) T-shirt (revelation - Two-color front, Two-color back. Now available on Next Level Apparel-brand, soft-style t-shirts. in S/M/L/XL) 20.00

JUDGE - New York Crew T- Shirt (revelation - Black Hanes with front and back print in M/LXL) 18.00

UNBROKEN - Life. Love. Regret. T-shirt (indecision - black ALLSTYLE soft Shirt with front and back print in S/M/L/XL) 18.00

UNIFORM CHOICE - Brick Wall (Red) T-shirt (red AAA shirt with front and back print in S/M/L) 18.00


DEBEN BHATTACHARY - Paris To Calcutta: Men And Music On The Desert Roads 4xCD + BOOK (sublime frequencies - Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris. Highly influential, it would not be too bold a stretch to say that his work shaped how we listen to the world: he produced a vast number of LPs, CDs, videos, and radio shows of traditional music from India, Asia, Africa, the Middle East, and Europe from 1953 until his death in 2001. Never before published, Paris to Calcutta: Men and Music on the Desert Road features over four hours of music and is Deben's impressionistic account of a 1955 journey overland, in a converted milk delivery van, from France to India collecting and exploring music along the Desert Road from Europe into India. With four CDs of recordings, photographs, Deben's original recording notes, musical transcriptions, and more. An amazing glimpse into a time long gone and essential listening for anyone interested in folk and world music traditions. Produced and edited by Robert Millis (Indian Talking Machine (2015) and Victrola Favorites (DTD 011CD, 2009). "Actually, I think my playing is probably more derived from the folk music records that I heard; Middle Eastern music, Indian music... for years I had something called Music On The Desert Road, which was an album with all kinds of different ethnic music. I used to listen to that all the time." --Frank Zappa, 1993 (from an interview in Guitarist Magazine, talking about an LP released by Deben in 1956 using a few edited versions of the music included on this compilation.) 160 pages, cloth bound cover with four CDs: 45 pages of photographs and 50 pages of detailed recording notes. Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.) 60.00

MAXIMUM ROCK N ROLL - #425 | October 2018 MAG (October's issue brings the punk with features on CHAIN CULT, TROIKA, HET WARD COLLECTIVE, TIM AND THE BOYS, HOARDER, VEUVE S. S., FUCKED AND BOUND and DON'T ASK, along with coverage of the Migra Punk and Outer Space/Lost Coast Fests. All that, plus the usual columns, news items, action-packed photos and reviews.) 5.00
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