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Artist: DISEÑO CORBUSIER
Title: El Alma de la Estrella
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"In the mid-80s, Granada was a small redoubt of avant-garde resistance. While Madrid bragged about being the capital of the new wave scene -- the much-trumpeted Movida madrilène -- away from any media interest, the Andalusian city was part of a European-wide network where the free circulation of ideas and knowledge could be linked to the current CopyLeft movement -- an international scene where musicians were editors and the artists were equally fans. They exchanged music following that do-it-yourself philosophy in which the cassette had an ideal role as the vehicle of music diffusion. Ani Zinc would become an expert amateur of such activities. As a child, there were no records in her home in Andújar, but radio gave her company. It was her only contact with music. She received her first shock listening to "Remember Love," the repetitive song by Yoko Ono. She later found out about Llorenç Barber. Only when she arrived in Granada to study psychology did she discover that she wasnt the only one that liked a kind of music that didnt resemble anything. Granadas proximity to Africa made it possible to tune into Arabic, flamenco and pop radio stations. She would record those sounds with a radio cassette and with her own hands she would cut and paste the magnetic tape. Unable to get that Yoko Ono song out of her mind, she started discovering the possibilities of her voice. Diseño Corbusier was born out of that obsession and also out of the electronic explorations of Javier G. Marín, then a first-year law student. They had met in 1981 after an ad in the music magazine Vibraciones. "If youre into bands like Cabaret Voltaire or Flying Lizards, call me," wrote Marín. If their first record (Pérfido encanto, 1985) was a vibrant experiment where the rhythms werent yet muscled up, with El Alma de la Estrella the duo took a step ahead. They renovated some electronic equipment and signed a distribution deal between their own label, Auxilio de Cientos, and one of the most prosperous Spanish independents of the 80s, Nuevos Medios, who were working with labels such as Factory at the time. Marín had been advised: if the rhythm cant be danced to the records wont sell. It was 1986 and he was constantly listening to DAF. El Alma de la Estrella gathered all of Zincs obsessions. On "Chiquillo" she imitated the angry womens voices which filled the streets of the poor neighborhood where she had grown up. "Ritmo 21" cant hide her admiration for Yoko Onos vocal register and "El Club del Ruido" came about as a fragmented document of an interview they did on the radio show of the same name. Marín created rhythm structures with which to organize the material. This time, he replaced an archaic Korg synthesizer with a powerful Roland SH101, and the tiny drum machine Boss DR-55 with a German-built one that used real percussion sounds: the MFB-512. Rather than electronic or even industrial music, Diseño Corbusiers second album was a vibrant piece of domestic craftwork. Very few got to hear it, but you get to hear it now. On 180 gram vinyl with insert. Limited, hand-numbered edition of 500 copies." -Vinilisssimo.
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Artist: DISEÑO CORBUSIER
Title: Perfido Encanto
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $28.00
"180 gram vinyl reissue with insert. 1982: Dragged by decades of international isolation, Madrid and Granada performed, unaware and in their own way, the same roles that London and Sheffield had assumed during the punk explosion in the UK. While the capital grabbed headlines and considered itself the epicenter of modernity, 400 kilometres southwards, Granada developed an experimental scene despite the scarce resources available. Pérfido Encanto is Diseño Corbusiers first contribution to a European-wide scene where electronic instruments rose up against the media domination of guitars. They first got together when Ani Zinc, a psychology student without any previous musical experience, met two law students obsessed with the power of machines but with different approaches. Rafael Flores believed in the extreme noise of bands like Throbbing Gristle as a source of endless energy. Javier G. Marín had a sexier concept of synthesizers. The outcome was natural: Marín and Ani Zinc amicably parted ways with Flores, who would have a remarkable career under the alias Comando Bruno. Under the name Auxilio de Cientos, Maríns intention was to provide distribution to those unclassifiable projects he knew through fanzines, radio shows and record trading. Anis intention didnt go beyond spending time manipulating her voice on the cassettes she recorded. But one of her collage tracks reached national radio. Signed as by Neo Zelanda, "Paso hambre," consisting only of a treated, menacing and magnetic vocal, was played one night and the calls brought the radio station to a standstill. The record label DRO quickly signed her. The deal was for two singles: one with said track and another one for Diseño Corbusier. The latter never happened, so Marín decided his humble distribution company would become a label. And its first release would not be a single but an LP. The Korg synthesizer was the perfect tool for those who didnt know how to play and would never go to music school. The Boss DR-55 rhythm machine had a sweet appearance but a devastating character. A radio cassette player plugged into a Revox was the recording studio. And finally, Ani Zincs microphone: naivety made intention. Pérfido Encanto quickly sold its 500-copies run, more than half outside Spain." -Vinilissimo.
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Artist: FIVE OR SIX
Title: Cántame Esa Canción Que Dice, Yeah, Yeah, Yeah
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"RSD 2015 release. Originally released only in Spain in 1982 on the Edigsa label after a string of superb early records on Cherry Red, its limited availability elsewhere has made this LP a highly sought-after item for years. Vinilísssimo presents the first ever reissue of Cántame Esa Canción Que Dice, Yeah, Yeah, Yeah by Five or Six, one of the less heralded acts of the classic Cherry Red era. The LP contains a few cuts from their fantastic early singles and EPs, but Five or Six used this opportunity to offer mostly tracks unavailable elsewhere, all displaying the diverse and immense talent of a band that should be more well known. With echoes of Wire, This Heat, and Joy Division, this is one of the rarest and most outstanding records to come out of British post-punk." - Vinilisssimo.

Artist: FOWLEY, KIM
Title: Outrageous
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"Reissue of this 1968 wild masterpiece and third album by one of rocks true mavericks, Kim Fowley. Fowley played with many bands throughout his career -- Mothers Of Invention, Family, Soft Machine, Cat Stevens and Manfred Mann, to name just a few. On 180 gram vinyl, housed in a gatefold sleeve." -Vinilisssimo. "Though its Rent-a-wreck homage to the Doors, the Mothers and Jimi Hendrix is immensely satisfying in a Teddy & His Patches sort-of-way, it wasnt the music on Outrageous which still leaves 21st century listeners gasping. No no no, the genius of this 1968 album is all contained in the dizzyingly portentous and truly whacked-out vocal delivery which Fowley chooses to foist upon us, And its a delivery which, I might add, entirely pre-empted 70s Iggy Pop and must have (at least temporarily) kicked Jim Morrisons dick into the dust. And hearing the various members of Steppenwolf trying to keep up with Fowleys heart attack vocalese is mesmerizing in itself. And all this at a time when iconoclastic recording acts were commonplace enough to be almost expected." -Julian Cope.

Artist: LAGHONIA
Title: Etcétera
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
“In 1970, after four fantastic singles under the nameNew Juggler Sound, the Peruvian band formed bySaúl Cornejo (guitar), David Levene (lead guitar),Ernesto Samamé (bass), Carlos Salom (organ), and Manuel Cornejo (drums) changed their name toLaghonia and recorded their debut LP Glue for the Mag label. It was an album influenced by the British rock of the era, to which they added fiery guitars full of fuzz and wah-wah, the omnipresent and hypnotic Hammond organ sound, and Latin American percussion and rhythms. A perfect mix of the British beat melodies of the mid-60s, Jimi Hendrixs intense rock, Creams heavy blues, and Santanas Latin rock. Laghonia returned to the studio in 1971 to record their second LP for Mag. Packaged in a clearly psychedelic gatefold sleeve designed by the bands drummer, Manuel Cornejo, Etcétera shares all the elements of the first LP, though on this occasion, the compositions, while keeping their immediacy and featuring strong melodies and choruses, have a more complex structure, ranging from psychedelia to progressive rock through superb, dark King Crimson-esque passages and shining moments of pastoral folk. Sure to be cherished by lovers of Latin American rock, pop, and psychedelia as practiced by such other similar classic bands as Traffic Sound,We All Together, Black Sugar, and Telegraph Avenue. This reissue is presented in a replica of the original gatefold sleeve.” - Vinilissimo.

Artist: LAGHONIA
Title: Glue
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"180-gram vinyl. In 1969, after four brilliant singles, the Peruvian band The New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samamé (bass), Carlos Salom (organ), and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP, Glue, on the MaG label. The album included tracks from their initial singles, which were heavily influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound, and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beat melodies, Jimi Hendrixs intense rock, Creams heavy blues, and Santanas Latin rock. Glue is regarded as one of the key albums of Latin American psych and garage rock, and is an essential record for any fan of those genres." - Vinilisssimo.

Artist: MAR OTRA VEZ
Title: No He Olvidado Cómo Jugar Embarrado/Fiesta del Diablo y el Cerdo
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
180-gram vinyl. First reissue. "It was 1985. Scrap metal wasnt a common sight on those stages. A large can sprinkled with alcohol on its surface was used as percussion. Over that menacing piece of junk hung a glass bottle, whose contact against the can stimulated a rhythm chaos loaded with grunts and violence. The band was called Mar Otra Vez. The song, Jonás. Its last note was the loud noise caused by that bottle smashing against the can. Shattered to pieces. Destroying the tasteful notions of melody and colour. Confronting Madrids Movida (the late 70s/early 80s countercultural movement). ... Julián Sanz (bass),Javier Corcobado (vocals and wind instruments),Javier Rodrigo (guitar), Luis Corchado (drums) and Andrews Wax (keyboards) built on the daring experiences, two or three years earlier, of bands such as 429 Engaños -- where some of the Mar Otra Vez members had started to play with noise -- or La Gran Curva, whose members had a stall at Madrids Rastro market where they sold recorded cassette copies of difficult music. ... Its the summer of 1983. 429 Engaños break up. Compulsory military obligations drive them away from each other. ... after finishing the military service Corcobado chooses Tenerife as his residence, where he experiments with industrial composition techniques such as the cut and paste of magnetic tapes. He corresponds with Julián Sanz by letter, they exchange lyrics, sounds and theories. ...No he olvidado cómo jugar embarrado (also Fiesta del diablo y el cerdo) was recorded over three days in February 1985. ... Their young adrenaline was channelled towards a real tension, sometimes brutal, others psychological. If 429 Engaños had been an exercise in experimentation, the first Mar Otra Vez mini-LP became an exercise in intellectual composition. Being different was the best virtue. So much that they refused to wear dishevelled dandy uniforms, in the style that their admired Nick Cavehad done in his Birthday Party period, thus freeing themselves from aesthetics. The wildness of the Australian band was present. But so were New Yorks no wave, jazz-rock bass lines and the most aggressive funk. It was a complete initiation to otherness that would yield another two records (Edades de óxido (1986) and Algún paté venenoso(1987)) and which nobody in Spain would be able to match, although it would serve as template for record labels of the next decade such as Triquinoise and Por Caridad." - César Estabiel.

Artist: NIGHTINGALES
Title: Pigs on Purpose
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"Around 1980/1981, The Nightingales had released a single -- Idiot Strength on Rough Trade Records -- and promptly lost half of its members (Joe Crow -- ego clash, Eamonn Duffy -- victim of Lloyd megalomania, or so he tells me), leaving me on the mic and Paul Apperley on the drums. We had a bit of a repertoire created from the Duffy/Crow improvisation period, plus I had written a new song called Use Your Loaf. We tried out a few guitarists and carried on doing gigs and Peel Sessions but when, out of the blue, Mike Alway, then A&R at Cherry Red Records, got in touch about a possible record contract, the group was basically just me and Paul. We had been playing with two guitarists (Andy Lloyd and Nick Beales), who I genuinely cannot remember how we had met, plus a Bobby Charlton lookalike from Hull, Steve Hawkins, who I had met at a Birmingham Music Co-op meeting and who, I had discovered, liked a drink and played the bass. However, these three and us two werent hitting it off, again I cant remember why, and were it not for the intervention of Mr. Always, I dunno what would have happened next. But, somehow, he tracked us down and said he wanted to see us live. He came to Birmingham to watch us play and told me beforehand that he was going to sign either Moe Tucker or the Gales. I dunno why he couldnt do both. When he saw us at our regular haunt, the Fighting Cocks in Moseley, he liked us. Me and Paul (still undecided about the others) signed to Cherry Red for a specific, but forgotten, amount of albums. For perennial losers like me and Apperley we were on the first rung of the ladder. Well, necessity dictated that Lloyd, Beales and Hawkins were kept on board and in spite, or because, of our differences, we started writing a bunch of good material and playing live regularly enough to become half-decent. We recorded a couple of singles at Sinewave Studios in Brum with a chap called Cris "Yus" Williams. After the two singles Cherry Red released a 12" EP of a Peel session we had done and then reckoned it was time for an album. Mike Alway thought we should have a producer. How Richard Strange came about, I dont know. Whether he made POP any better than it would have been? I dunno. As per usual by now, the LP was very well received in the music papers. Our main champion, Dave McCullough in Sounds, made it his album of the year and also got a photo of me on the front cover of the paper with one of his Gales articles. After the LPs release, Hawkeye left the group to go straight. A housemate of mine called John Nester was roped in and away we went to promote it, including a, sort of, memorable jaunt to Holland. The evening before we got on the ferry we guested at one of Richard Stranges multi-media extravaganza type dos in Brixton, London. At the end of the night when the gear was being lifted down from the stage to be loaded in to the van, there was a terrible stink to be sniffed. And, truly, it was discovered to be a human shit, done on the floor right in front of the stage, obviously freshly laid during the evenings performance." --Robert Lloyd

Artist: POLONIO
Title: Acaricia la Manana
Format: LP + 7"
Label: Vinilisssimo
Country: Spain
Price: $26.00
180-gram LP with bonus 7". "Eduardo Polonio has been one of the key figures of Spanish music since the late 1960s, especially as a pioneer in the field of electroacoustic music. He was a member, with Luis de Pablo and Horacio Vaggione, of Grupo Alea Electrónica Libre (1970-1972), the first Spanish group to play electronic music live, and he has been one of the main figures of Barcelonas Laboratorio Phonos studio since 1976. He was also a founding member and president, between 1988 and 1994, of Spains Electroacoustic Music Association. In 1994 he received the Magisterium award at the Grand Prix International de Musique Électroacoustique in Bourges, France. His deeply personal body of work has often gone beyond recorded sound to establish a dialogue with physical space and other artistic creations, as exemplified by his numerous collaborations with sculptors, video artists, painters, experimental filmmakers, and stage designers, and his own work in the field of installation art. In 1976 Polonio moved to Barcelona and became involved with the citys Phonos Electroacoustic Laboratory, meeting composers Andrés Lewin-Richter and Josep María Mestres-Quadreny. This was the beginning of the creative period reflected on Acaricia la Mañana (1984), which contains 11 pieces recorded between 1976 and 1984 at Phonos and remastered at Cuencas Gabinete de Música Electroacústica. On these pieces, Polonio employs various synthesizers, including Polymoog, Minimoog, EMS, and a Farfisa organ, for a sort of suite constructed as a collection of short pieces from imaginary countries. The cyclical repetition of these short melodic sequences, which bear a clearly modal and even tonal quality, are built from three or four electronic tracks, but the texture is more heterophonic than polyphonic, as the composer plays with imbalance in the superposition of the repetitions. Each synth track is also underlined by noticeable differences in timbre, resulting in a suggestive heterophonic texture that captivates with its fragile and pleasant appearance and reveals a great refinement in the rhythmic and melodic treatment. Its not an exaggeration to say that Acaricia la Mañana is a classic, and an essential record in the history of Spanish electronic music. This facsimile reissue of the 1984 LP released by Unió Músics includes a bonus 7" featuring four previously unreleased tracks recorded by Polonio during the same period of 1976-1984." - Vinilissimo.

Artist: REFLECTIONS, THE
Title: Slugs and Toads
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"A much-needed reissue of this obscure gem of British post-punk from 1981. The Reflections were a sort of post-punk super-group formed by Mark Perry(Alternative TV, The Good Missionaries, The Door And The Window), Dennis Burns (Alternative TV),Karl Blake (The Lemon Kittens) and Nag (The Door And The Window). Perry and Nag share vocal duties on an album that opens with the disheveled pop nugget "Tightrope Walker" to go through more reflective moments such as "Demon of My Desires" and "Clamming Up," to outbursts of noisy experimentation and free-form passages that verge towards no wave ("Nag Takes a Ride," "The Parting"). The wonderful cover of Roky Ericksons "The Interpreter" deserves a mention as one of the highlights of a flawless LP." - Vinilisssimo.

Artist: SONIC BOOM
Title: Spectrum
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $27.00
"Reissue of Sonic Booms first solo album, recorded between 1988 and 1989 while Spacemen 3 were still active and with the participation of its band members. A captivating, gentle space-rock masterpiece, which includes amazing covers of Doc Pomus "Lonely Avenue" and Suicides "RocknRoll Is Killing My Life." Reissued on vinyl for the first time. The beautiful gatefold sleeve is an op-art wonder with two swirly plastic discs. Limited edition of 1,000 copies." -Vinilisssimo.
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Artist: SPECTRUM
Title: Soul Kiss (Glide Divine)
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"After the break-up of Spacemen 3, Sonic Boom formed Spectrum with guitarist Richard Formby and bassist Mike Stout, along with a number of collaborators. Their 1992 debut LP, Soul Kiss (Glide Divine), explored Sonic Booms trademark sound further into a soulful, blissed-out state and stands as one of the highlights in his discography. Reissued on vinyl for the first time. Limited edition of 1,000 copies on 180 gram vinyl." - Vinilisssimo. For all the fucked-up chillwavers of this world...
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Artist: TARKUS
Title: s/t
Format: LP
Label: Vinilisssimo
Country: Spain
Price: $26.00
"Tarkus was born after the 1971 split of Telegraph Avenue, one of the most popular Peruvian bands at the time. TA member Walo Carrillo was joined by Argentinean musicians Guillermo Van Lacke, whom he had met previously in Lima, and 16-year-old Dario Gianella. They got together and started making music very influenced by bands such as Black Sabbath, Led Zeppelin, Cream, and Deep Purple. They immediately developed a heavy, hard rock sound uncommon in Peru, and asked former Telegraph Avenue member Alex Nathanson to join them. They recorded their first album between April and May of 1972 for the MAG record label, which was expecting something closer to Telegraph Avenue and didnt know how to market such a heavy sound. Soon after, guitarist and main composer Dario Gianella decided to leave the band to follow his religious faith, just before they presented their debut LP live. As a result, the band disintegrated without making their official debut and only around 50 promo copies of the album were actually distributed. Time has given this LP the significance it rightly deserves as one of the foundations of Latin American hard rock, and Vinilísssimo is proud to present this new vinyl reissue. Housed in a gatefold sleeve; on 180 gram vinyl." - Vinilisssimo.

Artist: VAINICA DOBLE
Title: Taquicardia
Format: Double LP
Label: Vinilisssimo
Country: Spain
Price: $29.00
"180 gram vinyl reissue of one of Vainica Dobles strongest and most experimental albums. Folk, jazz, pop and traditional Spanish music create a beautifully haunting and captivating LP. "In 1984, the Spanish Movida movement was in full bloom and the people taking part in it professed the same devotion to Vainica Doble that British punk displayed towards teen idols such as Marc Bolan. But it would be hard to find a record from those years more impervious to the Movida than Taquicardia, the authors of which seemingly didnt know about such admiration or didnt care about it. Eternal dilettantes, it wasnt strange that the career of Gloria van Aerssen (born in 1932 in Dos Hermanas, Seville) and Carmen Santonja (San Sebastian, 1934) moved forward, most of the time, due to the encouragement of a fan. But this jump without safety net, as Mario Pacheco described it, only could have happened on a label as pathologically respectful towards its artists as Pachecos Nuevos Medios imprint, and at a vital point such as the one the duo were going through during the middle of the decade. It was his enthusiasm which took them out of their silence to record their sixth album and the end of a cycle, as their later recordings would finally be an epilogue of what culminated here magnificently. Elegant, classic, austere and, nevertheless, sounding at times like genuine avant-garde, Taquicardia is the reflection of a critical stage in the life of its authors. Disillusioned by the poor repercussion of their two previous albums for Guimbarda, the outstanding El Eslabón Perdido (1980) and El Tigre De Guadarrama (1981), Gloria and Carmen had found themselves at the peak of mature age and empty-handed. The duo delivers here their most personal, introspective and bitter work, which surprisingly becomes, as if by magic, a superb collection of calls to chaos, libertarian fables and exultant love songs. Passion becomes idolatry, gallant coplas (Spanish popular songs) are touched by grace, pieces of marital bitterness, all of which culminates in an anthem of incredible beauty such as Sígueme, clean, stripped, overwhelming. Gloria declared being so ashamed of the tracks almost pastoral tone that she refused being credited for it. Of course, its her voice which will make the song remain forever. Stripped of the glitz they had displayed in the preceding years, its harder to find here the source of popular and academic music which could usually be heard in their music. But that clarity allows us, more than ever, to enjoy the boldness of many of their song structures and, of course, their vocal harmonies. These two pieces of vinyl contain their most refined work." --César Sánchez aka Fulgencio Pimentel; Liner notes in English and Spanish by César Sánchez." -Vinilissimo.

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