{"title":"august 8, 2018","description":"","products":[{"product_id":"sun-ra-disco-3000","title":"SUN RA - Disco 3000","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e2018 re-press. \"Originally released in 1978 on El Saturn Records.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDisco 3000\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis one of\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eSun Ra\u003c\/b\u003e's greatest from the '70s. Recorded in Italy in 1978, it features some incredibly otherworldly keyboards that are some of his most enigmatic on record. Original tracks from the album include \"Disco 3000\", an incredible workout on synthesizer, with a tiny bit of drum machine, a little \"Space Is The Place\" breakdown, and all of the wild sound you'd expect from a Sun Ra album -- plus more long tracks -- the sweetly soulful \"Friendly Galaxy\", a great soul jazz number, and \"Dance Of The Cosmo Aliens\", which has spooky organ, frenetic bass, and somber percussion.\" - Art Yard.\u003c\/div\u003e","brand":"Art Yard","offers":[{"title":"LP","offer_id":51860257991,"sku":"1317-ART YARD","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/COSMO111LP_CU.jpg?v=1571717268"},{"product_id":"niblock-phill-nothin-to-look-at-just-a-record","title":"NIBLOCK, PHILL - Nothin To Look At Just A Record","description":"\u003cp\u003e2018 repress. \"Phill Niblock has pushed the boundaries of sound and visual art for over 40 years. While dutifully producing experimental films and curating multi-media loft performances in New Yorks 1960s avant-garde circles, Niblock developed a composition technique informed by American minimalists such as Tony Conrad and La Monte Young. His music consists of long instrumental tones, closely pitched together to create beat patterns and multi-tracked into dense layers. Nothin to Look At Just a Record, originally released on esteemed 20th century \/ jazz label India Navigation in 1982, is Niblocks recording debut and often cited as his masterpiece. A Trombone Piece,\" the first of two side-long tracks, was recorded by RICHARD LAINHART and RICHARD KELLY (both music innovators in their own right) at SUNY Albany in the mid-70s. Breathing pauses from instrumentalist JAMES FULKERSONs trombone were spliced out to unravel the drones spatially, rather than according to metered rhythm. The overall effect is mesmerizing and beautifully envelops the listener with each tonal subtlety. To celebrate Niblocks 80th birthday, Superior Viaduct is honored to present the first-time vinyl reissue of Nothin to Look At Just a Record, a high-water mark in 20th century music and listed as #5 on Alan Lichts Minimal Top Ten.\" - Superior Viaduct.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":51946719815,"sku":"15021-SUPERIOR VIADUCT","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SV033LP_CU.jpg?v=1571718138"},{"product_id":"russell-arthur-corn","title":"RUSSELL, ARTHUR - Corn","description":"\u003cp\u003e2018 repress. \"It has been seven years since Audika last issued an album of Arthur Russell material. The wait ends this summer with Corn, nine tracks Russell recorded in 1982 and 1983. In collaboration with Russells partner Tom Lee, Audikas Steve Knutson compiled Corn from Arthurs original, completed 1\/4 tape masters. Russell himself compiled this material on three separate test pressings -- labeled El Dinosaur, Indian Ocean, and Untitled, respectively -- in 1985. Russell fans know something of the Corn sound from Audikas debut release, Calling Out of Context (2004), which included four songs from these sessions: The Deer in the Forest Part 1, The Platform On the Ocean, Calling Out of Context, and I Like You! This new collection includes rhythmic alternate versions of Lucky Cloud, Keeping Up, See My Brother, Hes Jumping Out (Lets Go Swimming #2), This Is How We Walk On the Moon, and Hiding Your Present From You, along with Corn, Corn (Continued), They and Their Friends, and the closing instrumental Ocean Movie, one of the most beautiful and curious Russell tracks ever to see the light of day. With Corn, Audika reveals yet another side of Russells staggeringly diverse artistry, following the avant-electrodisco of Calling Out of Context, and its companion EP, Springfield; the orchestral works Instrumentals and Tower of Meaning, compiled and released as First Thought Best Thought; the Buddhist Bubble Gum Pop collected on Love Is Overtaking Me; and Russells definitive solo masterpiece, World of Echo.\" - Audika.\u003c\/p\u003e","brand":"Audika","offers":[{"title":"CD","offer_id":52003419143,"sku":"16896-AUDIKA","price":17.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":52003419271,"sku":"16897-AUDIKA","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/AU1014LP_CU.jpg?v=1571718248"},{"product_id":"puce-mary-the-spiral","title":"PUCE MARY - The Spiral","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e2018 repress.\u003cspan\u003e \"\u003c\/span\u003e\u003ci\u003eThe Spiral\u003c\/i\u003e is Puce Mary's third LP for Posh Isolation. It follows where 2014's critically acclaimed\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePersona\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eleft off. Working more precisely than ever,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Spiral\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebinds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Intimidatingly personal, though never allowing the introspection to become aimless, Puce Mary manages to honor the history of industrial music and noise while simultaneously transforming it.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Spiral\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis harsh, but the aggression of the compositions never feels unnecessarily overstated or irrelevant. As the feverish sexuality of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Spiral\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ecomes into focus as the album's cornerstone, the exertion of the recording is problematized and turns errant. The vestige of safety in dominance and submission is antagonized as audience and artist take turns being dealt blows.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Spiral\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003echarts this instability as a perennial tonic in sound. With an already impressive discography and live career, Puce Mary has manifested herself as a key voice in new experimental electronic music. This album is further proof that she has earned her praise.\" - Posh Isolation.\u003c\/div\u003e\n\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/208295022\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;visual=true\"\u003e\u003c\/iframe\u003e","brand":"Posh Isolation","offers":[{"title":"LP","offer_id":52009053895,"sku":"18142-POSH ISOLATION","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-8246341-1457997616-7831_jpeg.jpg?v=1571718302"},{"product_id":"cluster-konzerte-1972-1977","title":"CLUSTER - Konzerte 1972\/1977","description":"\u003cp\u003eLP version with CD. \"The two authorized recordings presented on Konzerte 1972\/1977 vividly conjure up the atmosphere, perhaps even the magic, of a Cluster performance back in the day. One took place in 1977 during a science fiction festival in Metz (France). The other dates back to an earlier show in Hamburgs Fabrik venue. Cluster played three gigs in the city in 1971\/1972, including the one partially included on 1972s Cluster II (LR 335LP). Cluster shows routinely lasted six hours or more, luring both the band and the audience into a state of intoxication, no doubt acutely enhanced by the intake of certain substances. The buzzwords of the moment were: psychedelic, magical, ritualistic, corresponding more or less to the Dionysian hedonism which pervades certain styles of contemporary music culture today. It is worth noting this context as useful background when listening to the live recordings presented here. In the beginning, Clusters music was rough, brutal, and spontaneous, created with the most rudimentary tools. Unlike many of their colleagues in this pioneering age, Cluster did not use any synthesizers, sequencers, or high-end amps. But this proved to be their strength, rather than a disadvantage. Roedelius and Moebius played in the truest sense of the word, untroubled by mechanical processes. They used their machines but were not dependent on them. Intuition was the dominant force, the risk of potential failure was readily understood to be as much a part of their vibrant art as success. Perfection had become a concept associated with convention. Indeed, anyone who was lucky enough to witness Cluster play in the 1970s will testify that things sometimes went badly wrong. But mostly they did not, and then the real magic was tangible. A utopian, previously undiscovered world of sound was created in the presence of the beholder. The sound quality of these two documents is average. A successful performance was considered more important than a perfect recording thereof. As listeners, this should be accepted today. Konzerte 1972\/1977 provides a short journey into the nascent heart of Clusters creative universe, just after the big bang.\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP + CD","offer_id":52012630599,"sku":"19726-BUREAU B","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-10315781-1495198886-1242_jpeg.jpg?v=1571718345"},{"product_id":"barbieri-caterina-born-again-in-the-voltage","title":"BARBIERI, CATERINA - Born Again in the Voltage","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\n\u003ci\u003e\"Born Again In The Voltage\u003c\/i\u003e is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello, and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Cello by Antonello Manzo. Images by Giovanni Brunetto; Photography by Angelo Jaroszuk Bogasz; Layout by Important Records. Mastering by Giuseppe Ielasi. Edition of 500.\" - Important.\u003c\/div\u003e","brand":"Important","offers":[{"title":"LP","offer_id":12669855957055,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/IMPREC460LP_CU.jpg?v=1571718501"},{"product_id":"barbieri-caterina-eleh-split","title":"BARBIERI, CATERINA \/ ELEH - Split","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Highly synergistic split from Eleh and Caterina Barbieri featuring two sides of similar audio dimensions. These two electronic sound poems slowly unfurl rich timbre and harmonics with an austere stillness that is, somehow, ever-changing. It hardly matters whose side is whose.\" - Important.\u003c\/div\u003e","brand":"Important","offers":[{"title":"LP","offer_id":12669918838847,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/IMPREC461LP_CU.jpg?v=1571718501"},{"product_id":"girardin-r-emotional-music","title":"GIRARDIN, R. - Emotional Music","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"R. Girardin's \u003c\/span\u003e\u003ci\u003eEmotional Music\u003c\/i\u003e\u003cspan\u003e is a is a contemporary rendering of synthetic midi-fusion and DAW experimentalism. Drawing links between Rashad Becker's textured compositional approach and the multicultural electro-fetishism of Benjamin Lew (Tuxedomoon), Girardin uses the synthesizer as a spiritual instrument, where the typical motifs of musicality and style degrade in favor of poetic modulation and breath-controlled hopefuls. \u003c\/span\u003e\u003ci\u003eEmotional Music\u003c\/i\u003e\u003cspan\u003e is a synthesis of both the human and synthesizer's expressive logics; one of internal architectures capable only through external inlets and outlets. Based in Los Angeles, Girardin has previously released music on the Italian label Hundebiss and has contributed to the score of Invernomuto's film \u003c\/span\u003e\u003ci\u003eVers L'Europa Deserta, Terra Incognita\u003c\/i\u003e\u003cspan\u003e. \u003c\/span\u003e\u003ci\u003eEmotional Music\u003c\/i\u003e\u003cspan\u003e is a co-release between NYC's Palto Flats and LA label Zero Grow.\" - Palto Flats.\u003c\/span\u003e","brand":"Palto Flats","offers":[{"title":"LP","offer_id":12669946691647,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/PALTO008LP_CU.jpg?v=1571718501"},{"product_id":"orquesta-de-las-nubes-the-order-of-change","title":"ORQUESTA DE LAS NUBES - The Order of Change","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"The subject of Music From Memory's compilation here focuses on Suso Saiz's output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on \"Techniques of Contemporary Composition\" in Madrid. Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. Sharing a curiosity for American minimalist and non-western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro's partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso's sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm. Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors, and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group's performances. Yet, despite the growing fascination surrounding Orquesta De Las Nubes' live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group's then manager Silvia Lovosevic therefore decided to set up her own label Linterna Música in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label Grabacionnes Accidentales. Between this period, the trio would also team up with American percussionist Glen Velez to record as the group Musica Esporadica; a one-off project in which they recorded a single album of the same name in 1985.\" - Music From Memory.\u003c\/div\u003e\n\u003cdiv\u003e\u0026lt;iframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/541911180\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u0026gt;\u0026lt;\/iframe\u0026gt;\u003c\/div\u003e","brand":"Music From Memory","offers":[{"title":"LP","offer_id":12670372151359,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MFM033LP_CU.jpg?v=1571718501"},{"product_id":"spacemen-3-for-all-the-fucked-up-children-of-this-world-we-give-you-spacemen-3","title":"SPACEMEN 3 - For All The Fucked-up Children Of This World We Give You Spacemen 3","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"In 1984, Spacemen 3 made their first-ever recording session and sold a few cassettes at now-legendary, incendiary gigs. Growing out of the dual guitar attack of Jason Pierce and Pete Kember, the band's three-piece line up with Natty Brooker on drums offered a liturgical take on '60s psychedelia, bare-knuckle blues and stunning feedback. This early glimpse into the Spacemen 3 cosmos -- crafted by and for all the fucked-up children of this world -- captures the band's unorthodox approach to rock 'n' roll with nuance and power. While the raw atavism of 'Things'll Never Be The Same' and 'Walkin' With Jesus' would be scaled back considerably on later recordings, the one-chord propulsion of 'T.V. Catastrophe' and hardwired stomping of 'Fixing To Die' draw from a primitive force that served as the impetus for the group's formation. \u003c\/span\u003e\u003ci\u003eFor All The Fucked-Up Children\u003c\/i\u003e\u003cspan\u003e remains the perfect introduction to Spacemen 3. Not only do these demos reveal the auspicious beginnings of two teenagers born on the same day in Rugby, England, but also compelling clues that point toward the exploration and eventual refining of their signature sound.\" - Superior Viaduct.\u003c\/span\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":12671804080191,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SV155LP_CU.jpg?v=1571718501"},{"product_id":"ishibashi-eiko-darin-gray-ichida","title":"ISHIBASHI, EIKO \u0026 DARIN GRAY - Ichida","description":"\"Black Truffle present the release of Ichida, the first release from the duo of two important, yet often underappreciated musicians, Eiko Ishibashiand Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O'Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O'Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo's Super Deluxe in March 2013, the set begins as a duet for Ishibashi's flute and Gray's upright bass. Calmly melodic yet harmonically inventive, with shades of \"spiritual jazz\", the pair's acoustic ruminations are gradually joined by Ishibashi's lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray's bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of '70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O'Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible. Cover pics by Jim O'Rourke. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates \u0026amp; Mastering, Berlin.\" - Black Truffle.","brand":"Black Truffle","offers":[{"title":"LP","offer_id":12673825734719,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BT039LP_CU.jpg?v=1571718501"},{"product_id":"mcbee-cecil-mutima","title":"MCBEE, CECIL - Mutima","description":"\"A reissue of Cecil McBee's Mutima, originally released in 1974. Licensed by Strata-East Records.\" - Everland Jazz.\u003cbr\u003e\u003cbr\u003e\"A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era . . . In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. Mutima (translated as 'unseen forces') undoubtedly solidified his stature and brilliance as a major player.\" - Michael G. Nastos, All Music.","brand":"Everland Jazz","offers":[{"title":"LP","offer_id":12673887076415,"sku":"","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ELJ008LP_CU.jpg?v=1571718501"},{"product_id":"lolina-the-smoke","title":"LOLINA - The Smoke","description":"\"The Smoke is Lolina's third solo album, following Live In Paris (LOL 002LP, 2016) and Because I'm Worth It as Inga Copeland (2014). Self-released. Made by Lolina. Mixed by Lolina and Amir Shoat. Mastered by Amir Shoat.\" - No Label.","brand":"No Label","offers":[{"title":"LP","offer_id":12673926955071,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/LOL004LP_CU.jpg?v=1571718502"},{"product_id":"kitajima-osamu-osamu","title":"KITAJIMA, OSAMU - OSAMU","description":"\"Oom Dooby Dochas present a reissue of Osamu Kitajima's Osamu, originally released in 1977. This is the third album by Osamu Kitajima, one of Japan's most prolific artists from the ethno rock, world music, and progressive department. You certainly cannot divide all the mentioned stylistic aspects from each other for they were all incorporated in these complex arrangements and homogeneous sound. It is the same with his other albums like 1976's Benzaiten (DOO 17005LP\/PSI 004-1CD) and or his fourth album, 1980's Masterless Samurai; traditional Japanese music meets Western jazz-rock and progressive sounds to form a new style unheard by most people in Western countries at the time. Osamu Kitajima easily plays with elements of reggae and funk, fusion jazz, and colorful pop while staying true to his Japanese roots with bits and pieces of traditional melodies and the use of old Asiatic instruments. The Japanese influence makes this music unique and still it gets as close to Western rock and pop sounds as it could. An adventurous journey through the world from East Asia to West Africa and to the steaming metropolises of the UK and USA is your reward when you put this perfectly produced album onto your turntable. The former Pink Floyd comparison coming with Benzaiten is not totally out of place with the self-titled album here but there is much more latitude in the allover style. Osamu Kitajima gathers a few well talented musicians around him on this record despite playing and arranging most of the instrumental passages himself. He, the multi-instrumentalist who discovered progressive rock music in the early '70s during a stay in London where he released a first album under the moniker Justin Heathcliff before moving to California around the mid-70s. And this group of musicians creates something special that sticks out of the mass of similar art pop and fusion bands in the late '70s. Osamu Kitajima is something like the Japanese answer to Mike Oldfield, and others equal in vision and output.\" -Oom Dooby Dochas.","brand":"Oom Dooby Dochas","offers":[{"title":"LP","offer_id":12673958379583,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOO17004LP_CU.jpg?v=1571718502"},{"product_id":"kitajima-osamu-benzaiten","title":"KITAJIMA, OSAMU - Benzaiten","description":"\"Oom Dooby Dochas present a reissue of Osamu Kitajima's Benzaiten, originally released in 1976. Benzaiten is world music and ethno sounds with an obvious Japanese origin, meeting progressive rock and psych rock. The result is a captivating piece of melodic and deeply atmospheric music that paints pictures of life in ancient Japan. If Pink Floyd were Japanese, their music might have sounded like this album. The frequency of the arrangements on Benzaiten is reminiscent of what English prog bands created in the early to mid '70s, just with a different ethnical approach. Benzaiten is even a more progressive effort than anything most British bands have ever managed to fabricate and is still utterly natural and vivid concerning the flow of the music. All participating musicians here are professionals and their performances are tight and still passionate. The sound is warm and vivid and the song structures are wide open and welcoming. Electronic elements in the percussion section add some oddity to the whole musical picture. The cool aspect of Benzaiten is the rocking guitar which keeps the whole album together. Must be the Japanese equivalent to German acts like Amon Düül II, Embryo and Guru Guru.\" - Oom Dooby Dochas.","brand":"Oom Dooby Dochas","offers":[{"title":"LP","offer_id":12674005663807,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOO17005LP_CU.jpg?v=1571718502"},{"product_id":"cohen-solal-jean-captain-tarthopom","title":"COHEN-SOLAL, JEAN - Captain Tarthopom","description":"\"Souffle Continu Records present the first ever reissue of Jean Cohen-Solal's Captain Tarthopom, originally released in 1973. \"Nothing can stop a flutist. We can do whatever we want, whatever we feel. My flute, is a mirror of myself. I express feelings more easily with the flute than with language.\" This is what Jean Cohen-Solal said on the cover of his first album released in 1972, Flûtes Libres (FFL 044LP), renowned for its adventurous overdubbing of alto, piccolo, and bass flutes, in treble or in C and ocarina. Mentioned on the famous Nurse With Wound list, the path followed by Jean Cohen-Solal included many exciting adventures in the 1970s, from his participation in the cult animation series Les Shadoks where his voice can be heard alongside the actor Claude Piéplu, to his proximity to the GRM where he worked alongside Bernard Parmegiani, François Bayle, Luc Ferrari, Guy Reibel, and Béatrice Ferreyra, or his involvement in progressive music with Captain Tarthopom, an album very much in the same style as that featured in Europe on the Vertigo label, but in an instrumental form, and even more audacious, without turning its back on the same classical influences as everyone else. It is impossible to pin a label on Jean Cohen-Solal, he is the equal of his Anglo-Saxon counterparts Bob Downes, Harold McNair, Jon Field (Jade Warrior), and Jeremy Steig, just to mention the most creative of the bunch. His affinity with strings, already heard in his work with Serge Franklin (author of the ineffable Free Sitar) on Flûtes Libres, is perfectly echoed here by the work of Jean-Claude Deblais, himself author of one of the little-known summits of sound illustration and French underground music: Le Miroir Du Fantastique (1977). Licensed from Jean Cohen-Solal. Includes eight-page booklet. Clear vinyl; Obi strip; Edition of 700.\" Souffle Continu.","brand":"Souffle Continu","offers":[{"title":"LP","offer_id":12674038661183,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FFL045LP_CU.jpg?v=1571718502"},{"product_id":"primo-amici","title":"PRIMO - Amici","description":"\"180 gram vinyl; Edition of 500. Amici is the debut album Melbourne, Australia trio Primo, featuring members of Shifters and Terry. Primo is Vio (Shifters), Xanthe (Terry) and Suzanne (film expert), on bass, drums, guitar, and vocals. Their songs sound like the places you go when you're working hard nine-to-five and can't go anywhere. From A to B, Kings Cross the magnetic strip, sound's effect, ghost in New York you didn't see, scenes of suburbia, sea a sonic mirage.\" - Upset The Rhythm.","brand":"Upset The Rhythm","offers":[{"title":"LP","offer_id":12674061729855,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/UTR109LP_CU.jpg?v=1571718502"},{"product_id":"pan-regaliz-s-t","title":"PAN \u0026 REGALIZ - S\/T","description":"\"Vinilisssimo present a reissue of Pan \u0026amp; Regaliz's self-titled album, originally released in 1971. This is the album any record collector would have at the top of his wants list when visiting Spain. No matter if you are into prog rock, psychedelia, leftfield jazz, kraut or just looking for interesting breaks and beats, this is the record you will need. But let's face it, there are little chances of coming across an original copy of Pan \u0026amp; Regaliz's only album; groundbreaking quality music did not sell well in early '70s Spain. Despite the late release date (1971), the album is often compared with the early Jethro Tull recordings and their distinctive flute work and experimental blues rock sound, but there is much more to it. One of the opening tracks, \"Waiting In The Monsters Garden\", shows a strong psychedelic edge spiced with Eastern percussions and trippy vocals that anticipate the hazy wandering atmosphere of the entire LP (the superb \"I Can Fly\" could easily be confused with a West Coast acid jam and would definitely appeal to fans of The Doors). \"Today It Is Raining\", the longest cut on the record, is one of the most unique passages on the album and features an amazing hypnotic rhythm background that is almost crying for someone to rap on top, no wonder it was sampled by hip hop producer Madlib after hyping it as one of his favorite psych records. Unfortunately the story of Pan \u0026amp; Regaliz did not last long and shortly after the release of their only album on Ekipo\/Dimension the band broke up, merely one year after their very first single (signed as Agua de Regaliz) saw the light. Some of the members would join other bands from Barcelona like Evolution or Jarka while the remaining ones would struggle keeping the band active for one more year. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.\" -Vinilisssimo.\u003cbr\u003e\u003cbr\u003e","brand":"Vinilisssimo","offers":[{"title":"LP","offer_id":12674082635839,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MRSSS042LP_CU.jpg?v=1571718502"},{"product_id":"schulze-klaus-miditerranean-pads","title":"SCHULZE, KLAUS - Miditerranean Pads","description":"\"Re-Release of the Klaus Schulze's Miditerranean Pads, one of the most percussive albums of Klaus Schulze. 'Miditerranean Pads is the sensation of the year.' (PhloxNotes\/Netherlands, May 1990). Klaus was in the mood for drums again. But he didn't want to play the drums, like he did in the sixties, but rather compose drums. At that time a variety of drum samples were available for the first time, like Japanese drums, talking drums etc., used by Klaus on this wild 'sampling aria.' Another gem from the huge Schulze cosmos.\" - Made In Germany.","brand":"Made In Germany","offers":[{"title":"CD","offer_id":12674099642431,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MIG1692CD_CU.jpg?v=1571718502"},{"product_id":"plagne-francis-crys-cole-two-words","title":"PLAGNE, FRANCIS \u0026 CRYS COLE - Two Words","description":"\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4111366145\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/blacktruffle.bandcamp.com\/album\/two-words\"\u003eTwo Words by Francis Plagne \u0026amp; Crys Cole\u003c\/a\u003e\u003c\/iframe\u003e\"Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams. The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground. From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two-word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronized vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell. Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements. Sleeve design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates \u0026amp; Mastering, Berlin.\" - Black Truffle.","brand":"Black Truffle","offers":[{"title":"LP","offer_id":12674349858879,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BT035LP_CU.jpg?v=1571718502"},{"product_id":"bang-bros-hard-rocks-vol-21","title":"BANG! BROS. - Hard Rocks Vol. 21","description":"\"Unlike the last Bang! Bros. record we did (12\/12\/12, FTR 170LP), this one's frilly style was not dictated so much by a date as by time. According the jacket's notations, it was recorded in less than an hour in October, 2016. What? You might cry. What kind of a goddamn record can be recorded in under an hour? We'd like to point out that such live classics as Metallic K.O. (1976) and Mars Live at Artists Space (2011) were recorded inside those temporal parameters. Futhermore, we should point out that Bang! Bros. are a duo who live by the rules of real time interaction. They do not attempt to step in the same river twice. Theirs is a journey that leads only in one direction -- ever outward! The pair of musicians who are the Bang! Bros. (Mark Johnson and ARKM Foam) make a huge effort to always assure their attempts to manipulate electronic splint-chutes of all manners are observable as live events (observed either by eye, nose and ear, or ear alone). In the case of recordings, we are asked to accept the word of these gentlemen that their output is of the living variety, but they have never given us reason to doubt them, so why should we start now? The music on Hard Rocks Vol. 21 (only a few other volumes of which I have had actual access to) is the brilliant, spaced and sprongy, fast edit head wrench we have come to expect of the Bros. It delivers what I'd dare say is a full month's worth of confusion in just over thirty minutes. In this sense, it will be an incredible time-saver for many of us. Let's just get all that confusion jammed in, then we can do some chores! One can only hope that the cartoon on the back of the jacket -- in which Sam Gas Can suggests the Bang! Bros. will go and live in the jungle and forget to eat -- is just his idea of a sick joke. I mean I dunno about you, but if I had to spread my confusion out over the whole month, I'd be well and truly fucked. Edition of 200.\" - Byron Coley.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":12674378924095,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR340LP_CU.jpg?v=1571718502"},{"product_id":"sun-araw-guarda-in-alto-ost","title":"SUN ARAW - Guarda In Alto OST","description":"\"Cameron Stallones, aka Sun Araw, is the quintessential contemporary cosmic courier. Emerging from the fumes of an ancient Egyptian civilization and now settled in one of the meccas of the American lysergic experience, Austin, Texas, he boasts an endless discography and collaborations with luminaries of the caliber of Laraaji (a solo new age traveler discovered by Brian Eno) and the legendary Rastafarian group, Congos. For the soundtrack of the feature film Guarda In Alto (2017), directed by Fulvio Risuleo -- the daring story of a baker who has access to a parallel universe on the roofs of the city -- Sun Araw looks towards the possible horizons. Bypassing psych and electronic glitch, Sun Araw jets through a double album that seems to refer to the golden age of computer music as well as to the inventions of the Lovely Music roster -- the legendary New York label specializing in minimalism and 20th century avant-garde -- and to a certain immeasurably psychotic dub aesthetic. A disk composed of many micro-cells, which marries the adventure to the \"edge of heaven\" of the protagonist, reiterating that dreamy feeling that the protagonist has accustomed us to for several years now.\" - Goodfellas.","brand":"Goodfellas","offers":[{"title":"LP","offer_id":12674386100287,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/GF2805CD_CU.jpg?v=1571718502"},{"product_id":"wolff-christian-2-orchestra-pieces","title":"WOLFF, CHRISTIAN - 2 Orchestra Pieces","description":"\"This recording is the first ever devoted to the orchestral music of Christian Wolff (b. 1934) and thus documents a little-known aspect of his wide-ranging work. John, David (1998) introduces in its second part a prominent role for solo percussionist, playing a wide range of pitched and non-pitched instruments, including marimba, glockenspiel, a variety of drums, wood and metal instruments and other sources, the exact choice left to the performer. Rhapsody (2009), in contrast, uses instruments of the traditional Western orchestra without percussion, divided into three separate ensembles and reordered into unusual combinations and relationships, both within and between the groups. In his essay On Charles Ives (1990) Wolff remarks that in the mid-1970s he had a sudden sense of his own work as 'an odd sort of mix of Ives and Satie.' He refers to Ives's 'readiness to draw upon whatever sources are useful'; the tendency to include altered versions of popular music and hymn tunes is a feature they have in common. The unlikely conjunction of Ives and Satie may provide a clue to such disparities as are evident in these orchestral pieces: Sections reminiscent of the density and complexity of Ives, of the simplicity and directness of Satie, and of the transparency of Webern, are juxtaposed without any need to mediate or explain how they are connected. The music is continually surprising, exhilarating, and challenging; it resists easy categorisation. Sometimes engagingly direct and transparent, at other times bewilderingly complex and profuse, it invites listeners to be alert to new kinds of musical experience, to suspend judgement based on more familiar models. There is a sense of immediacy that deliberately avoids any suggestion of a general plan or underlying theoretical principle; the controlling idea of a 'grand narrative' such as is associated with composers of the European avant-garde is explicitly rejected in favour of a variety of ad hoc procedures.\" - New World.","brand":"New World","offers":[{"title":"CD","offer_id":12674406285375,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/NW80796CD_CU.jpg?v=1571718502"},{"product_id":"cherry-don-home-boy-sister-out-1","title":"CHERRY, DON - Home Boy, Sister Out","description":"\"Don Cherry's downtown Paris funk masterwork Home Boy, Sister Out, produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant-garde poet Brion Gysin, and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early '80s at its coolest when funk, jazz, and new wave were mingling with sounds from Africa, Jamaica, and Latin America. Recorded at the legendary Studio Caroline in Paris, a hotbed for the African diaspora in Paris the '80s, and produced by cult French-Chilean musician and producer Ramuntcho Matta (his father is painter Roberto Matta and half-brother is cult New York artist Gordon Matta-Clark), Home Boy, Sister Out is one of Don Cherry's funkiest albums. Coming back from New York where Matta had immersed himself in the downtown scene working with the likes of Peter Gordon, Arto Lindsay, The Talking Heads, Meredith Monk, and Laurie Anderson, he crossed path with the American trumpet player in Paris by chance. It was love at first sight and together they had the idea of an album where Cherry would not only play but also sing. Accompanied by a first class cast of musicians from the Paris scene, they recorded Home Boy, Sister Out in Spring 1985. Very little known outside of France, where it has achieved cult status in some circles, the album embodies the spirit of the \"Sono Mondiale\", the multi-ethnic sound of '80s Paris, pioneered by Radio Nova and Celluloid Records. Featuring legendary Senegalese drummer, Abdoulaye Prosper Niang (Xalam), Negrito Trasante, Elli Medeiros, Jannick Top, and Don Cherry on various instruments plus vocals, the album is a fascinating mix of Downtown New York funk, jazz, new wave, reggae, and African music. The release also includes a handful of bonus tracks taken from Ramuntcho Matta's vaults including the cult 1983 single \"Kick\" featuring legendary multi-artist Brion Gysin who's influenced such artists as David Bowie, Keith Haring, John Zorn, Brian Jones, Genesis P-Orridge, among others. A fascinating album. Newly remastered. Includes five bonus tracks. Double LP version comes in a gatefold sleeve and features a new essay by French journalist Jacques Denis (Liberation).\" - Wewantsounds.","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":12674423881791,"sku":"","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Double LP","offer_id":48807091470555,"sku":null,"price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/WWSCD014CD_CU.jpg?v=1571718502"},{"product_id":"ratliff-k-s-and-black-magic-fear-of-the-night","title":"RATLIFF, K.S. AND BLACK MAGIC - Fear of the Night","description":"\"Subliminal Sounds present a first time reissue of K.S. Ratliff And Black Magic's Fear Of The Night, originally released in 1982. A rare and unique teenage psych garage private press album. Here's the inside word from the pioneering record collector and front man of New York's Endless Boogie, Paul Major: \"The first time I heard this record I had to vigorously punch myself in the face to make sure I wasn't dreaming it up. It's real. K.S. Ratliff comes on like a blast from a lost world, a maverick small town flash from high school kids in some alternate Kentucky utterly isolated from any scene and untainted by even the slightest stink of music biz disease. Real people. This music has the direct and real emotional honesty of Kenneth Higney crossed with the ominous sci-fi atmosphere of Marcus, boiled down to the essentials, merging a psyched-up garage sense of teen discovery with music so uncontrived it naturally delivers hook after hook. Brilliant songs like 'Brainstorms', 'Fear Of The Night', and 'Invasion' are right to the point. No pretense or distance seems to exist between the singer's mind and what is crashing into your ears. The vocals redefine the concept of talent and the no frills fuzz guitar\/organ action has an uncanny mysterious quality like something hiding in plain sight. You can dig it straight up but if you turn your mind a little to the left or right you can climb right into another dimension. It's like your seemingly ordinary next door neighbor has been hiding a flying saucer in his basement and you just found out about it. Real people private pressing records come in many flavors but the best ones have some unifying elements. They sound like nothing else even if some of the moves they make convey a bent sense of the familiar. They emerged from a nurturing isolation and remained unknown until the right ears stumbled across a copy. The person and the music are inseparable, fortifying each other into a zone where ordinary musical standards become irrelevant as an indicator of quality. In 2018 the once constant flow of unique and important vintage discoveries has slowed to a trickle. K.S. Ratliff and Black Magic is an extra tasty killer that I file in the 'I can't believe a record like this actually exists' section.\" Edition of 500.\" - Subliminal Sounds.","brand":"Subliminal Sounds","offers":[{"title":"LP","offer_id":12674431975487,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SUBL121LP_CU.jpg?v=1571718502"},{"product_id":"kano-runes","title":"KANO - Runes","description":"\"Subliminal Sounds present the first ever vinyl release Kano's Runes, originally released in 1986. A unique, dark and sparse, tribal, minimal synth, drone, trance, new age recording from the mysterious Kano. Previously only issued as an obscure cassette back in 1986 which is now much sought after. Runes is much darker and brooding compared to its new age peers of the era. Drums, metallophone, synths, and more leads you on a deep inwards trip via damp, cold and foggy caves to the ancients. Runes are reminders of our ancient future. They reveal messages of wisdom that are held deep within our hearts and consciousness. Runes remind you of the forgotten past, opening your minds into the Universal Mind. Archetypal runic symbols appear throughout the earth as relics of many ancient cultures including Hindu and Native American, but their primary origin as tools of divination is most often given as Nordic and Germanic. Their true source is perhaps, too ancient and arcane to ever know with historical certainty. The music of Runes is of such power and beauty, that it can be effective for inducing states of consciousness that allow deep meditation, channeling and trance. Runes is an extraordinary musical experience. Kano, who described it as \"a trance musician from Colorado\" on the original release, was Don Campbell in real life and the Runes cassette was eventually issued under his name too. Born in 1946 in San Antonio, Texas, Don Campbell spent his high school years in Europe, studying classical music with the legendary Nadia Boulanger and Jean Casadesus at the Fountainebleu Conservatory in France. A graduate of the University of North Texas, he began his professional career as a music critic and teacher for seven years at St. Mary's International School in Tokyo. Campbell's interest in sound, healing and education have taken him to over forty countries through the years. He has researched and documented the role and uses of music in therapeutic settings, psychology, and imagery applications, educational programs and the contemporary and indigenous spiritual traditions. In 1988, Campbell founded the Institute of Music, Health and Education, serving as its director until 1995. He is also the author of 23 books, some of which have been translated in to 24 languages. Additionally, he served as Acoustic and Musical Director of Aesthetics Audio Systems, an innovative company that provides quality music to healthcare facilities, until his passing. Edition of 1000.\" - Subliminal Sounds.","brand":"Subliminal Sounds","offers":[{"title":"LP","offer_id":12674439184447,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SUBL126LP_CU.jpg?v=1571718502"},{"product_id":"laurie-olly-ample-profanity","title":"LAURIE \u0026 OLLY - Ample Profanity","description":"\"Shits are not given by Laurie Tompkins and Oliver Coates on Ample Profanity; a let-it-all-out session of deviant, punkish avant-classical composition hallucinated and expectorated by two prodigious talents. An ideally off-center and brazenly wigged-out follow-up to aces from Chaines (SLP 037LP), Yeah You, and Ashley Paul (SLP 044LP) already released by Slip -- the label Laurie runs with friends between London and Newcastle. Laurie supposes and composes on keys, tapes, and samples, and Oliver does his part on cello and FX. They both sing, if your definition stretches that far. What is agreeable, though, is that Ample Profanity is a steaming pile of madness quite unlike anything else in circulation right now. Still feral from his cultishly acclaimed Heat, War, Sweat, Law album (2016), Laurie is matched by a usually more collected Coates, who, while often hardly distinguishable from the maelstrom, certainly doesn't impede the lunacy, and seems to encourage it, grasping the opportunity to freak out properly adjunct to his solo work and collaborations with Mica Levi. Kicking off with \"Sniffin' Samgh\", a possessed study in primal vocals and lurching, yelpy strings, the session turns variously thru quieter, asymmetric ideas in \"Peejayargh\" to cough up its spicy noise guts in RP Beal, before they settle into a call-and-response of quizzical sighs and plucks on \"Lime Rugis\" and set about hacking up a wickedly dissonant tussle between no wave guitars, intercepted phone calls, and edge-of-sanity blasts into the void with \"Charterhouse Vinci\". It's maybe not what you might expect from a former winner of the Royal Philharmonic Society's Young Artist Award 2011, and a graduate of the RNCM, or maybe it is. Either way, Ample Profanity is beautiful, funny, and fucked up in equally satisfying measures. RIYL: Jandek, Mica Levi, Yeah You.\" - Slip.","brand":"Slip","offers":[{"title":"LP","offer_id":12674449997887,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SLP038LP_CU.jpg?v=1571718502"},{"product_id":"arn-eric-margaret-unknown-paranza-corta","title":"ARN, ERIC \u0026 MARGARET UNKNOWN - Paranza Corta","description":"\"For his second Feeding Tube LP, following the superb solo outing Orphic Resonance (FTR 281LP, 2017), Eric Arn has chosen to team up with the Austrian shapeshifter Margaret Unknown (aka Max Bogner), for a set of acoustic guitar duets. Eric's history is well known via solo work, duets with Tom Carter, and hard psych playing from his pre-Vienna days with both Primordial Undermind and Crystalized Movements. We knew Margaret mostly for his work with (In) The Abyssity of the Grounds, who backed Linda Sharrock on her massive Gods 3LP set (which should be a fixture in every home). Recorded live at the mo.ë space in Vienna, Paranza Corta (Italian for a Sicilian style knife fight) is far less of a combat situation than a deeply explored intersection of stringed logic. Without being able to tell who plays what (and although the tracks are named after various bladed weapons), the music here is a fight, in the sense that the opening scene of West Side Story is a fight. While choreographed only on a subliminal level, these two guys allow each other a lot of space to change directions, and almost seem to be working in tandem, so immediate are their reflexive actions. The heft of the interplay here recalls some of the nylon string collaborations Eugene Chadbourne did back in the Parachute days, although he wasn't big on guitar duets (at least on record). The playing here offers the same brilliant mix of organically achieved weirdness that can begin as a gentle outside motion, and then grow to devilish proportions without ever going too far. If there even is such a thing. If there is (and I acknowledge the possibility), the music on Paranza Corta does not go there. It's a brilliant tapestry of gesture, reaction and recontextualization. Of course, as I write those words, I begin to realize that maybe it is more like a knife fight than I'd thought. We should really ask Russ Tamblyn what he thinks.\" - Byron Coley.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":12674488401983,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR384LP_CU.jpg?v=1571718502"},{"product_id":"jones-matt-jones-mb-mb-jones-by-mb-jones","title":"JONES (MATT JONES), MB - MB Jones by MB Jones","description":"\"Matt 'MB' Jones has long been kicking back and forth between the Valley and Asia. His recordings with Jee Jee Band have reflected this duality. And this new 'solo' album, recorded mostly in his original backyard with a cast of local hottentots (Conrad Capistran, Tim Sheldon, John Moloney, etc.) continues this vibe, while changing it in many subtle ways. The K-Pop readymades of the Jee Jee Band's Glass Fish LP (EM 1138CD\/LP) have continued to drift out of Matt's repertoire. This remodeling began on Jee Jee's Holy Yolk LP (FTR 304, 2017), and by this point the hints are still there if you know where to look for them, but they no longer jump out at you. Matt's basic constructions are still often electronic pop at their base, but the details that get piled on top of that now require a wide closet of costumery. From the multi-tracked vocal glistens of '$200,000 Ticket to Space' (with neo-gamelanic tone highlighting) through to the jaw-harp-riven dolor of 'Going Swimming in the Morning,' the only real common thread the mood of dislocation Jones bakes into many of his lyrics. It's never easy keeping one foot in reality (so-called) while extending your other foot into the vacuum of space, but it's forward trajectory Matt seems to have managed. Perhaps this is why he and Mike Watt have struck up a friendship (the two recently cut a lathe 7\"). Just as Watt attempts to codify his personal history, while the statis of the world constantly slides past him on his endless tours, Jones seems bent on writing twin histories of his peregrinations -- one with each hand, while everything spins around his head. It's an epic quest. And one to which you should pay sweet attention.\" - Byron Coley.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":12674495348799,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR388LP_CU.jpg?v=1571718502"},{"product_id":"jfk-weapon-design","title":"JFK - Weapon Design","description":"\"The very latest from Ramleh's Anthony Di Franco, whose long-running solo JFK project has been dedicated to the kind of concrete-mixed rhythmic pummel countless others would almost kill for since the cassette network culture of the 1980s. It's an immersive sound that, naturally, shares a little common ground with Ramleh yet emphasizes the monstrous chasms that can be drawn from a sturdy combo of bass-churn and galvanized beats. Whilst the labyrinthine textures beamed in from steelworks remain very much suggestive of a charred psychedelia twisted way beyond any stupid hippie dream, JFK's work remains hewn with a distinctive edge at once uncompromising and agile enough to pull you in without the slightest hint of a protest. Music perfect for the age always hinted at when younger by pessimistic sci-fi films that we sometimes appear to be living in... Eight devastating tracks mastered and cut by Matt Colton at Alchemy, London.\" - Fourth Dimension.","brand":"Fourth Dimension","offers":[{"title":"LP","offer_id":12674500952127,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FD101LP_CU.jpg?v=1571718502"},{"product_id":"xenakis-iannis-electronic-music","title":"XENAKIS, IANNIS - Electronic Music","description":"\"Jeanne Dielman presents a reissue of a collection of Iannis Xenakis's work titled Electronic Music, originally released in 1997. Some of the earliest works from a truly groundbreaking composer in the realms of electronic music, musique concrete, electro-acoustic, 20th century classical, and more. The Romanian-born, Greek-French composer Iannis Xenakis was instrumental in the introduction of mathematical models into composition and helped revolutionize electronic music in the middle 20th century. Collecting some of his earliest works in electronic and electro-acoustic music, this is a crucial set for any fans of 20th century classical experimentation.\" - Jeanne Dielman.","brand":"Jeanne Dielman","offers":[{"title":"LP","offer_id":12674505441343,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/JD126LP_CU.jpg?v=1571718502"},{"product_id":"fuchs-limpe-compilation-1977-2017-trampelpfadnomainroad","title":"FUCHS, LIMPE - Compilation 1977-2017: Trampelpfadnomainroad","description":"\"Compilation 1977-2017 was collected for the exhibit trampelpfadnomainroad at Städtische Galerie Traunstein. Celebrating the art and music of Limpe Fuchs, the exhibition gives insight into her ongoing creative adventures, from the early days of Anima up to her recent and critically-acclaimed body of work. The exhibition is open from September 2nd until September 28th of 2018 at Städtische Galerie Traunstein in Germany. This CD of unreleased music will be published to celebrate the event.\" - Play Loud! Productions.","brand":"Play Loud! Productions","offers":[{"title":"CD","offer_id":12674510618687,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/PL071CD_CU.jpg?v=1571718502"},{"product_id":"soddell-thembi-love-songs","title":"SODDELL, THEMBI - Love Songs","description":"\"The music of Australian artist Thembi Soddell resides in a zone of unrelenting darkness and physical affect. Working at the nexus of raw emotion, sound design, and musique concrete, she creates sound worlds that are effortlessly dense and abyss-like. In her performances, she explores sonic environments which swallow the audience. By utilizing intense sound pressure and varying dynamics she creates profoundly unsettling, but fulfilling, experiences for her audiences. Love Songs, her latest work, is easily the clearest articulation of her methodologies. A work of extreme dynamics and intensities, the record is one of the most fierce, sonic expressions to be delivered from an Australian artist in recent years. \"The title Love Songs,\" Thembi explains, \"is a little dark humor on my behalf. As the compositional process evolved the work became a meditation on the lived experience of insidious forms of abuse within supposedly loving relationships, in connection to certain forms of mental illness. These experiences are ones of extremes and emotional intensities; the tensions between horror, beauty, rage, desire, confusion, love, and perceptual annihilation. Also, a good deal of the source material for the album is voice. I asked Alice Hui-Sheng Chang to vocalize perceptual collapse, which I sampled and manipulated into expressions of these themes. So, these are my love songs.\" Published alongside an extensive book, outlining more literal readings of her ideas of sonic affect, contemporary relationships and the nature of becoming, Soddell's Love Songs is an utterly personal and compelling listen. It's equal parts horror, anxiety, relief and exhilaration, often in the same instant. A truly remarkable rendering of sound that extends the possibilities for how we are embraced and engulfed by the acoustics we encounter. Thembi Soddell (b. Australia 1980) is a sound artist and electroacoustic composer with an interest in psychology, perception, subjectivity, and affect in relation to intense encounters with sound. Her distinct approach to composition exploits dynamic extremes, creating volatile, evocative sound experiences with a disquieting edge. She creates works for recording, installation and performance -- including multiple CD releases, presentations at Australian Centre for Contemporary Art, San Francisco Museum of Modern Art and City Gallery Wellington, and two European tours in a duo with cellist Anthea Caddy.\" - Room40.","brand":"Room40","offers":[{"title":"CD + Book","offer_id":12674515206207,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RM491BK_CU.jpg?v=1571718502"},{"product_id":"gama-joana-luis-fernandes-at-the-still-point-of-the-turning-world","title":"GAMA, JOANA \u0026 LUIS FERNANDES - At The Still Point Of The Turning World","description":"\"Joana Gama and Luís Fernandes's new offering At The Still Point Of The Turning World, borrows its title from T. S. Eliot's poem \"Burnt Norton\". It is a record of restless motion, lilting and pulsing with a sense of gentle determination. Born out of a period of mutual loss, the works carry a bittersweet sentiment. Bitter in the sense of loss; sweet in the sense of lingering memory and influences recognized of those departed. It is also a record that, like the poem from which it takes its title, mediates on the nature of time and the way music must be explored as temporal art. The very nature of the compositions, their meaning and structural qualities unfold across the record with a particular and measured temporal gesture. This sense of measure is the result of musicians involved, guided by Gama and Fernandes, working for and against one another within each of the tracks. Pieces such as \"Neither Flesh Nor Fleshless\" and \"Lucid Stillness\" capture this essence. The sharp attack of their rhythmic spines, create macro environments within which instruments float into and out of focus. Rather than simply acting as anchor points for the pieces, these markers become buoyant amidst atmospheric layers of strings, percussion, and horns. The music swells and breaths. Commissioned by Câmara Municipal de Guimarães and A Oficina \/ Westway Lab Festival in 2017, At The Still Point Of The Turning World is the most considered output from this duo to date. Informed by a shared interest in the timbral connections between piano and electronics, these pieces extend outward from Gama and Fernandes and in combination with Orquestra de Guimarães and arrangements from José Alberto Gomes, they create a charged collection of minimalist inspired sound fields. The album was mixed and produced by Lawrence English at Negative Space in late 2017. In 2012, Joana Gama and Luís Fernandes met during the 100Cage show in Lisbon, Portugal. Having not cross paths beforehand, the two immediately felt a kinship born of a mutual interest in experimental music traditions. They began collaborating immediately and in 2014, the pair released work as QUEST, which was widely acclaimed in their home country. The duo has made the soundtrack for a number of prizewinners short-films. On this recording they laid out the groundwork for what was to come of their partnership.\" - Room40.","brand":"Room40","offers":[{"title":"CD","offer_id":12674525495359,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RM492CD_CU.jpg?v=1571718502"},{"product_id":"nakamura-toshimaru-re-verbed-no-input-mixing-board-9","title":"NAKAMURA, TOSHIMARU - Re-Verbed (No-Input Mixing Board 9)","description":"\"Re-Verbed (No-Input Mixing Board 9) is the latest edition from Tokyo-based artist Toshimaru Nakamura. The \"No-Input Mixing Board\" is a unique instrument pioneered by Nakamura. As its name suggests, it is a mixing console within which external no input exists. The instrument is fueled only by its own feedback. Initially used by Nakamura as a more tonal instrument, creating incredibly high frequency outputs, over time the mixing board has become decidedly more rhythmic and harmonic. It is this sonic territory that is the focus of this edition. Re-Verbed (No-Input Mixing Board 9) is by far one of Nakmura's most musical recordings. The board's tonality is front-and-center; low pulses and cavernous pulses fizzle and murmur with a subtle but frenetic energy. Drifting into decidedly dub-oriented directions, Nakamura allows the instrument to breathe; specifically he finds new dimensions to the ways interference can be brought into harmony within the pieces. While the instrument might suggest a sense of indeterminacy, Nakamura's intimate relationship with it means he can maintain an unerring sense of control over it. Re-Verbed (No-Input Mixing Board 9) is evidence of his intense capacity to create profound work with this most unusual of devices. A conjuring of something truly unique from literally nothing. Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990s and has since then appeared on over one hundred audio publications, including nine solo CDs. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.\" - Room40.","brand":"Room40","offers":[{"title":"CD","offer_id":12674530213951,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RM494CD_CU.jpg?v=1571718503"},{"product_id":"die-form-fine-automatic-fine-automatic-die-form-clear-vinyl","title":"DIE FORM + FINE AUTOMATIC - Fine Automatic \u0026 Die Form (Clear Vinyl)","description":"\"Ultra clear vinyl version; Edition of 500. Rotorelief present a reissue of Fine Automatic \u0026amp; Die Form, originally released on cassette in 1982. From the label's Collection Des Musiques Industrielles Et Post-Industrielles De France series. This new release, under the side project name Die Form ÷ Fine Automatic, titled Fine Automatic \u0026amp; Die Form, is a reissue vinyl -- previously released by Rotorelief as two separate LP parts, one (ROTOR 043AB-LP\/ABRED) and two (ROTOR 043DC-LP\/DCRED) -- presented here as a complete double LP. Recordings come from the original tape album.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"Double LP","offer_id":12686379515967,"sku":"","price":53.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR043CLRLP_CU.jpg?v=1571718503"},{"product_id":"die-form-fine-automatic-fine-automatic-die-form","title":"DIE FORM + FINE AUTOMATIC - Fine Automatic \u0026 Die Form","description":"\u003cmeta charset=\"utf-8\"\u003e\"Rotorelief present a reissue of Fine Automatic \u0026amp; Die Form, originally released on cassette in 1982. From the label's Collection Des Musiques Industrielles Et Post-Industrielles De France series. This new release, under the side project name Die Form ÷ Fine Automatic, titled Fine Automatic \u0026amp; Die Form, is a reissue vinyl -- previously released by Rotorelief as two separate LP parts, one (ROTOR 043AB-LP\/ABRED) and two (ROTOR 043DC-LP\/DCRED) -- presented here as a complete double LP. Recordings come from the original tape album. Black vinyl version (ROTOR 043LP) comes in an edition of 1000.\" - Rotorelief.\u003cbr\u003e\u003cbr\u003e","brand":"Rotorelief","offers":[{"title":"Double LP","offer_id":12686417920063,"sku":"","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR043LP_CU.jpg?v=1571718503"},{"product_id":"die-form-die-form-hurt-clear-vinyl","title":"DIE FORM - Die Form ÷ Hurt (Clear Vinyl)","description":"\"Clear vinyl version. Edition of 100. This Die Form side-project Die Form ÷ Hurt was recorded in a few days in 1984 under the name of Hurt, initially released in 1985 on the Bain Total label. This issue includes bonus material from a cassette of the same period, Some Experiences With Shock. All the tracks of the cassette, and other titles from Die Form, close in the spirit and in the form, have been added. This is the reissue of the previous edition appears first in the Archives des Musiques Industrielles de France collection, is now a part of a new series called Collection des Musiques Industrielles et Post-Industrielles de France with a new graphic line use original artworks from '70s and '80s. It is a kind of snapshot, close to the tears and chaos, where the machines and the out-of-control guitars are used as a support for the cry up, to the final exhaustion. Passion, pain, urge.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686519697471,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR049CLRLP_PROD.jpg?v=1571718503"},{"product_id":"bonapartes-the-shiny-battles-clear-vinyl","title":"BONAPARTE'S, THE - Shiny Battles (Clear Vinyl)","description":"\"180 gram, ultra-clear vinyl version; Edition of 100. Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: \"Battle Of Iena\", \"Waterloo's Front\", and \"Shiny Light\" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie \u0026amp; The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686695923775,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR063CLRLP_PROD.jpg?v=1571718503"},{"product_id":"bonapartes-the-shiny-battles-gold-black-vinyl","title":"BONAPARTE'S, THE - Shiny Battles (Gold \u0026 Black Vinyl)","description":"\"180 gram, gold \u0026amp; black vinyl version; Edition of 300. Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: \"Battle Of Iena\", \"Waterloo's Front\", and \"Shiny Light\" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie \u0026amp; The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686761427007,"sku":"","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR063CLRLP_PROD_91e4410f-f3cc-4fe8-a198-ead7103f213e.jpg?v=1571718503"},{"product_id":"bonapartes-the-shiny-battles","title":"BONAPARTE'S, THE - Shiny Battles","description":"\"Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: \"Battle Of Iena\", \"Waterloo's Front\", and \"Shiny Light\" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie \u0026amp; The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design. Black vinyl version comes on 180 gram vinyl (ROTOR 063LP); Edition of 1000.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686793572415,"sku":"","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR063CLRLP_PROD_ee54b623-ffc0-4bc4-b291-b867cde82919.jpg?v=1571718503"},{"product_id":"schnitzler-pharmakustik-conrad-extruder-clear-vinyl","title":"SCHNITZLER \u0026 PHARMAKUSTIK, CONRAD - Extruder (Clear Vinyl)","description":"\"Clear vinyl version. Edition of 150 (numbered). Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in \"Kontaktmechanik\") has been combined with sonic lubrications of processed accelerators in \"Umspulung\". \"Abrasion Métallique\" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released 'Kontraktion'. The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686898823231,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR066CLRLP_PROD.jpg?v=1571718503"},{"product_id":"schnitzler-pharmakustik-conrad-extruder","title":"SCHNITZLER \u0026 PHARMAKUSTIK, CONRAD - Extruder","description":"\"Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in \"Kontaktmechanik\") has been combined with sonic lubrications of processed accelerators in \"Umspulung\". \"Abrasion Métallique\" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released \"Kontraktion\". The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686923169855,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR066LP_PROD.jpg?v=1571718503"},{"product_id":"i-refuse-it-cronache-del-videotopo","title":"I REFUSE IT! - Cronache Del Videotopo","description":"\"Spittle Records present a reissue of the I Refuse It! compilation Cronache Del Videotopo, originally released on CD in 2005. Long awaited re-issue for one of the most influential and controversial post-punk combos of the \"Granducato era\". After more than three decades, I Refuse It! are still quite a great thing. Rock n' roll's later reaching of higher peaks of brutality finally made acceptable what once was considered noise and chaos and now make them appear just a bit less subversive, but their impact is still strongly felt. So, collecting and publishing their complete output in one album is definitely an historical act. Differently from Cronache Del Videotopo, the CD published in 2005 by the glorious Wide Records, the present double LP includes also their great version of \"Atto Di Forza N. 10\" from I Ragazzi Del Sole, a real gem from the '60s Italian beat repertoire. They were certainly a bit too far out for a large part of the aficionados of \"classic punk\" but deserved attention, at least for those who began to be tired of the old stereotypes. It's no coincidence that in a review of the Permanent Scar\/Sfregio Permanente cassette (1983) in the magazine Il Mucchio Selvaggio their style was described as \"experimental hardcore\" and \"a sort of Meat Puppets oriented sound\". Finally, between 1982 and 1983, Italian punk got its spot on the international map. In fact, even if there were already some Italian punk bands, it was not before the emergence of the hardcore movement that you could really start talking about a real Italian scene. Needless to add that this was not just a simple musical issue, back in the day, for many, hardcore punk was mainly an attitude and a way of life. In Tuscany, the whole scene became known under the acronym of GDCH (Granducato Hardcore) and I Refuse It! (together with CCM, Wardogs, Putrid Fever, Traumatic, Juggernaut, and others) became one of its most significant bands. Because of their varied and multiple inspirations and tendency to experiment, it's hard to consider I Refuse It! as simply a hardcore band. This double-LP collection compiles their complete recorded output for the first time and is an essential piece of Italian punk history.\" - Spittle.","brand":"Spittle","offers":[{"title":"Double LP","offer_id":12687002107967,"sku":"","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SPITTLE080LP_PROD.jpg?v=1571718503"},{"product_id":"page-and-his-paradise-music-paul-pacific-paradise","title":"PAGE AND HIS PARADISE MUSIC, PAUL - Pacific Paradise","description":"\"Comes in thick, magazine-style format. 32-page booklet. Paul Page -- poet, pagan, and playboy of Polynesian pop and Hapa Haole exotica. The music on this unusual exotic album, takes you right to the ocean's edge, mingles you with jungle drums and animals, the booming surf, seagulls, and ocean liners in a coral kaleidoscope of sounds. This is the real deal authentic tiki bar soundtrack. Paul Page and his Paradise Music entertained in Polynesian themed restaurants all over Southern California from the late '30s to the mid-60s, then all the way out to the Kona Coast during the late '60s and early '70s. The whole time, he kept leaving behind these little independent albums, recorded specifically for the purpose of selling them to the people coming to his small venue shows... which, when you think about it, is basically what all the most-worthy bands to dig do these days, outside the doting eye of the lame record industry. Dude was so ahead of his time! Paul Page was a singer, piano player, bandleader, writer\/composer, radio, and TV host, artist of oils, professional basketball player, and much more. He published many albums during the 1950s-60s and wrote hundreds of songs. His story has never previously been told and his original recordings are very rare, in fact some of them are completely unknown and undocumented, and much sought after by collectors. Paul Page is really the only one to mix actual, authentic Hawaiian music and other Polynesian and Pacific Ocean influences, with the nomadic feel of the seafaring Anglo working sailor man with a sense of American pop sophistication, based in jazz-age. It is his cheerful insistence to employ every known cliché from the Polynesian pop dictionary that makes his stylings so charming to today's tiki lounger. Subliminal Sounds now brings you the full Paul Page saga on this comprehensive compilation. Includes a 32-page booklet with in-depth liner notes by author and pop historian Domenic Priore, with a foreword by author and urban archeologist Sven Kirsten.\" - Subliminal Sounds.","brand":"Subliminal Sounds","offers":[{"title":"Double LP","offer_id":12687033598015,"sku":"","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SUBL124LP_PROD.jpg?v=1571718503"},{"product_id":"page-and-his-paradise-music-paul-pacific-paradise-1","title":"PAGE AND HIS PARADISE MUSIC, PAUL - Pacific Paradise","description":"\"Paul Page -- poet, pagan, and playboy of Polynesian pop and Hapa Haole exotica. The music on this unusual exotic album, takes you right to the ocean's edge, mingles you with jungle drums and animals, the booming surf, seagulls, and ocean liners in a coral kaleidoscope of sounds. This is the real deal authentic tiki bar soundtrack. Paul Page and his Paradise Music entertained in Polynesian themed restaurants all over Southern California from the late '30s to the mid-60s, then all the way out to the Kona Coast during the late '60s and early '70s. The whole time, he kept leaving behind these little independent albums, recorded specifically for the purpose of selling them to the people coming to his small venue shows... which, when you think about it, is basically what all the most-worthy bands to dig do these days, outside the doting eye of the lame record industry. Dude was so ahead of his time! Paul Page was a singer, piano player, bandleader, writer\/composer, radio, and TV host, artist of oils, professional basketball player, and much more. He published many albums during the 1950s-60s and wrote hundreds of songs. His story has never previously been told and his original recordings are very rare, in fact some of them are completely unknown and undocumented, and much sought after by collectors. Paul Page is really the only one to mix actual, authentic Hawaiian music and other Polynesian and Pacific Ocean influences, with the nomadic feel of the seafaring Anglo working sailor man with a sense of American pop sophistication, based in jazz-age. It is his cheerful insistence to employ every known cliché from the Polynesian pop dictionary that makes his stylings so charming to today's tiki lounger. Subliminal Sounds now brings you the full Paul Page saga on this comprehensive compilation. Includes a 32-page booklet with in-depth liner notes by author and pop historian Domenic Priore, with a foreword by author and urban archeologist Sven Kirsten.\" - Subliminal Sounds.","brand":"Subliminal Sounds","offers":[{"title":"CD","offer_id":12687050965055,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SUBL125CD_CU.jpg?v=1571718503"},{"product_id":"leimer-k-threnody","title":"LEIMER, K. - Threnody","description":"\"Threnody by K. Leimer is a music of disorientation, error and loss. Free of any particular sense of continuity or structure, Threnody dwells in an absent-minded and forgetful state, inhabiting an aftermath of events too disorienting to be completely comprehended. Highly atmospheric, the music draws from influences as diverse as Arve Henriksen, David Sylvian, Taylor Deupree and Biosphere. Shattered phrases emerge among shrouded details in a state of sustained incompleteness. In a departure for Leimer, this music is highly improvised, mostly studio-generated in real-time. 'I approached the work by repeatedly abandoning it and, at some later time, after pursuing some other task, after days or weeks of new outrages, wandered back and tried to once more pick up the threads.' Threnody is music tuned to a fractured time. K. Leimer founded Palace of Lights in 1979. Leimer's work has also been issued by Autumn, First Terrace, Les Giants, Origin Peoples and RVNG and his cassette work is included in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s -- his current catalog includes eighteen solo albums plus collaborative albums with Savant and Marc Barreca. His work is included in the collection of The British Library.\" - Palace Of Lights.","brand":"PALACE OF LIGHTS","offers":[{"title":"CD","offer_id":12687097036863,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/POL0022018CD_PROD.jpg?v=1571718503"},{"product_id":"coltrane-alice-lord-of-lords","title":"COLTRANE, ALICE - Lord Of Lords","description":"\"Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances -- shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, 'Andromeda's Suffering' and 'Sri Rama Ohnedaruth' (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer 'Going Home.' Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. This first-time vinyl reissue has been carefully remastered from the original master tapes.\" - Superior Viaduct.","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":12687133999167,"sku":"","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SV150LP_PROD.jpg?v=1571718503"},{"product_id":"noyes-charles-k-owen-maercks-with-henry-kaiser-greg-goodman-free-mammals","title":"NOYES, CHARLES K. \u0026 OWEN MAERCKS WITH HENRY KAISER \u0026 GREG GOODMAN - Free Mammals","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003eEdition of 500. \"Reissue of an exceptional album of improvisations, recorded when percussionist Charles K. Noyes was lured to the Bay Area in the summer of 1979 by Henry Kaiser. Noyes and Maercks had played regularly as a duo when Owen was still based in Worcester, MA. But he'd shifted his ass westward in the wake of the \u003ci\u003eTeenage Sex Therapist\u003c\/i\u003e session (FTR 153-2LP), which had been organized by Kaiser following their collaborations in the band, Monster Island. Half of the album was recorded live at Woody Woodman's Finger Palace, with Kaiser on guitar and Greg Goodman on piano. The web of cluttered notes and interwoven melodic lines they created that night was incredible. And the duo studio session a few days later was massive as well. \u003ci\u003eFree Mammals\u003c\/i\u003e has long been a notoriously scarce document in the history of the West Coast's free music scene of the late '70s. And the album (nominally released on Owen's Visible label, although everything was handled by Charles) almost always sounded as though it had been pressed onto concrete. With the help of Jeremy Pisani and Carl Saff, we have attempted to present this extraordinary music with the best sonics possible. And it sounds mighty dandy. There is also a liner note insert, as well as full size repros of two fliers from both the show at which this was partially recorded, and also a subsequent trio set with Noyes\/Kaiser\/Goodman. They will look fine on your wall, should to choose to thus deface them. Regardless. Count your lucky stars and dive in. All of your dreams are about to come true.\" - Byron Coley, 2018.\u003c\/div\u003e","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":12760323031103,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR287LP_CU.jpg?v=1571718503"},{"product_id":"flaherty-paul-chris-corsano","title":"FLAHERTY, PAUL \u0026 CHRIS CORSANO","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eEdition of 500. \"Hard to believe it has been 18 years since this set was first issued, but that's what the calendar says. Paul and Chris had been playing together for a while before this. I seem to recall rehearsals outdoors in Hartford beneath stretches of raised highway under construction. But that may have been Chris and Pete Nolan, back when Pete played guitar. Who can remember exactly? It's been a long time. But I do remember we put this set together because it seemed essential to document how amazing the communication was between these two musicians, from different generations, but tuned into the same insane frequency. When we told Paul we wanted to do it on the Ecstatic Yod label, with art by Gary Panter, and actual liner notes, he thought it wasn't the best idea he'd ever heard, but what the hell. The actual hope of the label was to raise the profile of this incredibly talented but ruinously humble saxophonist, so that he'd be thought of in the same way as the day's other great players. And hey -- it sorta worked. The CD got solid reviews, and more people heard it. But what most listeners took away from it was how intensely telepathic the music is. It's all lightning and smoke. These guys were deep inside each other's heads, and that made for a wonderful listening experience. In a way it's funny to hear how 'jazzy' Chris's playing is. He's gone so far beyond known-moves over the last years, you almost suspect he must be holding back. But he's not. He's throwing down as hard as he can to meet the ragged flowing genius of Flaherty's horn at every turn. He just had different chops back then. And the music is still amazing. \u003ci\u003eThe Hated Music\u003c\/i\u003e is one of the best extended drum\/sax forays you'll ever hear. If we could have done it on vinyl back then, we would have, but no one was buying the stuff much right then. Jerks. That has changed a bit now. For the good. And we got the great Gary Panter to do new cover, since the old one was CD sized and weird. But everything else is the same. And it totally rips a hole in the universe. Now and forever. Amen.\" - Byron Coley, 2018. Includes download code.\u003c\/div\u003e","brand":"Feeding Tube","offers":[{"title":"Double LP","offer_id":12760378605631,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR308LP_CU.jpg?v=1571718503"}],"url":"https:\/\/www.fusetronsound.com\/collections\/8-8-18.oembed?page=2","provider":"fusetron","version":"1.0","type":"link"}