{"title":"november 15, 2019","description":"","products":[{"product_id":"kotsen-attack-of-the-savage-horde","title":"KOTSEN - Attack of the Savage Horde","description":"\u003cp\u003eReissue of the amazing 1985 demo by Urs Sprenger (formerly of HELLHAMMER - booted due to his ineptitude, which is saying something..). Released under the guise of an Icelandic hardcore band, it comes out sounding like a mind-bending mongrelization of DRUNKS WITH GUNS, THE SHAGGS and THE BLUE HUMANS.. or something. Includes a WHITEHOUSE-ish cover of \"Get Back\". Edition of 200 in metallic ink silkscreened jackets with glossy insert.\u003cbr\u003e\u003cbr\u003e\"Unbridled chaos-punk from deep Switzerland. Kötsen was forming around the time Urs Sprenger aka Steve \"Savage Damage\" Warrior was ejected from Hellhammer in 1983 for his punk taste and wild, a-music style. While that band went on to the death metal mainstream to become Celtic Frost, Steve-Urs was forging a new, unique frontier of the hardcore underground, disguised of an unreal band of Ijslandic punks called Kötsen (meaning \"Puke\"). Inspired by Terveet Kädet, Discharge, \u0026amp;c, as well as the heavily slowed NWOBHM singles by Venom \u0026amp;c that were a huge influence on the early Hellhammer, Kötsen fit no scene with its extreme, bursting sound, stretching the intense energy of the hardcore of the time and the aberrant inclinations of the most extreme metal to a realm outside of those or any categories. Sodom admired the radical sound of the Kötsen demos, and Celtic Frost recycled one song of this tape for their first album, released the same year. \"Attack of the Savage Horde\" was the second Kötsen demotape, from 1985. Wave after wave of explosion. Energy foaming at the mouth. Beyond punk, way.\" - Riøt Rekørd.\u003c\/p\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/M3mKzsR_600x600.jpg?v=1573860403\" alt=\"\" style=\"float: none;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/Kotsen_Battlefield_600x600.jpg?v=1573860531\" width=\"600x600\" height=\"600x600\" style=\"float: none;\"\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/img.discogs.com\/giXmpks5vAMZA_Ujrp2GQok2_Us=\/fit-in\/600x776\/filters:strip_icc():format(jpeg):mode_rgb():quality(90)\/discogs-images\/R-7708681-1447171602-3808.jpeg.jpg\"\u003e\u003ciframe width=\"600\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/SSzS2ScxsVc\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Riøt Rekørd","offers":[{"title":"One-sided LP","offer_id":52004797575,"sku":"17494-CHAOS PUNK","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-7708681-1466888543-2889_jpeg.jpg?v=1571718276"},{"product_id":"llopis-pep-poiemusia-la-nau-dels-argonautes","title":"LLOPIS, PEP - Poiemusia La Nau Dels Argonautes","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1648054166\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/pepllopis.bandcamp.com\/album\/poiemusia-la-nau-dels-argonautes\"\u003ePoiemusia La Nau Dels Argonautes by Pep Llopis\u003c\/a\u003e\u003c\/iframe\u003e This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts first charted and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Peps project: Lewis Carrolls “Map of the Ocean” from his The Hunting of the Snark. Its a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. \u003cbr\u003e\u003cbr\u003eLlopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer. In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns vaporous voice. She extends the roll of her rs and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.\u003cbr\u003e\u003cbr\u003eLlopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of “El Vell Rei De La Serp” and the tender piano on “Nits de cristall.” You will find yourself submerged in tonality on tracks like “Jardins Aquàtics” and “La Nau Dels Argonautes” which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break on the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carrolls map: “a perfect and absolute blank.” - Freedom To Spend.\u003cbr\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/329382486\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\"\u003e\u003c\/iframe\u003e","brand":"Freedom To Spend","offers":[{"title":"LP","offer_id":893337272327,"sku":"20253-FREEDOM TO SPEND","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-10343152-1495669109-2289_jpeg.jpg?v=1573848195"},{"product_id":"van-den-broeke-jan-11000-dreams-2019-repress-stroom-belgium-lp","title":"VAN DEN BROEKE, JAN - 11000 Dreams (2019 Repress)","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=296540921\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/stroomtv.bandcamp.com\/album\/11000-dreams\"\u003e11000 Dreams by Jan Van den Broeke\u003c\/a\u003e\u003c\/iframe\u003e \"2019 repress of Jan van den Broeke's 11000 Dreams, an ambient\/synth\/wave compilation centering on the man who brought the world Absent Music, The Misz, and June11. Introvert gold!\" - Stroom .","brand":"Stroom","offers":[{"title":"LP","offer_id":31241975169087,"sku":"","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/STRLP005LP_CU_bffc98cd-465a-4c2a-99ed-5701d7954e14.jpg?v=1573743901"},{"product_id":"art-technique-clima-x-b-f-e-records-spain-lp","title":"ART \u0026 TECHNIQUE - Clima-X","description":"\"B.F.E. Records present a reissue of the fantastic debut LP from France's pioneer avant-electronic unit, Art \u0026amp; Technique. Clima-X was originally released in 1981 by Hi-Tech Records. Haunting obscure minimal electronic sounds, ambient and atmospheric ventures, minimal wave with some ethnic elements. And excellent use of rhythm boxes, sound generators and strange vocals, reminiscent of 23 Skidoo's \"7 Songs\", early Muslimgauze or O Yuki Conjugate's sound. Remastered by former member Bernard Filipetti. Edition of 300.\" - B.F.E. Records .","brand":"B.F.E.","offers":[{"title":"LP","offer_id":31241975267391,"sku":"","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BFE055LP_CU_581862ea-3003-4bd5-baba-e9d788a02297.jpg?v=1573743902"},{"product_id":"ma-ama-morphine-records-italy-lp","title":"MA - AMA","description":"\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/644563500\u0026amp;color=ff0000\"\u003e\u003c\/iframe\u003e \"MA comes from the Tokyo rap and hip-hop scene, and throughout the years his style has evolved into more noisy and experimental beat-making. On Ama, he blends ritualistic ancient Japanese lyrics and vocal methods, on music that he creates using his voice and\/or field recordings. The result is alienating, weird, and haunting but at the same time fascinating and futuristic. MA's \"Beehayden\" is being remixed by Sugai Ken, another outstanding artist and performer from Japan. MA made his first short live performance at Dommune Tokyo in May 2019, revealing his craft and performative side.\" - Morphine Records .\u003c\/p\u003e","brand":"Morphine","offers":[{"title":"LP","offer_id":31241975463999,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOSER035LP_CU_9ad6541d-b4eb-4c0d-a3df-a5b69c60bcd0.jpg?v=1573743903"},{"product_id":"hammond-doug-folks-manufactured-recordings-lp","title":"HAMMOND, DOUG - Folks","description":"\"Released in 1980, Hammond's third album is described by jazz critic Francis Davis (Village Voice, Atlantic Monthly) in Downbeat Magazine as 'something of an omnibus -- there's a little bit of everything here, the best of it excellent.' Expect bright original compositions filled with dancing rhythm duets, sonorous cello, modal vocalese \u0026amp; more. Recorded with bassist Cecil McBee, vocalists Angela Bofil and Bessie Carter, saxophonists Steve Coleman and Byard Lancaster and cellist Muneer Abdul Fataah, Hammond is an unassuming leader, acting as an imaginative drummer who allows the soloists to shine time and time again. Now considered a rare, classic spiritual jazz session of the era.\" - Manufactured Recordings.","brand":"Manufactured Recordings","offers":[{"title":"LP","offer_id":31241975595071,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MFG066LP_CU_c934eccc-bdc9-4f49-b2cb-7aa43481ff67.jpg?v=1573743905"},{"product_id":"contagious-contagious-morphine-records-italy-lp","title":"CONTAGIOUS - Contagious","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/644583108\u0026amp;color=ff0000\"\u003e\u003c\/iframe\u003e \"Contagious is a solid blending of avant-garde experimentation and electronic music formed by two innovative voices from the improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-respected and creative DJ and musician who's been operating in Berlin venues and festivals for a long time. Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing in the most creative ways, all of this is built up within a solid structure of instant composition and improvisation. The trio plunder each other's musical spheres, appropriate them and switch roles. Andrea Neumann performs on her infamous Inside Piano, an instrument she pioneered and crafted, applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki's processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz's trumpet sounds blast through her processing system. Together, the three musicians communicate a strange logic of composition and futuristic structures, where fragile sound textures and pulses become monumental. Contagious is their debut album, recorded and produced by Rabih Beaini. The trio wanders in new aesthetic areas; sound is a texture where the processing rigs are constantly developing new forms and evolutions -- structures and grooves implode in noisy fragments, growing into a deep trance state.\" - Morphine Records .","brand":"Morphine","offers":[{"title":"LP","offer_id":31241975726143,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOSER036LP_CU_1df74325-85ef-432b-ad54-024b1617ea97.jpg?v=1573743906"},{"product_id":"hammond-doug-spaces-manufactured-recordings-lp","title":"HAMMOND, DOUG - Spaces","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/G7y4sDThe_U\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"Released in 1982, Spaces features alto saxophonist Steve Coleman and cellist Muneer Abdul Fataah writing with Hammond as the Doug Hammond Trio, with guests Byard Lancaster (Alto Saxophone, Flute) and Kirk Lightsey (piano). It's an album is full of strong, succinct statements that, according to Musician Magazine (Cliff Tinder, 1982), belie an abstract, soulful approach to free jazz. The exhilarating cello and angular horns show each player's experience and artistry while the heady, asymmetrical rhythmic concepts of Hammond and Steve Coleman add a playfulness to the dissonance. Creative, dynamic, modern, Tinder notes that Spaces gives any jazz master a run for their money.\" - Manufactured Recordings.","brand":"Manufactured Recordings","offers":[{"title":"LP","offer_id":31241975889983,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MFG067LP_CU_482912d0-e0ab-45b8-8d6b-9b19a1874b12.jpg?v=1573743907"},{"product_id":"g-a-m-s-lalaland-symbiose-feat-felix-kubin-karlrecords-germany-7","title":"G.A.M.S. - Lalaland Symbiose (feat. Felix Kubin)","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/cHBfVaD3M_8\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"A vinyl 7\" with the non-album track \"Lalaland Symbiose\" by G.A.M.S. featuring Felix Kubin backed with a remix by Unprofessional! G.A.M.S. is the new duo of Andi Stecher (drums) and Guido Möbius (feedback).\" - Karlrecords .","brand":"Karlrecords","offers":[{"title":"7\"","offer_id":31241976578111,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/KR072EP_CU_52e4d92b-bf34-4342-8bd7-049871eda616.jpg?v=1573743909"},{"product_id":"beausoleil-bobby-lucifer-rising-rustblade-italy-cd","title":"BEAUSOLEIL, BOBBY - Lucifer Rising","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/pvNAVopEZug\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical \u0026amp; essential. Artwork by Malleus. Limited edition digipack.\" - Rustblade .","brand":"Rustblade","offers":[{"title":"CD","offer_id":31241976741951,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RBL072CD_CU_7cd9f75d-1da8-4d07-bce8-7a205c57b566.jpg?v=1573743910"},{"product_id":"fraunberger-stefan-quellgeister-3-morphine-records-italy-lp","title":"FRAUNBERGER, STEFAN - Quellgeister#3","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/644562294\u0026amp;color=ff0000\"\u003e\u003c\/iframe\u003e \"Stefan Fraunberger's Quellgeister#3 is recorded entirely on an abandoned church's organ in the village of Bussd, Romania. The album is the third installment of the series by Austrian artist and composer Stefan Fraunberger. His research on the influence of nature on culture touches on time, periphery, memory, and transience as evidenced in his Quellgeister research. The album is archeological sonic research done on the deteriorating organ discovered in a Saxon church in Transylvania.\" - Morphine Records .","brand":"Morphine","offers":[{"title":"LP","offer_id":31241976938559,"sku":"0","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOSER034LP_CU_1163b9a2-2516-4121-9308-e414a6ba78f9.jpg?v=1573743913"},{"product_id":"renaldo-the-loaf-play-struve-sneff-40th-anniversary-edition-blocglobal-cassette","title":"RENALDO \u0026 THE LOAF - Play Struve \u0026 Sneff (40th Anniversary Edition)","description":"\u003cp\u003e\"Celebrating the 40th Anniversary of their D.I.Y. cassette debut, Renaldo \u0026amp; The Loaf revisit Play Struvé \u0026amp; Sneff with a very special deluxe run of only 200 copies! For the first time since 1979 this very rare release is faithfully recreated, right down to the photocopied images and typewritten cassette labels! In addition, the cassette is included within a beautiful custom retail box alongside a signed\/numbered 'RATL \u0026amp; A Stranger' promo card and a 36 page booklet telling the complete story of how Struvé \u0026amp; Sneff came about way back when! So just who are Renaldo \u0026amp; The Loaf? Two British guys, Brian Poole and David Janssen, who met in 1970 and self-taught themselves to play their instruments in their own very individual way. Always recording their own material in a bedroom studio, over time they developed an increasingly strange yet very British repertoire of oddly accessible songs. Spurred on by the D.I.Y. ethic of the late 70s, in 1979, they compiled their first album as Renaldo \u0026amp; The Loaf, a hand-made cassette that was sold locally and thru mail order. Only about 250 copies were ever made. In late 1979 that cassette was brought to the attention of The Residents and it directly lead to the band signing to Ralph Records in San Francisco. They went on to release five albums on the label including a unique collaboration project with The Residents themselves. Original copies of the cassette album are now a prized collector's item and with its 40th anniversary in September 2019, a special re-issue will be an exciting prospect for their loyal fanbase.\" - Blocglobal.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/j5ijD-bxzpw\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Blocglobal","offers":[{"title":"Cassette","offer_id":31241979035711,"sku":"","price":36.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BGMERR001CS_CU_4682c7a5-94a1-4203-bd93-dec78f6bf1a0.jpg?v=1573743914"},{"product_id":"hammond-doug-ellipse-manufactured-recordings-lp","title":"HAMMOND, DOUG - Ellipse","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/p29AQ5kWOxk\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"A composer, writer, percussionist, singer and coordinator, Doug Hammond was born in Tampa, Florida in 1942, the city where he cut his teeth in percussive studies with Don Templeton's Tampa Metropolitan Symphony, preparing for a career in classical music that he would never enter into. Instead, Hammond began a career that would eschew typification and stylistic categories, excelling at everything from blues to bop and free jazz. Though he may be most remembered as the composer and one of the vocalists of Mingus Moves, Hammond is much more than that. His journey began as a musician. Before his high school graduation, he was playing blues music with Barney Lowis and B.B. King, who went onto get him his first gigs sitting in with Earl Hooker. By the grace of pianist and vocalist Kitty Daniels, Hammond was inducted into jazz, at first playing with Andy 'Gump' Martin and then, upon graduation, The Five Royals, Little Willie John and Sam and Dave. Splitting his time between New York City and Detroit in the 60s and 70s, Hammond lent his percussive and vocal talents to Donald Byrd, Sonny Rollins, Kenny Dorham, Charles Mingus, Sam Rivers, Etta James, Nina Simone, the Dorothy Ashby Trio and more. In 1967, he became a founding member and vice president of the Detroit Creative Musicians Association, an artist-led cooperative that presaged Tribe, Strata and Strata-East. Released in 1977, Ellipse features Hammond on percussion, drums, piano and voice along with Karen Joseph on flute and alto flute. Moving fluidly from the uptempo 'Warm Up' to the deep, dreamy 'Concentric Dream', this session runs the gamut with Hammond drawing inspiration from an 'inner-voice that has roots in Africa, which manifests itself through impressions perceived by the composer in America from his African ancestors'. A rare and underrated spiritual jazz excursion.\" - Manufactured Recordings.","brand":"Manufactured Recordings","offers":[{"title":"LP","offer_id":31241980280895,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MFG065LP_CU_1eb9cb2c-a2db-498f-95c8-b6629b8017ea.jpg?v=1573743915"},{"product_id":"va-forge-your-own-chains-now-again-2lp","title":"VA - Forge Your Own Chains","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2i0XMMjBc6Y\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"Subtitled: Heavy Psychedelic Ballads And Dirges 1968-1974. 2019 repress, originally released 2009. 2LP version. \"Deluxe gatefold jacket containing extensive and detailed liner notes and annotation by Egon, rare photos and other ephemera.\" Artists: Top Drawer, Sensational Saints, East Of Underground, D. R. Hooker, Shin Jung Hyun \u0026amp; The Men feat. Jang Hyun, T. Zchiew \u0026amp; The Johnny, The Strangers, Damon, Ellison, Morly Grey, Shadrack Chameleon, Ofege, Ana Y Jaime, Kourosh Yaghmaei, Baby Grandmothers.\" - Now-Again.","brand":"Now-Again","offers":[{"title":"Double LP","offer_id":31241980379199,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/NA5046LP_CU_6db29f89-647f-45f3-8ac4-e4ab94ef4b0e.jpg?v=1573743917"},{"product_id":"ruins-marea-tide-music-from-memory-netherlands-lp-7","title":"RUINS - Marea\/Tide","description":"\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/871171799\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\"Music From Memory's latest release sees the reissue of the lost art record Marea\/Tide: Sound And Image Research Volume One by Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna aka Ruins. Ciranna and Pizzin first conceived the Sound And Image Research series back in the early '80s, when they were involved in various multimedia projects in art galleries and unique exhibition spaces across Italy. In 1984 Ciranna and Pizzin came across the works of Italian artist Luigi Viola, a painter whose work was already known internationally and who was active in galleries worldwide. When the opportunity arose for the three to come together it quite naturally led to the creation and production of the album Marea\/Tide -- a record not only inspired by the work of Viola but evolved in symbiosis with him. It was to be the first and sadly the only volume in Ruins' Sound Image series. Marea\/Tide was released in early autumn 1984 and showcased on November 24th of the same year at an exciting one-off event, alongside exhibitions of the visual works and listening sessions at the well-known Villa Sagredo in Venice. Further showcases were performed at galleries across Italy by the duo alongside Viola's art. The records, for the most part were available solely at those events. The first (and only) edition of the album was limited to 600 copies, 200 of which also included an original screen-print of two different works by Viola; Cuore Veneziano\/Venetian Heart, numbered and signed by the artist. Due to poor management and disagreements with the label which produced the record, 300 copies were held for many years in storage and then later sadly destroyed; Marea\/Tide disappeared almost completely without trace. Includes bonus 7\" with four stunning unreleased tracks, and printed insert with updated liner notes.\" - Music From Memory .","brand":"Music From Memory","offers":[{"title":"LP + 7\"","offer_id":31241980706879,"sku":"","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MFM043LP_CU_0c693cff-b985-483c-90b2-1d0f60e8d176.jpg?v=1573743918"},{"product_id":"russell-arthur-iowa-dream-audika-records-cd","title":"RUSSELL, ARTHUR - Iowa Dream","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/685743397\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist.\" - Audika Records.","brand":"Audika","offers":[{"title":"CD","offer_id":31241980805183,"sku":null,"price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/AU1017CD_CU_d822916e-6091-4ab6-b42c-f82b7b4e6168.jpg?v=1573743920"},{"product_id":"upperground-orchestra-euganea-morphine-records-italy-lp","title":"UPPERGROUND ORCHESTRA - Euganea","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/644560512\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\"Rabih Beaini's Upperground Orchestra (Beaini, Alvise Seggi, Tommaso Cappellato, and Piero Bittolo Bon) are back with their first studio material since 2008. Upperground Orchestra is the hybrid jazz band of Rabih Beaini and his fellow musicians Cappellato (drums), Bon (woodwinds\/electronics), and Seggi (bass\/oud). The band returns with a new LP, seven years after The Eupen Takes (DOSER 013LP, 2012). Euganea is a five track LP recorded during their Musica Veneta residency, promoted by FAI (Fondo Ambiente Italiano) in the great setting of Villa dei Vescovi. Working around Veneto music, the band developed pieces that merge the deep roots of original fusion (tape music, electronic synths, and processing) with the free spiritual jazz sound of Upperground Orchestra.\" - Morphine Records .","brand":"Morphine","offers":[{"title":"LP","offer_id":31241981001791,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DOSER033LP_CU_4d567634-f26b-45cf-96cb-b0b5508ed270.jpg?v=1573743921"},{"product_id":"company-epiphanies-i-vi-honest-jon-s-records-uk-2lp","title":"COMPANY - Epiphanies I-VI","description":"\u003cp\u003e\"Ever played that game where you imagine you can invite a few people from any period in human history to a dinner party guaranteed to produce rich, stimulating, and provocative conversation? Derek Bailey did it for real, musically, in his Company Weeks. In July 1982, his guests at London's I.C.A. were contemporary classical pianist Ursula Oppens, folk\/jazz singer-turned-improviser Julie Tippetts and her partner pianist Keith Tippett, violinist\/electronics wizard Philipp Wachsmann, guitarist Fred Frith, trombonist George Lewis, harpist Anne LeBaron, and, from Japan, free jazz bassist Motoharu Yoshizawa and sound artist Akio Suzuki. In addition to the stellar group improvisation Epiphany (HJR 211LP), they also recorded enough material for two more full-length albums, of which this is the first. That line above about conversation presupposes that music is some sort of language -- a thorny proposition indeed on which whole books have been written. Suffice it to say that if it is a language -- music certainly communicates, that's for sure -- it's not an Indo-European model: the only way music can express the notion of past tense is by repeating something, so that listeners can identify it as something they've heard before. Improvised music, however, is forever \"in the moment\", as improvisers like to put it, i.e. the present tense -- and the present tense has never been more wonderfully communicative than it is in these six epiphanic improvisations. Yoshizawa and Oppens (both on the keyboard and inside her piano) bounce ideas off each other like ping-pong balls (\"First\"); Tippetts, Wachsmann, and Bailey do extraterrestrial cubist flamenco (\"Second\"); Lewis and Frith rumble at everyone magnificently (\"Third\"); Tippett and Oppens kaleidoscope the entire history of the piano into just over 15 minutes (\"Fourth\" and \"Fifth\") with added seasoning from LeBaron and  Wachsmann, and on the closing \"Sixth\", Akio Suzuki, despite describing himself elsewhere as \"pursuing listening as a practice\", makes one hell of a racket with his self-made instruments: a flute, a spring gong and his analapos (two single-lidded cylinders attached by a long steel coil, which he can manipulate and strike, as well as vocalize into the tube). Yoshizawa and Bailey give him a real run for his money though, and it all builds to an ecstatic swirling, grinding climax, with Suzuki whooping and hollering wildly. Is it language? You decide. Is it rich, stimulating and provocative? You bet. What a dinner party! Bon appetit!\" - Honest Jon'S Records .\u003c\/p\u003e","brand":"Honest Jon's","offers":[{"title":"Double LP","offer_id":31241981198399,"sku":null,"price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HJR212LP_CU_70c29149-c8e5-4a94-ba6e-26c9c566d4d0.jpg?v=1573743922"},{"product_id":"operating-theatre-the-early-years-allchival-ireland-2cd","title":"OPERATING THEATRE - The Early Years","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4234419227\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rogerdoyle1.bandcamp.com\/album\/operating-theatre-the-early-years-double-album\"\u003eOperating Theatre - The Early Years (double album) by Roger Doyle\u003c\/a\u003e\u003c\/iframe\u003e \"The Early Years collection has been released to celebrate the 25th anniversary of the founding of the music-theater company, Operating Theatre, by composer Roger Doyle and performer Olwen Fouere. Operating Theatre has been active in two phases: the first from 1981 to 1988, and the second from 1998 to 2008. This double-CD set celebrates the first phase, during which the company operated as both a theatre company, integrating music as an equal partner in the theatrical environment, and as a band releasing records.\" - Allchival .","brand":"Allchival","offers":[{"title":"Double CD","offer_id":31241981362239,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SIDO02021CD_CU_0f093b6b-c12e-4b7a-abeb-d19ae102172b.jpg?v=1573743924"},{"product_id":"arp-frique-erik-keysie-ritfeld-improvised-suites-for-analog-machines-colorful-world-netherlands-lp","title":"ARP FRIQUE \u0026 ERIK (KEYSIE) RITFELD - Improvised Suites for Analog Machines","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=10658290\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/arpfrique.bandcamp.com\/album\/improvised-suites-for-analog-machines\"\u003eImprovised Suites For Analog Machines by Arp Frique \u0026amp; Erik (Keysie) Ritfeld\u003c\/a\u003e\u003c\/iframe\u003e \"Erik \"Keysie\" Ritfeld and Arp Frique's Improvised Suites For Analog Machines celebrates the most influential analog synthesizers of the '70s and '80s. Each track is uniquely dedicated to a different synth, experimenting with the variety of sounds each is capable of producing while telling a story of the past. The whole album is a mesmerizing improvisation demonstrating what each instrument can do, while maintaining a wonderful fusion of old and new. Performed and composed by Erik \"Keysie\" Ritfeld and Arp Frique.\" - Colorful World .","brand":"Colorful World","offers":[{"title":"LP","offer_id":31241981493311,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CW002LP_CU_e54cb870-fa6e-41c2-9389-ac888233a82e.jpg?v=1573743925"},{"product_id":"lucifer-was-underground-and-beyond-sommor-records-spain-lp","title":"LUCIFER WAS - Underground And Beyond","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=349243986\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/guerssenrecords.bandcamp.com\/album\/underground-and-beyond\"\u003eUnderground And Beyond by Lucifer Was\u003c\/a\u003e\u003c\/iframe\u003e \"Sommor Records present a reissue of Lucifer Was's debut album Underground And Beyond, originally released in 1997 as a picture disc LP. Killer hard psych-prog from Norway, Underground And Beyond from cult proto-metal band Lucifer Was, contains songs written in 1971-72, but not recorded until 1997. Established in 1970 in Oslo, Lucifer Was were a powerful psychedelic hard-rock\/hard-prog band that lasted until 1975. During those years, they gigged locally and played at some big festivals but they never got the chance to register any recording. The band hibernated until 1996 when they reunited again for a live concert. The chemistry was still there so they entered a recording studio and recorded in just 18 hours their first ever album, Underground And Beyond, featuring songs written in 1971-72. Their line-up included two flute players plus bass, drums and the killer lead guitar of Thore Engen. Fully '70s analog -- a powerful sound with devastating distorted lead guitar and flute. Imagine a cross between Jethro Tull, Black Sabbath, and Atomic Rooster. Remastered sound; includes color insert with liner notes by Klemen Breznikar (It's Psychedelic Baby) plus rare photos.\" - Sommor Records .","brand":"Sommor","offers":[{"title":"LP","offer_id":31241981657151,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SOMM055LP_CU_b0ab8900-3cc6-4128-a621-6c081ac111b7.jpg?v=1573743926"},{"product_id":"company-epiphanies-vii-xiii-honest-jon-s-records-uk-3lp","title":"COMPANY - Epiphanies VII-XIII","description":"\u003cp\u003e\"More buried treasure from the 1982 Company Week at London's I.C.A., seven more epiphanies (previously unreleased!) to add to the six on Epiphanies I-VI (HJR 212LP) and the 48-minute ensemble Epiphany (HJR 211LP). Fred Frith's diverse activities as composer and educator in recent years shouldn't let us forget he's a stellar improviser -- 1974's Guitar Solos is still a seminal album of free improv -- and he has three opportunities here to showcase his considerable talents. \"Eleventh\" is an extended techniques tour de force, with George Lewis working slowly but surely through a variety of trombone mouthpieces while Frith's guitar, strummed, bowed or prepared, could be a Theremin, a koto, a mouse trapped inside a grandfather clock, or a lion cub inside a shoebox. Bookending the album, on \"Seventh\" he swaps Webernian shards with Lewis and harpist Anne LeBaron and on \"Thirteenth\", with pianist Keith Tippett, condenses a whole lifetime of musical exploration into a mere twelve minutes. Elsewhere, on \"Eighth\", violinist Philipp Wachsmann reveals his understated mastery of both his violin and the electronics he's devised to extend its range, and pianist Ursula Oppens proves she's as adept as conjuring forth magic from inside her instrument as she is caressing it out from the keyboard. Those that moan that improvised music is more about finding extraordinary new sounds and less concerned with exploring nuances of pitch, both horizontally (melody, yes) and vertically (harmony), should listen up. \"Ninth\" is a spikier affair, with Lewis giving a whole new meaning to the word embouchure, quacking, spitting and wheezing like a flock of geese let loose in a fairground, while Derek Bailey and Motoharu Yoshisawa patiently explore the outer limits of acoustic guitar and double bass. Bailey and Lewis team up again on \"Twelfth\" to take on Oppens -- and everybody wins. Voice is more to the fore on \"Tenth\", with Julie Tippetts's coloratura and flute and Akio Suzuki's analapos and spring gong flying high while LeBaron, Wachsmann, and Yoshizawa weave intricate webs of pizzicati, spiccati, and glissandi beneath. The word that comes to mind here most often is virtuosity, not just in terms of simple ability on one's chosen instrument(s) but also in knowing just how and just when to display it -- not surprisingly it was Fred Frith who coined the term \"virtuoso listening\". That's what these folks do, and ever so well: be a virtuoso listener yourself and check it out.\" - Honest Jon'S Records .\u003c\/p\u003e","brand":"Honest Jon's","offers":[{"title":"Triple LP","offer_id":31241981820991,"sku":null,"price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HJR213LP_CU_4f5a018b-deed-4f77-ae06-2cf0f0f4295d.jpg?v=1573743927"},{"product_id":"mighty-baby-at-a-point-between-fate-and-destiny-the-complete-recordings-grapefruit-records-uk-6cd-box","title":"MIGHTY BABY - At A Point Between Fate And Destiny: The Complete Recordings","description":"\"The band-authorised 6-CD set At A Point Between Fate And Destiny features all surviving recordings, with much-loved studio albums Mighty Baby and A Jug Of Love joined by rehearsal sessions, a complete and previously unissued alternative version of the first album, audio from the band's only TV appearance and other studio outtakes.\" - Grapefruit Records.","brand":"Grapefruit","offers":[{"title":"6 CD Box Set","offer_id":31241981919295,"sku":"","price":43.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CRSEGBOX062CD_CU_76dd634d-7905-462b-8211-9356f8ca5a75.jpg?v=1573743929"},{"product_id":"christensen-stefan-friends-unknown-fortune","title":"CHRISTENSEN, STEFAN \u0026 FRIENDS - Unknown Fortune","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/599589729\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Limited to 250 copies with beautiful artwork provided by Matthew Ford (Yves\/Son\/Ace, Factums). After two limited cassette releases, Unknown Fortune is the vinyl debut for Stefan Christensen’s “\u0026amp; Friends” moniker. Featuring all members of Mountain Movers and Headroom, Unknown Fortune showcases a super group of sorts taking some time to unwind and flow together under the unique and steady guidance of the seasoned songwriter and noisemaker.\u003c\/p\u003e\n\u003cp\u003eRecorded by former Mountain Movers drummer John Miller, at his cozy home studio in one exceptionally productive whirlwind weekend, the album is bookended by two heavy psych explorations. Both feature Christensen and Headroom\/Mountain Movers guitarist Kryssi Battalene engaging in aural duals that will not soon be forgotten. The pair dialogue in a sonic language all their own - predicated by over a decade of friendship and musical collaboration, their innate ability to call-and-respond, ebb-and-flow, push-and-pull is without parallel amongst contemporary duos. Meanwhile the consistent and driving forces of Rick Omonte, Ross Menze and David Shapiro provide rhythm and structure to even the most chaotic feedback immersions of Christensen and Battalene.\u003c\/p\u003e\n\u003cp\u003eUnknown Fortune, however, is not solely an album of psychedelic rock tunes. The record also finds space for contemplative songwriting and other-worldly experimentation. Tracks like “Scraps” and “Praise Sin” see Christensen getting back to his deeply personal crafting of song. His ability to quickly and concisely evoke a strong sense of reflective melancholy brings to mind the talents of artists like Alastair Galbraith and Peter Jefferies, but always through Christensen’s exceptionally original lens. This is melded with long and short form experimentation and improvisation - sometimes featuring just one or two Friends and other times the whole gang. These experiments put to use the many talents of the crew; Shapiro’s acoustic improv, Daniel Greene’s droning chord organ, Omonte coloring parts with melodica and so on. Tracks like “Illustration I \u0026amp; II” create real tension on the record and showcase the crew’s amazing improvisational abilities.\" - C\/Site.\u003c\/p\u003e","brand":"C\/Site","offers":[{"title":"LP","offer_id":31253361262655,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/a3046906762_10.jpg?v=1573833522"},{"product_id":"alexander-the-pale-light-over-the-dark-hills","title":"ALEXANDER - The Pale Light Over the Dark Hills","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/599832033\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Limited one time pressing of 250 copies, housed in beautiful hand assembled sleeves and featuring the gorgeous artwork of Isabela Jeronimo. To call The Pale Light Over The Dark Hills a favorite would be a bit of an understatement. Originally released on cassette in 2017, The Pale Light… has never left regular rotation since it made its way to C\/Site HQ in the spring of that year. The album is yet another stunning example of the focused and emotive fingerpicking tunes that David Alexander Shapiro is becoming so well known for.\u003c\/p\u003e\n\u003cp\u003eThis set sees Shapiro truly showcase his many moods, with tunes that explore the melancholy, the somber, the trying and the difficult, the content and the serene. Side A features five untitled tracks that move with a confidence and poise beyond Shapiro’s relatively short time on this globe. Indebted to masters like Basho and Fahey but always with a deep originality and unique perspective, Shapiro’s precise playing and exacting touch will bring listeners to places of new understanding and a deeper sense of self. In contrast, side B is dominated by an untitled 16+ minute meditation that starts at home, patiently journeys through peaks and valleys to the absolute brink of control, guitar strings nearly ripped from their saddles, and somehow manages to restrain its way back to peace, calm and eventually, the familiar... home. The album closes with a two-minute epilogue, not included on the original cassette release, pulling together any loose ends that might still be frayed. With his work as a solo artist, along with duties in psychedelic explorer's Headroom and Nagual, Shapiro has positioned himself as one of today’s premiere players and The Pale Light… puts his talents on full display.\" - C\/Site.\u003c\/p\u003e","brand":"C\/Site","offers":[{"title":"LP","offer_id":31253383512127,"sku":"","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/download__1.jpg?v=1573833796"},{"product_id":"slogun-the-pleasures-of-death-hospital-productions-double-lp","title":"SLOGUN - The Pleasures of Death","description":"\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=638765172\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/sloguncos.bandcamp.com\/album\/the-pleasures-of-death\"\u003eTHE PLEASURES OF DEATH by Slogun COS\u003c\/a\u003e\u003c\/iframe\u003e \"Hospital Productions present a reissue of Slogun's The Pleasures of Death, originally released in 1997. From the austere and frightening cover with the name of forgotten killers to the monolithic washes of analog synthesized grit and dust cloud vocals of the id, this legendary album first released as a limited cassette of 100 on the cult Labyrinth Recordings from NYC (one of the all-time great NYC cassette imprints) and then famously reissued to wide distribution via cold meat industry sublabel Death Factory, The Pleasures of Death came to prominence in the minds of the same era of release entertainment and descent magazine and Alchemy Records and Bloodlust. Never has there been such an in-depth, caustic, intelligent and evil exploration of true crime violence. Slogun has managed to take familiar stories, untangle them and create deep profiles that leave the listener with unsettling conclusions that do not provide the answers we are commonly forced to accept. Set against the decline of America, the abstraction of the victim landscape is shattered with the brutal and disturbing lyrics faithfully reprinted. A classic of NYC radical art and true crime electronics. Wide spine sleeve; includes large-format booklet and poster taken from the original cassette version.\" - Hospital Productions.","brand":"Hospital Productions","offers":[{"title":"Double LP","offer_id":31253481422911,"sku":"","price":38.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOS607LP_CU_27456432-7b3f-4b40-827f-31e18e4d4556.jpg?v=1573834562"},{"product_id":"lustmord-first-reformed-vaultworks-double-lp","title":"LUSTMORD - First Reformed","description":"\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=478606140\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/lustmord.bandcamp.com\/album\/first-reformed\"\u003eFirst Reformed by Lustmord\u003c\/a\u003e\u003c\/iframe\u003e \"Includes an extra track \"Venice\" which was featured at the Venice Film Festival red carpet event. Lustmord is a Welsh electronic musician, composer, and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head, and Blackest Ever Black. Often credited for starting the dark ambient genre with his Heresy album in 1990, Lustmord's music has been described as sweeping and profound, a vast dreamlike soundscape that utilizes organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory, and the site of the first ever nuclear detonation. Lustmord has announced the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time vinyl and CD release of his soundtrack to Paul Schrader's 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried, and Cedric Kyles. The release features extended versions of the score formatted as a standalone album.\" - Vaultworks.","brand":"Vaultworks","offers":[{"title":"Double LP","offer_id":31253481553983,"sku":"","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/VAULTWORK331LP_CU_ec5d418c-4ecb-4e63-8e0c-06ef20cb0e82.jpg?v=1573834563"},{"product_id":"ware-new-quartet-david-s-theatre-garonne-2008-aum-fidelity-cd","title":"WARE, DAVID S. NEW QUARTET - Theatre Garonne, 2008","description":"\"The David S. Ware Archive Series was launched in November 2015, and AUM Fidelity has marked the anniversary of his birth -- November 7, 1949 -- with a vital new edition therein every year since. David S. Ware was a master saxophonist of the highest order, and an unparalleled sonic alchemist of the modern jazz era. As his distinctly potent sound \u0026amp; vision was an integral inspiration toward the creation\/devotion of AUM Fidelity, that mission continues strong with the DSW-ARC series. Théâtre Garonne, 2008 presents a luminous concert from a transitional period in David S. Ware's ever-creative life. His 17-year-longstanding Quartet with Matthew Shipp \u0026amp; William Parker, which had achieved a naturally ascendant worldwide acclaim, performed their final concerts on a triumphal European tour in March 2007. Knowing that this end was coming, David had already begun writing new compositions and conceptualizing what would become his new quartet. The first iteration of this group -- foundationally with guitarist Joe Morris -- debuted at New York's Iridium jazz club in mid-July. The group was made whole with Ware's stalwart musical companion William Parker back on bass and fellow master musician Warren Smith on drums.\" - Aum Fidelity.","brand":"Aum Fidelity","offers":[{"title":"CD","offer_id":31253481717823,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/AUM113CD_CU_ff1580d5-1fdb-47ea-9d04-bd9c0a76b419.jpg?v=1573834564"},{"product_id":"masonna-shinsen-na-clitoris-hospital-productions-lp","title":"MASONNA - Shinsen Na Clitoris","description":"\"Hospital Productions present a reissue of Masonna's first full-length CD from 1990, Shinsen Na Clitoris, originally on Vanilla Records. The supreme voice of Japanese noise here on vinyl for the first time with audio preparation by Kris Lapke. What would become an inimitable explosion of energy and vision from Japan heralded in the glory days of '90s alternative rock, death metal, and psychedelic synth music, Masonna surpassed all extremes with a full frequency violence that was as fast as it was psychedelic. Not once has any artist emerged with more intensity and focus in the history of noise. It was said onstage that Masonna has reduced the pure elements of classic rock, the guitar stack, the feedback, and the lead singer to an explosive few seconds of visceral feedback, metallic noise from the physical shaking and pressure of his fist around the shaker, processed through the self-described \"harshtronics\" and indeed ending in \"exclamation!\" If you have wondered where to start in the vast and increasingly difficult to find discography of this legend look no further. Presented in immaculate sleeve recreated original art with poster and insert.\" - Hospital Productions.","brand":"Hospital Productions","offers":[{"title":"LP","offer_id":31253481816127,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOS639LP_CU_fc395a7d-6e7c-4ab0-99b3-86ab0c45146d.jpg?v=1573834565"},{"product_id":"trash-kit-horizon-clear-vinyl-upset-the-rhythm-uk-lp","title":"TRASH KIT - Horizon (Clear Vinyl)","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/pM8Mx4_YQ6s\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"180 gram, clear vinyl; edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. \"Coasting\", which opens the album, is concerned with \"the end of the world and also the afterlife\" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. \"Sunset\" draws on similar themes of ending and salvation, and proves equally ruminative. \"Dislocate\" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. \"Horizon\" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. \"Every Second\" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. \"See Through\" sounds pointed and surly, urging you to \"transcend, break down\" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile \"Get Out of Bed\" deals with \"being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough\" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.\" - Upset The Rhythm .","brand":"Upset The Rhythm","offers":[{"title":"LP","offer_id":31253481914431,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/UTR110CLP_CU_aa0ad320-6ca5-42a9-8a8c-c70b809f7596.jpg?v=1573834566"},{"product_id":"ware-trio-david-s-the-balance-vision-festival-xv-aum-fidelity-cd","title":"WARE TRIO, DAVID S. - The Balance (Vision Festival XV +)","description":"\"2019 repress. The Balance is the fourth edition in the DSW-ARC Series; it presents an outstanding and incendiary David S. Ware concert, in trio with William Parker and Warren Smith. A tenor sax \/ bass \/ drums excursion of full intensity from the first note, this suite of spontaneous form was created at NYC's Vision Festival in 2010. Ware had been a perennial at this vital annual gathering since its beginning; this was his first time back since his revered Quartet bid farewell there in 2006, and it was a wholly exhilarating return.  This DSW Trio convened only three times over their 10 month existence: the Dec. 2009 studio session for Onecept, this June concert, and the Oct. 2010 album release celebration at the Blue Note in NYC [documented on Live In New York, 2010]. Also included here are four exceptional out-takes from the Onecept session -- all of which had been completed and considered for inclusion at that time. This new release, together with the aforementioned, present the total work which this group created.  Each of their three communions has its own flavor: Onecept deals exquisitely with space and purposefully featured David on three different horns (tenor, stritch, saxello), with Warren Smith on tympanis\/percussion in addition to drum set. The night at the Blue Note features the most extensive documentation of Ware on alto sax in existence (a straight version; the stritch), with the Mid \u0026amp; Far-Eastern tones he brought forth on the instrument blossoming beautifully over the course of two sets in an intimate setting.  This festival stage concert is premier 21st Century free jazz rendered with the virtuosity and lucidity that only Ware (with his esteemed peers) could provide. A profound and utterly complete treat. Packaged in a limited edition deluxe 6-panel digipak, with liner notes by Ware's long-time producer, photographs from the concert, and the vivid witness painting on the cover, which was made during this performance.\"\" - Aum Fidelity.","brand":"Aum Fidelity","offers":[{"title":"CD","offer_id":31253482045503,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/AUM107CD_CU_16f82dd3-afa8-48e6-acf9-78b039a12d2e.jpg?v=1573834567"},{"product_id":"yamamoto-choral-chameleon-eri-goshu-ondo-suite-aum-fidelity-cd","title":"YAMAMOTO \u0026 CHORAL CHAMELEON, ERI - Goshu Ondo Suite","description":"\"\"Eri Yamamoto transcends jazz, classical and folk forms to create a stunning new suite for jazz trio \u0026amp; 50-member choir.  Eri Yamamoto transcended jazz, classical and folk forms in creating her new work : for jazz trio \u0026amp; 50-member choir. She has seamlessly melded biography, group improvisation and far-ranging compositional vocabularies in a momentous seven-part suite, featuring her longstanding trio in collaboration with New York-based Choral Chameleon, directed by its award-winning founder, Vince Peterson. The suite is based off of the 'Goshu Ondo,' a traditional circle dance song from Shiga, Japan, where it was sung during the summer Bon festival to warmly welcome ancestral spirits. The suite commences with the folk song's melodic kernel from which the rest blooms. Choral Chameleon's heterophony, polyphony and unison singing interweave with Yamamoto's trio, often with gorgeous open vowels evocative of natural scenes in works ranging from Claude Debussy through Charles Ives to Duke Ellington. All is bolstered by gentle trio improvisation, Ambrosio and Takeuchi propelling the band forward and ultimately building to a life-affirming choral unison. As the final movement's ecstatic and celebratory rhythms surge, crest and dissipate and the various musical threads converge, a sense of transcultural journey is palpable, of many and disparate experiences existing in luminous multi-communal nexus. The coda composition performed by the trio, 'Echo of Echo', provides a final moment of reflection, mirroring the suite's ultimate descent toward silence; demonstrating, again, that the part is in the whole, which far exceeds the sum of its components.\"\" - Aum Fidelity.","brand":"Aum Fidelity","offers":[{"title":"CD","offer_id":31253482176575,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/AUM112CD_CU_299e4dc8-c72a-4fe5-9e44-5dd4a06c50a4.jpg?v=1573834569"},{"product_id":"ivers-peter-becoming-peter-ivers","title":"IVERS, PETER - Becoming Peter Ivers","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003e\"Becoming Peter Ivers\u003c\/em\u003e tells the story of the late Peter Ivers, a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television.\u003cbr\u003e\u003cbr\u003eWritten and recorded in Los Angeles in the mid-to-late-1970s, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e raises the curtain on this mischievous master of ceremonies, who, harmonica in hand, rarely missed a chance to light up an audience. Since his untimely death in 1983, Ivers' short but storied life has been the subject of much research and remembrance. \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e is the most expansive effort yet to collect his archival recordings.\u003cbr\u003e\u003cbr\u003e“Demos are often better than records,” Ivers wrote. “More energy, more soul, more guts.” The statement anticipates the appearance of \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e, which was assembled from a trove of demo cassettes and reel-to-reel tapes that Ivers recorded variously at his home in Laurel Canyon, Los Angeles, and Hollywood studios for a pair of major label albums in 1974 and 1976. While the two commercially released albums feature the resources of session musicians and state-of-the-art studio detail, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e highlights the private moments of Ivers’ musical energy, frequently pared down to piano, drum machine, harmonica, and Peter’s ageless voice.\u003cbr\u003e\u003cbr\u003eThough technically not Ivers’ debut album (in 1969 Epic Records released \u003cem\u003eKnight Of The Blue Communion\u003c\/em\u003e, Peter’s psychedelic jazz odyssey of sorts), \u003cem\u003eTerminal Love\u003c\/em\u003e was the A\u0026amp;R brainchild of music legend Van Dyke Parks. Already a masterful harmonica player (respectively mentored by blues legend Little Walter and jazz bassist Buell Neidlinger while he was a student at Harvard in the late 60s), Ivers wove his harp melodies through the sensuously colored but unconventionally arranged pop compositions of Terminal Love and its self-titled follow up, which, like the New York Dolls at the same time, explored the libidinous, ironic, and artful possibilities of the rock template.\u003cbr\u003e\u003cbr\u003eA studious artist, Ivers recorded hundreds of writing and rehearsal sessions onto reel-to-reel and cassette tapes, but notes were either scarcely kept or have since been lost. RVNG Intl. collaborated with Ivers’ friend and supporter Steven Martin under guidance from his longtime girlfriend Lucy Fisher, to tell an intimate story of Peter’s creative journey through this untold music. The collection includes tracks that recurred in Ivers’ ouvre over the years; “Alpha Centauri,” “Eighteen And Dreaming,” “Miraculous Weekend.” And, of course, “In Heaven” – the song co-written with David Lynch and commissioned by the filmmaker to be featured in a now-iconic scene of \u003cem\u003eEraserhead\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eAn accomplished Yogi by the late 70s, Ivers was as spiritual as he was playful. Accentuated by his cherubic face and compact height, Ivers’ vitality and curiosity became a part of his poetic sensibility, a quality that also characterizes his singing voice. Fisher remembers Ivers calling his days holed up in the studio as “snowy days,” as if he had been cut from school and let free to roam on his own. “No one knows what Peter Ivers does on a snowy day,” he would say.\u003cbr\u003e\u003cbr\u003eIn 1980, Ivers became involved with the Los Angeles-area public access show \u003cem\u003eNew Wave Theatre\u003c\/em\u003e, serving as its host and paternal misfit. Ivers would introduce a new generation of groups like Fear, Dead Kennedys, and Suburban Lawns while playing a kind-of “straight” man, deliberately baiting the punks with square questions and frocked fashion. His signature question to guests was delivered deadpan: “What is the meaning of life?\"\u003cbr\u003e\u003cbr\u003eIvers died, tragically, the victim of a violent homicide in 1983 that remains unsolved. A shock to his community, his death all but fazed the LAPD, who treated the investigation with less than minimum care.\u003cbr\u003e\u003cbr\u003eA labor of love that took RVNG Intl. over five years to complete, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e re-frames Peter’s music as the centerpiece of his captivating story, concentrating on the work he made during his numerous retreats into art, or, as he put it, during his snowy days. Available as a double LP, CD, and digitally, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e includes liner notes by Sam Lefebvre and Steven Martin and an array of unseen ephemera from Peter’s life and times.\u003cbr\u003e\u003cbr\u003eOn behalf of the estate of Peter Ivers, a portion of the proceeds from this release will benefit \u003ca href=\"https:\/\/homeboyindustries.org\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eHomeboy Industries\u003c\/a\u003e, a rehabilitation organization run by Father Greg Boyle to assist previously incarcerated former gang members with counseling, legal services, and work training programs.\" - RVNG International.\u003c\/p\u003e","brand":"Rvng International","offers":[{"title":"Double LP","offer_id":31253556330559,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RERVNG09-Digital-Cover-1500px_600x_2d43c282-1289-4294-9a24-ca95f47bb098.png?v=1573835267"},{"product_id":"ivers-peter-becoming-peter-ivers-cd","title":"IVERS, PETER - Becoming Peter Ivers","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2X4xR360z_U\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \"Becoming Peter Ivers\u003c\/em\u003e tells the story of the late Peter Ivers, a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television.\u003cbr\u003e\u003cbr\u003eWritten and recorded in Los Angeles in the mid-to-late-1970s, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e raises the curtain on this mischievous master of ceremonies, who, harmonica in hand, rarely missed a chance to light up an audience. Since his untimely death in 1983, Ivers' short but storied life has been the subject of much research and remembrance. \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e is the most expansive effort yet to collect his archival recordings.\u003cbr\u003e\u003cbr\u003e“Demos are often better than records,” Ivers wrote. “More energy, more soul, more guts.” The statement anticipates the appearance of \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e, which was assembled from a trove of demo cassettes and reel-to-reel tapes that Ivers recorded variously at his home in Laurel Canyon, Los Angeles, and Hollywood studios for a pair of major label albums in 1974 and 1976. While the two commercially released albums feature the resources of session musicians and state-of-the-art studio detail, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e highlights the private moments of Ivers’ musical energy, frequently pared down to piano, drum machine, harmonica, and Peter’s ageless voice.\u003cbr\u003e\u003cbr\u003eThough technically not Ivers’ debut album (in 1969 Epic Records released \u003cem\u003eKnight Of The Blue Communion\u003c\/em\u003e, Peter’s psychedelic jazz odyssey of sorts), \u003cem\u003eTerminal Love\u003c\/em\u003e was the A\u0026amp;R brainchild of music legend Van Dyke Parks. Already a masterful harmonica player (respectively mentored by blues legend Little Walter and jazz bassist Buell Neidlinger while he was a student at Harvard in the late 60s), Ivers wove his harp melodies through the sensuously colored but unconventionally arranged pop compositions of Terminal Love and its self-titled follow up, which, like the New York Dolls at the same time, explored the libidinous, ironic, and artful possibilities of the rock template.\u003cbr\u003e\u003cbr\u003eA studious artist, Ivers recorded hundreds of writing and rehearsal sessions onto reel-to-reel and cassette tapes, but notes were either scarcely kept or have since been lost. RVNG Intl. collaborated with Ivers’ friend and supporter Steven Martin under guidance from his longtime girlfriend Lucy Fisher, to tell an intimate story of Peter’s creative journey through this untold music. The collection includes tracks that recurred in Ivers’ ouvre over the years; “Alpha Centauri,” “Eighteen And Dreaming,” “Miraculous Weekend.” And, of course, “In Heaven” – the song co-written with David Lynch and commissioned by the filmmaker to be featured in a now-iconic scene of \u003cem\u003eEraserhead\u003c\/em\u003e.\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/wLaGyXHkQEM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003cbr\u003eAn accomplished Yogi by the late 70s, Ivers was as spiritual as he was playful. Accentuated by his cherubic face and compact height, Ivers’ vitality and curiosity became a part of his poetic sensibility, a quality that also characterizes his singing voice. Fisher remembers Ivers calling his days holed up in the studio as “snowy days,” as if he had been cut from school and let free to roam on his own. “No one knows what Peter Ivers does on a snowy day,” he would say.\u003cbr\u003e\u003cbr\u003eIn 1980, Ivers became involved with the Los Angeles-area public access show \u003cem\u003eNew Wave Theatre\u003c\/em\u003e, serving as its host and paternal misfit. Ivers would introduce a new generation of groups like Fear, Dead Kennedys, and Suburban Lawns while playing a kind-of “straight” man, deliberately baiting the punks with square questions and frocked fashion. His signature question to guests was delivered deadpan: “What is the meaning of life?\"\u003cbr\u003e\u003cbr\u003eIvers died, tragically, the victim of a violent homicide in 1983 that remains unsolved. A shock to his community, his death all but fazed the LAPD, who treated the investigation with less than minimum care.\u003cbr\u003e\u003cbr\u003eA labor of love that took RVNG Intl. over five years to complete, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e re-frames Peter’s music as the centerpiece of his captivating story, concentrating on the work he made during his numerous retreats into art, or, as he put it, during his snowy days. Available as a double LP, CD, and digitally, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e includes liner notes by Sam Lefebvre and Steven Martin and an array of unseen ephemera from Peter’s life and times.\u003cbr\u003e\u003cbr\u003eOn behalf of the estate of Peter Ivers, a portion of the proceeds from this release will benefit \u003ca href=\"https:\/\/homeboyindustries.org\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eHomeboy Industries\u003c\/a\u003e, a rehabilitation organization run by Father Greg Boyle to assist previously incarcerated former gang members with counseling, legal services, and work training programs.\" - RVNG International.\u003c\/p\u003e","brand":"Rvng International","offers":[{"title":"CD","offer_id":31253586051135,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RERVNG09-Digital-Cover-1500px_600x_9c59f83e-ca5e-4794-9a16-065843cc895a.png?v=1573835421"},{"product_id":"copy-of-hood-ernest-neighborhoods","title":"HOOD, ERNEST - Neighborhoods","description":"\u003cmeta charset=\"utf-8\"\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/662976803\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Ernest Hood’s \u003cem\u003eNeighborhoods\u003c\/em\u003e was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privately-pressed opus of 1975.\u003cbr\u003e\u003cbr\u003eSprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, \u003cem\u003eNeighborhoods\u003c\/em\u003e is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of \u003cem\u003eNeighborhoods\u003c\/em\u003e eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.\u003cbr\u003e\u003cbr\u003eBorn into a musical lineage, Hood’s early, promising career as a guitarist in a globe-trotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter Jim Smith collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter Louis Bunce. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in \u003cem\u003eNeighborhoods\u003c\/em\u003e with great abundance among other found sounds.\u003cbr\u003e\u003cbr\u003eWhether using environmental sounds or instruments, a sense of musical narration is the central component of \u003cem\u003eNeighborhoods\u003c\/em\u003e, a strategy Hood tellingly referred to as “musical cinematography” in his original liner notes. Instead of using the picture frame, Hood broadcasts melodies and sounds from his beloved Portland surroundings to transport listeners to the story’s scene. Remarkably, \u003cem\u003eNeighborhoods\u003c\/em\u003e never falls into the sentimentality trap. Hood’s music augments its indeterminate, “anecdotal” sounds with a blend of zither and synthesizer melodies reminiscent of golden age cinema soundtracks.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNeighborhoods\u003c\/em\u003e is an unusual hybrid––not quite an “ambient” record nor a collection of pure field recordings. The identifiable sounds (screen doors opening and closing, passing motorists, crickets chirping, children playing) feel both universal and highly specific, like a bulletin of Hood’s private geography from the middle of the last century. There’s something instructive – if not reparative – about time traveling into the bucolic dimension of \u003cem\u003eNeighborhoods\u003c\/em\u003e in 2019. If Hood were presenting the album today, he might invite listeners to unplug while locating that joy in reminiscence.\u003cbr\u003e\u003cbr\u003eIn the end, the concerns of \u003cem\u003eNeighborhoods\u003c\/em\u003e are poetic not formal, as Hood’s own summary of the album sounds a lot like Walt Whitman: “It hardly matters in which neighborhood you sprouted. The games we played, the mocks, the terminology and the feelings we experienced as youngsters are tantalizingly familiar.” And later, hitting a grand note, “How familiar, how indelible the pictures are: aromas of soft velvet days, strong friendships, fears, hates, loves... If the music seems a little bittersweet, well... isn’t that the taste of nostalgia?”\u003cbr\u003e\u003cbr\u003eFreedom to Spend has restored Ernest Hood’s nostalgic masterpiece with the same care with which he viewed his source material, offering a remastered version of \u003cem\u003eNeighborhoods\u003c\/em\u003e transferred from the original tapes, expanded across four vinyl sides (the original version was crammed on two). The new edition reproduces Hood’s celebratory liner notes in full, alongside new liner notes by \u003cem\u003eMichael Klausman\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eA portion of proceeds from this release will be donated KBOO FM, a volunteer-powered, non-commercial, listener-sponsored, community radio station for Portland, Oregon, the Pacific Northwest, \u0026amp; the World, founded in part by Ernest Hood.\" - Freedom To Spend.","brand":"Freedom To Spend","offers":[{"title":"CD","offer_id":31253625929791,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/Ernest_Hood_-_Neighborhoods_-_FTS014_-_4000px_600x_92703171-6958-45f3-b171-f98bf53c35c5.png?v=1573835854"},{"product_id":"leon-craig-anthology-of-interplanetary-folk-music-vol-2-the-canon","title":"LEON, CRAIG - Anthology of Interplanetary Folk Music Vol. 2: The Canon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/581761926\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Craig Leon revisits the extraterrestrial origins of civilization in \u003ci\u003eAnthology of Interplanetary Folk Music Vol. 2: The Canon\u003c\/i\u003e, a continuing chronicle of his early 80s albums \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e. Exploring the cosmic lore of Leon’s earlier work, \u003ci\u003eThe Canon\u003c\/i\u003e expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.\u003c\/p\u003e\n\u003cp\u003eIn 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released \u003ci\u003eNommos\u003c\/i\u003e, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.\u003c\/p\u003e\n\u003cp\u003eAfter viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNommos, \u003c\/i\u003ecuriously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, \u003ci\u003eNommos\u003c\/i\u003e and its sequel, the privately pressed 1982 album \u003ci\u003eVisiting\u003c\/i\u003e, careened into obscurity.\u003c\/p\u003e\n\u003cp\u003eIn the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the \u003ci\u003eAnthology of Interplanetary Folk Music Vol. 1\u003c\/i\u003e., the 2014 archival collection which presented \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e as they were intended to be heard, two sides of the same coin.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Canon\u003c\/i\u003e picks up where \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s \"The Canon,\" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.\u003c\/p\u003e\n\u003cp\u003eThough the music - propulsive and spacious - is clearly of a part with \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. \u003ci\u003eThe Canon\u003c\/i\u003e implies - through ecstatic, contemporary sound and synthesis - that the origins of Western thought, and civilization itself, lie in the great beyond.\u003c\/p\u003e\n\u003cp\u003eNearly four decades since their first collaboration on \u003ci\u003eNommos \u003c\/i\u003eand\u003ci\u003e Visiting\u003c\/i\u003e, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of \u003ci\u003eThe Canon\u003c\/i\u003e, consciously engaging many of the same synthesizers and programs of \u003ci\u003eAnthology of Interplanetary Folk Music Vol. 1\u003c\/i\u003e for \u003ci\u003eVol. 2\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe duo are touring \u003ci\u003eThe Canon\u003c\/i\u003e with an expanded ensemble throughout 2019 and 2020. Though Leon has performed \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e with orchestral accompaniment over the years, this will be the first time the live cast will also include instrumentalists steeped in the Dogon and Mediterranean musical traditions that infuse both volumes of \u003ci\u003eAnthology of Interplanetary Folk Music.\" \u003c\/i\u003e- RVNG International.\u003c\/p\u003e","brand":"Rvng International","offers":[{"title":"LP","offer_id":31253661810751,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL55-Digital-Cover-1500px_600x_55ae9099-8743-4442-9b96-ebdf251bf12c.png?v=1573836241"},{"product_id":"leon-craig-anthology-of-interplanetary-folk-music-vol-2-the-canon-rvng-international-cd","title":"LEON, CRAIG - Anthology of Interplanetary Folk Music Vol. 2: The Canon","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/581761926\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Craig Leon revisits the extraterrestrial origins of civilization in Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music. In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology. After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind. Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity. In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin. The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s \"The Canon,\" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897. Though the music - propulsive and spacious - is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies - through ecstatic, contemporary sound and synthesis - that the origins of Western thought, and civilization itself, lie in the great beyond. Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2. The duo are touring The Canon with an expanded ensemble throughout 2019 and 2020. Though Leon has performed Nommos and Visiting with orchestral accompaniment over the years, this will be the first time the live cast will also include instrumentalists steeped in the Dogon and Mediterranean musical traditions that infuse both volumes of Anthology of Interplanetary Folk Music. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"CD","offer_id":31254439067711,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL55-Digital-Cover-1500px_600x_f9c42f75-4b6e-4dbb-83eb-ecfe57f48a83.png?v=1573845560"},{"product_id":"visible-cloaks-yoshio-ojima-satsuki-shibano-frkwys-vol-15-serenitatem-rvng-international-lp","title":"VISIBLE CLOAKS, YOSHIO OJIMA \u0026 SATSUKI SHIBANO - FRKWYS Vol. 15: serenitatem","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/595772187\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.’s collaboration series pairing inter-generational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avant-garde music and visual arts scenes of the 1980s and 90s. Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene’s original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse. The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem’s constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation. These are notions most recently reflected in 2017’s Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima’s work on albums like 1988’s Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another’s techniques and processes. The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks’ first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio’s edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — “echoing sound together,” as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls “randomized clouds,” or “tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.” Carlile would also feed Ojima and Satsuki’s text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions. “The aim,” Doran says of serenitatem, “was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.” Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano’s playing resonates like Satie’s, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles. A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-to-ear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It’s a place where the future still grows. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"LP","offer_id":31254439231551,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FRKWYS15-Digital-Cover-1500px_600x_dce80071-7326-42f7-84e7-ffb9289d9591.png?v=1573845561"},{"product_id":"visible-cloaks-yoshio-ojima-satsuki-shibano-frkwys-vol-15-serenitatem-rvng-international-cd","title":"VISIBLE CLOAKS, YOSHIO OJIMA \u0026 SATSUKI SHIBANO - FRKWYS Vol. 15: serenitatem","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/595772187\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.’s collaboration series pairing inter-generational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avant-garde music and visual arts scenes of the 1980s and 90s. Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene’s original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse. The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem’s constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation. These are notions most recently reflected in 2017’s Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima’s work on albums like 1988’s Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another’s techniques and processes. The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks’ first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio’s edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — “echoing sound together,” as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls “randomized clouds,” or “tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.” Carlile would also feed Ojima and Satsuki’s text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions. “The aim,” Doran says of serenitatem, “was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.” Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano’s playing resonates like Satie’s, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles. A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-to-ear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It’s a place where the future still grows. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"CD","offer_id":31254439460927,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FRKWYS15-Digital-Cover-1500px_600x_312237c3-fd80-440d-bf27-64f3e06fb2a5.png?v=1573845562"},{"product_id":"chikuma-june-les-archives-freedom-to-spend-lp-7","title":"CHIKUMA, JUNE - Les Archives","description":"\"Les Archives is composed, arranged, and produced by the elusive Japanese artist June Chikuma. While Freedom To Spend’s reinvented edition bares little visual evidence of its origins in the composer’s name, title, or sleeve design, the album, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet, remains as vibrant now as it did when released on Toru Hatano’s Picture Label as Divertimento in 1986. In fact, the music of Les Archives now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence.\n\nA woman of multiple disciplines and identities, June Chikuma (竹間 淳, Chikuma Jun) has composed for TV, film, and video games over the past thirty plus years. Her proto-techno and drum and bass soundtracks for Nintendo’s Bomberman franchise in the 80s and 90s is an oeuvre unto itself. In more recent years her musical focus has turned toward classic Arabic and Egyptian music. Chikuma studies Arabic nay, playing and performing with Le Club Bachraf ensemble. In a melding of June’s contrasting, colorful worlds, Le Club Bachraf composed part of the original score for the 2007 video game Sonic and The Secret Rings.\n\nFor Les Archives, Chikuma constructed a sonic stage to animate her imaginings as a one-person show. The primary props, a KORG SDD-3000 digital delay, an audible, overt display of unclassified drum machines and samplers, and a litany of literary references. Following the original album’s sequence, “Broadcast Profanity Delay” bursts onto Les Archives’ first scene full of buoyant energy and fluttering atmospheric pressure. The composition was conceived by Chikuma for a make-believe marimba ensemble, and in this shapeshifting form, takes on its own mutant life.\n\n“Pataphysique” is a term for the study of an imaginary realm additional to metaphysics, and the track on Les Archives most conducive to dancing (even if those movements might conjure the herkiest, jerkiest imagery). “Divertimento,” the heretofore title track of the album, brandishes a tough electro exoskeleton with a molten 18th century orchestral interlude nine minutes into the nearly thirteen minute piece. Chikuma dedicates “Divertimento” to composers Wolfgang Amadeus Mozart and Paul Hindemith for his alignment with the New Objectivity movement. By the composition’s conclusion the object’s particles have been completely obliterated and assembled again.\n\nThe cacophony of Les Archives parts to reveal a clearing with “Climb-Down,” Chikuma’s tribute to Erik Satie’s Furniture music (musique d’ameublement). The Michiyo Toda String Quartet’s somber string interpretation of June’s composition offers a grace unlike the Rube Goldberg of punchy programming and found sound on the surrounding electronic machination. After this acoustic respite the electricity is switched on again. “Dual Use” repurposes the constitution of “Divertimento” as a slight samba, complete with Godzilla samples.\n\nRecorded during the original Divertimento sessions at Hugh Studio in Tokyo but excluded from the original album release, Les Archives presents two unheard pieces. “Mujo to Ifukoto” works as interspecies smalltalk between synthetic instruments and environmental samples. Lush strings interrupt synth sweeps, said sweeps giving way to a concrète concert of crickets and church bells. Countering the title’s claim of dispassionate decision-making in the midst of crisis, “Oddman Hypothesis” is deliberately restrained, aside from the shatter marking the start, and resembles the City Pop and fusion movements that defined Japan’s musical landscape in the 80s.\n\nChiikuma’s neon-vibrant aesthetic would be at home soundtracking films like After Hours or Teknolust. However, Les Archives is the score for a movie of mistaken identity – clones redressed in a guise of the artist’s re-coding. The legitimate artifact deceives history. There is no original, but this copy is singular and complete.\n\n\" - Freedom To Spend.","brand":"Freedom To Spend","offers":[{"title":"LP \u0026 7\"","offer_id":31254440935487,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTS010_-_Digital_Cover_-_1500px_600x_9088cfc1-aa77-4c9b-9cac-ed75a77a41b5.png?v=1573845563"},{"product_id":"sprague-emily-a-water-memory-mount-vision-rvng-international-double-lp","title":"SPRAGUE, EMILY A. - Water Memory \/ Mount Vision","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/630939006\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Emily A. Sprague’s Water Memory and Mount Vision albums are presented in new and complete detail. Emily’s work concerns the connectedness of all things, giving living, core form to the mysterious forces that guide earthly activity and human contact with them. Memory and vision, ocean and mountains, question and answer, emotions and infinity. Sunshine, lizard, sea salt. Through sound and poetry, Emily focuses on fleeting moments of crystalline clarity and meditates on expanded lifetimes of intricate meaning-making. This vision is unfalteringly beautiful, gently profound. But, as Ursula K. Le Guin intuits in her translation of the Tao Te Ching, “In poetry, beauty is no ornament; it is the meaning. It is the truth.” A collection of reflections are visible in the mirrored structures of Water Memory and Mount Vision, two chapters - two halves - each complemented by a written verse. As much about the presence in youthful experimentation as the permanence of transition and maturation, Water Memory is the first long-form instrumental music Emily ever channeled, generated over a year of self and sonic exploration between Massachusetts and New York. Water Memory unfolds like a collection of ancient affirmations; at times playful, even illusive, but always glittering and real. The meaning, like the sight, is aqueous - never too solid, nonetheless substantial. Each verse is intentionally titled: “A Lake” is perhaps an exclamation (‘look - a lake!’), an invitation to break its cool glass surface into ripples with your body, float on its skin, observe the inhabitants of its province - birds circling, insects chirping, its own patch of sky just being blue, endlessly. It is nameless, unpossessed, and contained. “Water Memory 1” is woven from cyclical, melodic phrases riding on wistful tides. “Water Memory 2” is its expanded twin, combining coastal sound with a free-flowing, synthesized drone and simple, improvisatory held notes seemingly resonating from behind a falling water facade. “Dock” is a liminal space between water and earth, human structure decaying into nature, singing with an alto, organelle voice. And “Your Pond,” is childlike minutiae looped sweetly, a gift now belonging. By contrast, Mount Vision was conceived in a smaller window of time than its predecessor, the pure residue of intense emotional build up during a period of self-healing and unguarded reflection. Composed and captured in Northern California, the body of Mount Vision is a trio of synthesizer pieces; deeply grounded compositions of extended tones trilling into the ether. Between them is a “Piano” pair, two pieces which loop portions of a lilted phrase augmented by, in “Piano 1,” almost invisible, synthesized strands, and in “Piano 2,” field recordings of birds. “Huckleberry” is the most textured of entry in this compendium, embodying flickering activity of miniscule worlds, a vivid description of environment. Though undeniably the product of potent emotional experience, Mount Vision is a vision of newness, of soul convalescence. It leaves off where its poetic complement ends, “next time.” Not so much an utterance of regret, but the invocation of a new phase, always with respect to the last, a pattern that eternally visits. Emily’s mission on this planet may be facilitating - or illuminating - the correspondence between innermost knowledge and intelligent nature, and Water Memory \/ Mount Vision are most certainly monumental documents along this sharing path. The newly sequenced and Taylor Deupree mastered double LP and CD editions will be available from RVNG on May 24, 2019. A limited print of Emily’s writing, Ambient Poems (2017 - 2018), will be included to mail order customers while the edition allows. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"Double LP","offer_id":31254441328703,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL58-Digital-Cover-1500px_600x_05431cf3-dbed-42d5-879f-b1bc2cf39d4d.png?v=1573845564"},{"product_id":"baird-ka-respires-rvng-international-lp","title":"BAIRD, KA - Respires","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/671236391\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Respires, the second solo album by Ka Baird, blurs the line between word and action, definition and possibility. Spirited yet restrained, bearing its wildly thrummed heart strings and inner calm alike, Respires ventures toward the unknown, charting the shifting ground of experimental music and the rewards born of risk. Tapping the ecstatic energy and cathartic experience of Baird’s live sets, pushing the extremes of psychological and physical release, Respires represents an unquestionable leap for an artist already out on a limb. Largely written and recorded across the length of 2018, the eight pieces align as a series of visceral actions, captured, culled, and intricately shaped by Baird, then expanded with contributions from Zach Rowden (bass), Max Eilbacher and Andrew Fitzpatrick (synths), and Greg Fox (drums). Respires was born from the intertwined etymologies of spirit and breath, the results of Baird’s singular approach to extended vocal technique and radical notions of “body music” which push her performances to uncompromising extremes. Channeling a raw energy from an internal depth, the genetics of Respires construct new bridges of communication, reaching across the perceptual boundaries of spiritual and physical. Informed by indigenous, sacred flute music of New Guinea and vocal music of Burundi, Can, Maryanne Amacher, Don Cherry’s Organic Music Society, and Chaitanya Hari’s Kundalini Meditation Music, and driven by a fearless quest for musical discovery, Respires offers a glimpse into a sacred space of the musical avant-garde. From the unusual folk music of Spires That In The Sunset Rise, to her many collaborative and solo efforts, Baird’s careful artistry and years of experimental exploration, placed in connection with the raw power unleashed by the body, lungs, and reeds, represents an intersection of possible futures on Respires. Tapping the primitive, immediate, unnameable, and fundamentally human, it’s an album which proves the impossibility of failure, when the risk of failure is embraced. An answer - or continuation of - Joan la Barbara’s long standing indication of the voice as “original instrument,” Respires is spirit, movement, and an immersive life force manifested as sound. A sound in which the self is lost, and becomes something universal.\" - Rvng International.","brand":"Rvng International","offers":[{"title":"LP","offer_id":31254443393087,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL61-Digital-Cover-1500px_600x_726d38ad-3e51-49b2-8e9b-a38c59dad55d.png?v=1573845565"},{"product_id":"mercure-michele-beside-herself-rvng-international-cd","title":"MERCURE, MICHELE - Beside Herself","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/499070535\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Michele Mercure often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. Beside Herself, an anthology of Mercure’s self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis. Mercure’s sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities – its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure’s night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings. Mercure was a busy collaborator during the years surveyed by Beside Herself, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included Rogue and Mint (1983), A Cast of Shadows (1984), Dreams Without Dreamers (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure’s transportive aptitude within and beyond the limited sound recording medium. Mercure’s artistic path never ran through creative meccas New York, San Francisco or Los Angeles. Raised in Springfield, Massachusetts, and then moving to Harrisburg, Pennsylvania, in her twenties, Mercure was already an adept musician when she encountered a local and lively theater scene, and was asked to score an unorthodox performance of Waiting for Godot. The experience was pivotal in marrying music and image for Mercure, and so she began making music for film, television, dance, and theater. It wasn’t until a long sojourn in Eindhoven, however, that she became transfixed by electronic music (ala Conrad Schnitzler, whom she would correspond with for years) that would inform her music to come. Acoustic elements such as voice and stringed instruments add a haunting lyricism to the non-tonal space unoccupied by electronic presence in Mercure’s music. The graduality of phrasing and measured sequence of tones also distinguish her music from the repetition and improvisation-heavy hallmarks of the Kosmische genre, a stylistic antecedent for the artist. Mercure’s fascination, or obsession, with new, consumer conscious music technology is demonstrated in her inventive sequencing and sampling, adding a mechanical, sometimes menacing, feel to Beside Herself. Mercure’s contemporaries became the kindred minds of the Eurock “scene” such as The Nightcrawlers, Lauri Paisley, and Don Slepian. It was in association with Paisley and Pauline Anna Strom that Eurock featured Mercure in an article titled “Women Synthesists” in 1986. The three artists all shared a bravura for homespun, self-produced electronic music that looked beyond pop conventions for a higher plane of avant-gardism or musical spirituality. Not long after the article went to print, Mercure offered Eye Chant, her standalone vinyl album self-released in 1987. Beside Herself extends RVNG Intl.’s preservation efforts to sister label Freedom To Spend who reissued Eye Chant in 2017, an occasion marking just over twenty years since its original release on Mercure’s own Quick Shower Music. (Eye Chant, and the cassettes surveyed on Beside Herself, were originally credited to Michelle Musser, the name which the artist used until a divorce in 1987). The anthological scope of Beside Herself joins Eye Chant to restore the canon of Mercure’s arresting dream-music, revisiting this anomalous creator’s breakthrough material. Beside Herself will be released on double LP, CD, and digital formats on November 9, 2018. The set features liner notes by Emily Pothast and an incredible array of unseen photography and ephemera of the era. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"CD","offer_id":31254443687999,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RERVNG12_-_Digital_Cover_-_1500px_600x_d984adf2-a34b-46f2-8605-c5c00ce3ff74.png?v=1573845566"},{"product_id":"coates-oliver-shelley-s-on-zenn-la-rvng-international-lp","title":"COATES, OLIVER - Shelley's on Zenn-La","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/457831722\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"For Shelley’s on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley’s, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants. Shelley’s on Zenn-La was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) - a once-legendary late 80s \/ early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England - can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism. Much of the album’s construction extends from specific, self-imposed ambitions; particular palettes applied to individual creative ideas. These limitations become limitless manifestations of theme: two bass lines running in parallel (one cello, one synth), synthesized waveforms phasing with bowed acoustic drones and chords, synth sequences in nonstandard tuning sitting against folk melody in standard tuning. Coates made a lot of the music for Shelley’s in Renoise, composing drum sequences in hexadecimal numbers and pencil drawn waveforms and cementing specificity in the intricate, intelligent dance machinations. Some of Shelley’s tracks veer into and across FM synthesis. “I like hearing how one tone is enriched by another tone modulating the first, resulting in gleaming sets of new harmonics,” says Coates, “I started thinking about placing live cello playing into a chain of antagonism resulting in sounds I found beautiful.\" This instinct to poetically process sounds in real life (“sitting on the tube, thinking: I'd remove the low end on that, compress that, add reverb to that”) give Shelley’s an exploratory feel, both guided and unbound, autodidactic by undoing. Shelley’s opens with “Faraday Monument,” matching the enigmatic precedent of the Brutalist box in London the track is named after. chrysanthemum bear’s vocals oscillate over “A Church” singing lyrics to melt metal and minds. Large spaces adjacent to small enclosed ones house the voice of Malibu reading poetry within “Norrin Radd Dreaming.” “Cello Renoise” is built upon the image of two drummers playing to one click track as if in different booths. The great flautist, Kathryn Williams, recreated midi parts to end Shelley’s as a “Perfect Apple With Silver Mark.” Cellist, composer, and producer Oliver Coates has been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of Radiohead, and collaborated with Laurie Spiegel and John Luther Adams. He has also been commissioned for string and electronic arrangements by visual artist Lawrence Lek, recorded with composer Jonny Greenwood on the scores for Paul Thomas Anderson’s The Master and Phantom Thread and collaborated with musician Mica Levi on the 2016 album Remain Calm. Oliver Coates’ Shelley’s on Zenn-La is available September 7, 2018 on LP, CD, and digital formats. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"LP","offer_id":31254444048447,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL43-Digital-Cover-4000px_600x_fa14fd20-fc27-4de7-aa9a-e18240c988f4.png?v=1573845567"},{"product_id":"coates-oliver-shelley-s-on-zenn-la-rvng-international-cd","title":"COATES, OLIVER - Shelley's on Zenn-La","description":"\"For Shelley’s on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley’s, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants.\n\nShelley’s on Zenn-La was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) - a once-legendary late 80s \/ early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England - can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism.\n\nMuch of the album’s construction extends from specific, self-imposed ambitions; particular palettes applied to individual creative ideas. These limitations become limitless manifestations of theme: two bass lines running in parallel (one cello, one synth), synthesized waveforms phasing with bowed acoustic drones and chords, synth sequences in nonstandard tuning sitting against folk melody in standard tuning. Coates made a lot of the music for Shelley’s in Renoise, composing drum sequences in hexadecimal numbers and pencil drawn waveforms and cementing specificity in the intricate, intelligent dance machinations.\n\nSome of Shelley’s tracks veer into and across FM synthesis. “I like hearing how one tone is enriched by another tone modulating the first, resulting in gleaming sets of new harmonics,” says Coates, “I started thinking about placing live cello playing into a chain of antagonism resulting in sounds I found beautiful.\" This instinct to poetically process sounds in real life (“sitting on the tube, thinking: I'd remove the low end on that, compress that, add reverb to that”) give Shelley’s an exploratory feel, both guided and unbound, autodidactic by undoing.\n\nShelley’s opens with “Faraday Monument,” matching the enigmatic precedent of the Brutalist box in London the track is named after. chrysanthemum bear’s vocals oscillate over “A Church” singing lyrics to melt metal and minds. Large spaces adjacent to small enclosed ones house the voice of Malibu reading poetry within “Norrin Radd Dreaming.” “Cello Renoise” is built upon the image of two drummers playing to one click track as if in different booths. The great flautist, Kathryn Williams, recreated midi parts to end Shelley’s as a “Perfect Apple With Silver Mark.”\n\nCellist, composer, and producer Oliver Coates has been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of Radiohead, and collaborated with Laurie Spiegel and John Luther Adams. He has also been commissioned for string and electronic arrangements by visual artist Lawrence Lek, recorded with composer Jonny Greenwood on the scores for Paul Thomas Anderson’s The Master and Phantom Thread and collaborated with musician Mica Levi on the 2016 album Remain Calm.\n\nOliver Coates’ Shelley’s on Zenn-La is available September 7, 2018 on LP, CD, and digital formats.\n\" - Rvng International.","brand":"Rvng International","offers":[{"title":"CD","offer_id":31254444179519,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL43-Digital-Cover-4000px_600x_372a016e-4b09-429d-a4e8-aaac34dfe7c7.png?v=1573845568"},{"product_id":"coates-oliver-john-luther-adams-canticles-of-the-sky-three-high-places-rvng-international-lp","title":"COATES, OLIVER - John Luther Adams Canticles of the Sky \/ Three High Places","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/366407330\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"Following a limited vinyl edition in 2018, Oliver Coates’ arrangement of Pulitzer Prize-winning US composer John Luther Adams’ 2007 piece Canticles of the Sky appears for the first time across all formats. In March 2017, Coates conducted 32 cellists in the UK premiere of the composition, displaying its intimacies after deeply communing with the trajectories of Adams’ fictional suns and moons, the guiding characters and carriers of the piece. This recorded interpretation, performed by Coates for multi-layered solo cello, takes Canticles of the Sky to wondrous, dizzying new heights, envisaging Adams’ parallel dimension as an idealised construction. Marrying extra-musical studio techniques and meticulous arrangements to Coates’ fascination with early electronic synthesis (especially the work of Laurie Spiegel), the result offers an ultra-sensory take on classical string instrumentation. Coates has released a handful of solo records under his own name, including the acclaimed 2016 album Upstepping, 2017’s Remain Calm, a collaboration with Mica Levi, and most recently, 2018’s Shelley’s On Zenn-La, his debut album for RVNG. As an artist and performer, he is frequently commissioned by world-renowned orchestras, choreographers and visual artists to compose or curate integral new works. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"LP \u0026 CD","offer_id":31254444474431,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL48-Digital-Cover-1500px_600x_04353f70-60d9-4779-be4d-4fb0f18d85d6.png?v=1573845569"},{"product_id":"fox-greg-the-gradual-progression-rvng-international-cd","title":"FOX, GREG - The Gradual Progression","description":"\"The Gradual Progression is a transformative collection of new music by Greg Fox. The seven pieces of The Gradual Progression activate spiritual states through physical means, Fox’s rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. TGP signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist’s oeuvre.\n\nFox views TGP as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of TGP. For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms.\n\nThis transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox’s drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability.\n\nThis is where the album’s canonic influences - and inventors - are most recognizable. Pharoah Sanders’ Elevation and Don Cherry’s Organic Music Society come to mind, though the guidance of master drummer and holistic healer Milford Graves ultimately made TGP possible. For Fox’s astonishing 2014 album Mitral Transmissions, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For TGP, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox’s energetic presence and focus.\n\nAdapting the ‘intuitive gesture’ of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few.\n\nAnother theme, hiding in plain sight, is Fox’s drumming. Years of supplying spin in collaborative bodies (Guardian Alien, Ex Eye, Liturgy, Zs) becomes a symbol of materiality on TGP, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as “sensing the emotionality and physicality of the world with the senses and through mental processes––about touching the walls of a pitch black room.”\n\nTGP includes contributions from musicians Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by Tlacael Esparza that helped facilitate the vision for TGP, unprecedented - something akin to magic.\n\nThough TGP tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox’s real artistic accomplishment in The Gradual Progression, rendering percussion’s dark matter as an invisible but essential element between rhythm and life.\n\" - Rvng International.","brand":"Rvng International","offers":[{"title":"CD","offer_id":31254444671039,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL38_DIGITAL_COVER_500x500_600x_9fb404c1-983b-4141-a7ad-7e5f1748fed7.jpg?v=1573845571"},{"product_id":"fox-greg-the-gradual-progression-rvng-international-lp","title":"FOX, GREG - The Gradual Progression","description":"\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/330595634\u0026amp;color=%23ff0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e \"The Gradual Progression is a transformative collection of new music by Greg Fox. The seven pieces of The Gradual Progression activate spiritual states through physical means, Fox’s rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. TGP signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist’s oeuvre. Fox views TGP as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of TGP. For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms. This transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox’s drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability. This is where the album’s canonic influences - and inventors - are most recognizable. Pharoah Sanders’ Elevation and Don Cherry’s Organic Music Society come to mind, though the guidance of master drummer and holistic healer Milford Graves ultimately made TGP possible. For Fox’s astonishing 2014 album Mitral Transmissions, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For TGP, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox’s energetic presence and focus. Adapting the ‘intuitive gesture’ of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few. Another theme, hiding in plain sight, is Fox’s drumming. Years of supplying spin in collaborative bodies (Guardian Alien, Ex Eye, Liturgy, Zs) becomes a symbol of materiality on TGP, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as “sensing the emotionality and physicality of the world with the senses and through mental processes––about touching the walls of a pitch black room.” TGP includes contributions from musicians Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by Tlacael Esparza that helped facilitate the vision for TGP, unprecedented - something akin to magic. Though TGP tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox’s real artistic accomplishment in The Gradual Progression, rendering percussion’s dark matter as an invisible but essential element between rhythm and life. \" - Rvng International.","brand":"Rvng International","offers":[{"title":"LP","offer_id":31254444769343,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RVNGNL38_DIGITAL_COVER_500x500_600x_d6836c2b-3715-447d-b8c6-ebd329a948f1.jpg?v=1573845572"},{"product_id":"perfect-strangers-not-to-be-taken-independent-woman","title":"PERFECT STRANGERS - Not To Be Taken","description":"\u003cp\u003eEdition of 40 numbered copies. \"Totally essential document of this incredible Christchurch ensemble.\" - Independent Woman. 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