{"title":"october 6 , 2022","description":"","products":[{"product_id":"transcendental-aural-messengers-coded-message","title":"TRANSCENDENTAL AURAL MESSENGERS - Coded Message","description":"Triple cass release from 1993.  \"psychedelic music from england,super !\" - Börft. \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePackaged in a plastic bag. Limited to 50 numbered copies. Very l\u003c\/span\u003east copy.\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Gq1Z2JXVI3w\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Borft","offers":[{"title":"Triple Cass","offer_id":51856232007,"sku":"795-BORFT","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-890043-1169662303_jpeg.jpg?v=1571717225"},{"product_id":"zweistein-trip-flip-out-meditation","title":"ZWEISTEIN - Trip Flip Out Meditation","description":"\u003cp\u003e2007 release. \"First ever CD reissue of one of the most extreme Krautrock-era albums ever made. Originally released by Philips Germany in 1970, the triple LP edition came in an elaborate mirror sleeve and has been near-impossible to find for 35+ years; there have been a handful of suggested reissues over the years, but finally Captain Trip has brought it to fruition, in collaboration with founding member Suzanne Doucet. Incredible fold out packaging emulates the original, with front embossing and silver-foil printing on the quadruple fold-out jacket. Zweistein were a trio of Jacques Dorian, Suzanne Doucet and Diane Doucet. This perfectly done reissue (including 2 bonus tracks from their single at the end of disc 3) is heavily anticipated. - FE. \"Musically, Trip, Flip Out, Meditation is largely a sound collage containing massive amounts of studio effects wizardry. Listeners are bombarded with an hour and forty-six minutes (106 minutes) worth of effects-laden voices, natural sounds, electronic effects, organ, guitar, drums and other instruments. The side-long compositions are virtually strewn together avant-garde improvisations in which anything goes. It is this fact which acts as a catch 22 and splits the Krautrock fan base into two factions. First there are those who hail the album as a masterpiece due to its avant-garde nature, wild approach, and inherent reference to a drug trip. Then there are those who pass the album off as a complete timewaster due to its evident amateur musicianship, lack of direction and avant-garde nature.\" - Doug Brotherton.\u003c\/p\u003e","brand":"Captain Trip","offers":[{"title":"Triple CD","offer_id":51873733255,"sku":"5650-CAPTAIN TRIP","price":82.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1115511-1245878421_jpeg.jpg?v=1571717544"},{"product_id":"metzger-paul-gedanken-splitter","title":"METZGER, PAUL - Gedanken Splitter","description":"\u003cp\u003e\"Paul Metzger continues to pile up the plaudits from critics and peers alike for his virtuosic string-slinging, gaining notice through his CD on Chairkickers and his split LP with Ben Chasny and Chris Corsano on Roaratorio. Metzgers modified banjo is tricked out with additional sympathetic raga strings, although the compositions on Gedanken Splitter are informed by much more than Eastern drone music alone. Recorded in the same period as 2007s Deliverance on Locust Music, this is a more jagged and aggressive (although no less accessible) affair. Metzger winds these improvisations around thornier threads than on his previous releases, and while never turning completely abstract, Gedanken Splitter moves even further away from anything resembling typical banjo fare. This is mesmerizing and singular playing.\" - Roaratorio.\u003c\/p\u003e","brand":"Roaratorio","offers":[{"title":"LP","offer_id":51878871623,"sku":"6919-ROARATORIO","price":14.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1832517-1353293973-9490_jpeg.jpg?v=1571717635"},{"product_id":"vogel-michel-ronde-matutinale-amillis-berenice","title":"VOGEL, MICHEL - Ronde matutinale à Amillis\/Berenice","description":"\u003cp\u003e\"Planam proudly presents the second LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogels artistic activities started in 1960 when, as a painter under the materic influences of Antoni Tapies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His research developed with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and especially the Fluxus artists, supported and pushed him to carry on his acoustic explorations while his sonic creations got closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. After the deep cosmo night music of Une petite music de nuit (Vogels first LP) Planam decided to issue two more early-morning oriented realizations, or Ronde mattinale _É Amillis and Berenice. These alfa-wave improvisations for prepared gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions. Edition limited to 270 copies with full colour space cover and inner sleeve.\" - Planam.\u003c\/p\u003e","brand":"Planam","offers":[{"title":"LP","offer_id":51934695239,"sku":"11592-PLANAM","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2910481-1306851030_png.jpg?v=1571717958"},{"product_id":"menstruation-sisters-puppet-island","title":"MENSTRUATION SISTERS - Puppet Island","description":"\u003cp\u003e\"Day 13. The green hell of the jungle stretches around us at all sides. I feel like I am being driven mad by the constant suffocation of its hot and terrible embrace. Everywhere, awful vegetable life fights for supremacy. The nights are more terrible for the noise and darkness.\\r\\nDay 14.\\r\\nTwo of our bearers have fled taking most of our dwindling supplies with them. At least there is water to be found in the streams and lagoons but it is filthy and brown and if imbibed unboiled gives one terrible stomach cramps and diarrhea. The scotch and tobacco are gone and we chew coca leaves for the small comfort they afford.\\r\\nDay 15.\\r\\nJenkins went mad last night. He is nowhere to be seen now. We hear occasional cries from the North which can only be him.\\r\\nDay 16.\\r\\nWe found the ruins of an abandoned village today. There were what appear to be drums, much like those found in the Congo, hanging from trees surrounding the village. We saw piles of banana skins amongst the abandoned grass huts. In the very middle of the settlement we found a large flat round rock with a pile of hair, a good three feet high, on it. After a good deal of debate Filbert and I decided that the hair was of human origin.\\r\\nDay 17.\\r\\nWe are restricting our diet to a small handful of cashew nuts each morning as we rise. We found several more hair mounds in the felled grounds surrounding the village. These seem darker and more like animal hair than the mound we discovered yesterday. Double LP masterpiece in full colour gatefold sleeve, issued in an edition of 280 copies.\"  - Planam.\u003c\/p\u003e","brand":"Planam","offers":[{"title":"Double LP","offer_id":51935917383,"sku":"12070-PLANAM","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-3184391-1319540604_jpeg.jpg?v=1571717985"},{"product_id":"kiwi-animal-music-media","title":"KIWI ANIMAL - Music Media","description":"\u003cp\u003eUnplayed copies of the Sonic Squid reissue of \"Music Media\" from 2000 (recently reissued again by Digital Regress - see write up below). Sadly, due to poor packing when these were shipped from Germany way back when, there are varying degrees of corner dings, etc. We were waiting on replacement jackets and then a decade or two went by..  so weve now priced these to move. Vinyl - New\/Unplayed. Jackets - VG+. Best copies go first.. \u003c\/p\u003e\n\u003cp\u003eCover painting by fusetron recording artist Kim Pieters (\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDoramaar [ 1996 LP still available], \u003c\/span\u003eCobweb Iris, Dadamah, Doramaar, Flies Inside The Sun, Rain..)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \"..the creation of Brent Hayward and Julie Cooper; together they released two full-length LPs in the mid-eighties, 1984s Music Media and the following years Mercy. Music Media is an ethereally beautiful folk affair, at once sinister and lovely, and possessing of a clear experimental bent. Hayward was previously involved in the fantastic art-punk quartet Shoes This High. -The Doledrums.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Digital Regress's foray into the fabled NZ underground hops over to the North Island for two exquisite pieces of acoustic DIY and shadowy, cracked pastoralia. After a few years spleen venting at the front of Wellington art brutes Shoes This High, Brent Hayward struck out on his own, self-releasing a few EPs as Smelly Feet before forming The Kiwi Animal with Julie Cooper in 1982. The duo released their first album, Music Media, on Massage Records (their own imprint) in 1984. Billing itself 'New Acoustic Music,' the Kiwi Animal's debut is a set of introverted and austere yet lambent folk songs. Textural, gently hypnotic guitar chords anchor minimal arrangements, as Hayward and Cooper's entwined vocals -- think Pip Proud meets The Vaselines -- project paranoia and forlorn, diffident cool. Wry, imagistic lyrics somewhere between the stoned political economy of D. Boon and the head-fuck soliloquies of Robert Ashley complete The Kiwi Animal effect. The music of The Kiwi Animal, moody and intelligent and often abruptly gentle, works subcutaneously, propelled by guitars that churn and weave -- no jangle here -- and a his 'n' hers vocal delivery for the ages. Digital Regress is happy to make these essentially perfect records available again.\" - Digital Regress.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Sonic Squid","offers":[{"title":"LP","offer_id":51940372615,"sku":"12823-SONIC SQUID","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-585668-1295094962_jpeg.jpg?v=1571718035"},{"product_id":"rozmann-akos-12-stations-tolv-stationer","title":"ROZMANN, AKOS - 12 Stations\/Tolv Stationer","description":"\u003cp\u003e\"In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer -ɬÅkos Rözmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rözmann s epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rözmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rözmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early 80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rözmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rözmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos wife, the soprano singer Ilona Maros and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1\/2 hours. The compositional process is unique in Rözmanns output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rözmanns skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rözmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all. --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.\" - Ideologic Organ.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"7 CD Box Set","offer_id":52001169159,"sku":"16236-IDEOLOGIC ORGAN","price":74.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-6330863-1417899288-9530_jpeg.jpg?v=1571718213"},{"product_id":"sun-ra-his-astro-infinity-arkestra-the-intergalactic-thing","title":"SUN RA \u0026 HIS ASTRO INFINITY ARKESTRA - The Intergalactic Thing","description":"\u003cp\u003e\"One might think, with a discography as extensive as the one Sun Ra boasts, that the scope of his work has been fully apprehended by this point, but The Intergalactic Thing demonstrates its seemingly bottomless depths. This is not a complete surprise: anyone who saw Ra and the Arkestra perform will remember the sight of the band quickly shuffling through an imposingly thick stack of sheet music, when Sunny would call the next tune on the program with an encrypted hint on his keyboard. Band members tell stories of spending long hours practicing a newly-written composition, only to never play it again. Here, we have a taste of that which has been hidden: drawn from rehearsals at the Sun Ra house in Philadelphia from 1969, The Intergalactic Thing introduces a dozen never-before-heard pieces from Ras songbook -- tunes that may have never even made it to the bandstand, let alone the recording studio -- along with a handful of reworkings of such Ra classics as Spontaneous Simplicity and The Exotic Forest. Without a doubt, this is one of the most important augmentations to the Sun Ra catalog in many a moon. This double LP set comes in a beautiful gatefold jacket, with extensive liner notes by Ra discographer Robert L. Campbell and a download coupon for the full album.\" - Roaratorio.\u003c\/p\u003e","brand":"Roaratorio","offers":[{"title":"Double LP","offer_id":52009585735,"sku":"18330-ROARATORIO","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROAR040LP_CU.jpg?v=1663106791"},{"product_id":"turman-robert-flux-1","title":"TURMAN, ROBERT - Flux","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e2022 repress. \"\u003ci\u003eFlux\u003c\/i\u003e is the 1981 debut solo outing of Robert Turman, an American multi-instrumentalist and avant-garde composer. Until recently, Turman was perhaps best known for his contributions to the ballistic NON project with Boyd Rice, as well as other obscured U.S. industrial acts such as Z.O. Voider. In the summer of 1981, Turman decided he would take a drastic turn from the noisy\/electronic\/industrial work of his compatriots, and began work on what is now the classic \u003ci\u003eFlux\u003c\/i\u003e cassette. \u003ci\u003eFlux\u003c\/i\u003e was originally self-released in extremely limited numbers. Weary of the noisescapes of old, he set out to create long-form minimalism utilizing kalimba, piano, \"Mini-Pops Jr.\" drum machine, and tape loops to create a complex bed of interweaving micro-stasis. The results of these new experiments were as beautiful as they were perplexing. A curious, dusty fidelity carries these classic tracks across four sides of vinyl, including all of the original \u003ci\u003eFlux\u003c\/i\u003e content. These compositions glow with a sprawling, slow-motion haze that's light years ahead of its time. \u003ci\u003eFlux\u003c\/i\u003e reveals wide spectrums of sound from melancholic kalimba and percussion patterns to slowed-down, syrupy exotica. Turman had complex ideas in his mind, yet only the simple technologies of the day were at hand. Hear the click of the stopping and starting Tascam 3340 open-reel tape machine as one hand presses the \"record\" and \"play\" buttons and the other plays piano phrases. While there are similarities in style to classical minimalism, Turman's sound and vision is his own and is exclusive to his limited discography. Released in a limited edition 2xLP set. Lovingly remastered and cut by Rashad Becker at Dubplates \u0026amp; Mastering from the original C-60 cassette master. Original cassette artwork and scans provided by Aaron Dilloway.\" - Spectrum Spools.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"Spectrum Spools","offers":[{"title":"Double LP","offer_id":15199701794879,"sku":"","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/SP010LP_CU.jpg?v=1571718629"},{"product_id":"rolin-matthew-j-matthew-j-rolin-feeding-tube-records-lp","title":"ROLIN, MATTHEW J. - Matthew J. Rolin","description":"2022 repress, purple vinyl. \"We're excited to release the debut solo LP by Matthew J. Rolin, currently a resident of Columbus, Ohio. Rolin cut his teeth with garage and psych outfits in Cleveland, appearing on vinyl by Shoreway and Nowhere before he found himself adrift and wandering in the direction of Chicago at the end of 2016. Matthew had always been a fan of Jim O'Rourke's brilliant Bad Timing LP (Drag City, 1997), and when he caught a set by Ryley Walker soon after arriving in the city, he decided to throw himself into developing his acoustic chops. Without really knowing much about the history or context of the American primitive\/concert steel string scene, he managed to create a distinctive sound and approach to the instrument, owing less to the music's arts-blues fundamentals than to the contemporary players who have expanded outward in all directions from those initial impulses. Playing his first solo gig in Cleveland, opening for Daniel Bachman, an audience member mentioned John Fahey to Rolin, but he had no idea who the guy was talking about! The root-thread of Rolin's playing flows more from Glenn Jones onward, through Rose and Bachman and Blackshaw and Walker and Lane. I feel like I detect a 'Vaseline Machine Gun' urge towards Kotte-esque density in certain spots, but maybe that's just me. Regardless, Rolin's talents as a solo player (abetted only by Jen 'Donkey No No' Gelineau's violin on one track) are immediately clear from the first note he plays. Matthew currently works both solo, and in a duo with dulcimer player, Jen Powers. If you get a chance to see him don't pass it up. Nor should you pass up this chance to score his first long player while it's hot off the presses.\"--Byron Coley, 2019\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":31411547963455,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR502LP_CU_f9de6437-8b5b-43ae-8e07-8504a1bcf05c.jpg?v=1663166541"},{"product_id":"naujawanan-baidar-volume-1-2-feeding-tube-records-cardinal-fuzz-2lp","title":"NAUJAWANAN BAIDAR - Volume 1 \u0026 2","description":"2022 limited repress. Cardinal Fuzz and Feeding Tube Records release Naujawanana Baidar's Volume 1 \u0026amp; 2 as a double-LP vinyl. Naujawanan Baidar (Farsi for Enlightened Youth) is the project of artist and musician N.R. Safi (The Myrrors). With roots in the now-endangered sounds of 1960s-80s Afghan cassette culture, Naujawanan Baidar filters the traditional music of Safi's paternal heritage through a labyrinth of buzzing drones, tape manipulation, and fuzz-drenched percussion, warping both traditional and popular forms into a tangled mass of tape-saturated noise inspired by the very medium that once carried them. Traditional folk instruments (both acoustic and home-amplified) like the rubab, armonia, sorna, and tabla, twist and melt into blown-out electrical storms, proving that one does not necessarily need guitars or any other standard western instrumentation to channel the trance-like energy of rock and roll. Although the end results may sound far removed from the original artists that helped inspired them (legendary performers like Ahmad Zahir, Beltoon and Hamidullah, or Salma Jahani) there is something to be said for this \"new\"or \"imagined\"form of contemporary Afghan experimental music. Had the dusty backstreets of pre-war Kabul birthed an experimental music scene paralleling German's krautrock movement, one can imagine that the results might have sounded a little something like this. These tracks were cut over the course of 2017 to 2019 as a sort of sonic notebook, documenting the evolution of the project as it first took shape. Though the majority were originally conceived of as nothing more than demos or impressionistic sketches, the spontaneous and ramshackle approach of the tapes was eventually deemed more than befitting the spirit of the project. Naujawanan Baidar both reaffirms its ties to a relatively hidden (to outside eyes at least) cultural history while at the same time pushing outwards into new and unexplored territories. Originally released via Radio Khiyaban on cassette (the packaging and artwork on both cassette releases was a direct homage to 1970s Afghan tape design).\" - Feeding Tube Records\/Cardinal Fuzz.","brand":"Feeding Tube\/Cardinal Fuzz","offers":[{"title":"Double LP","offer_id":32560418029631,"sku":"","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR527LP_CU_4f8e5ce2-4c55-4c68-988e-788c6b6bc2e8.jpg?v=1663166547"},{"product_id":"sand-vibrating-cloud-rotorelief-france-2lp","title":"SAND - Vibrating Cloud","description":"\u003cp\u003e\"Over five decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The Vibrating Cloud floats powerfully across the vast expanses of sand, telling stories of confusion and aberration, rape of the planet, of the tenderness, hidden power and fragility of existence, the voracious digital demons, the loss of innocence in a surreal drama we call: World. Sand started with the Golem, the analog primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. Sand is the stage of the shadow struggles of Don Quixote, Faust's disappointed departure from science and the search for the infinite vastness of nature. The cunning, slyness and sophistication of the Mephisto in the big cities, the black town which has become an enemy habitat, and which produces people without earth, air pirates on air and passengers in circulation. The seductive Pandora, carrying in her box all the evils and hopes of this world, The Flying Dutchman's ghost ship roaming the seas. Sand is the story of the stranded and stuck but also the hopeful children's souls. The stories go from the me through the you to the we. So, in Vibrating Cloud, Sand and Enki Bilal merge into one psychedelic fiction. Sand kaleidoscopically reflects the facets of a darkened and then enlightened existence of man and the world and immerses himself musically and narratively in the spheres of Enki Bilal's mythology, conspiracy history, mixed-up comedy, science fiction and poetry. As Enki Bilal aptly put it: \"I would say that this is a prospective reflection on our present world but in a different way in the future.\"- Rotorelief.\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"Double LP","offer_id":40734983192765,"sku":"","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR069LP_CU_ee85f633-b186-450a-bb19-3ef593b92a9b.jpg?v=1663166611"},{"product_id":"carambolage-eilzustellung-expres-tapete-records-germany-lp","title":"CARAMBOLAGE - Eilzustellung-Expres","description":"\"Carambolage never set out to be a \"girl band\" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. Britta's passion for the drums ignited in 1974 in Fresenhagen, North Frisia, where she played percussion for Ton Steine Scherben. R.P.S. Lanrue's little sister Elfie-Esther was an obvious candidate. Angie, a child from the streets who joined the commune in 1972, completed the line-up. Carambolage surfed on their very own \"North Frisian Wave\" -- an epithet dreamed up for their distinctive sound. Shortly before her death in 2004, Britta was interviewed by music journalist Tine Plesch and described how the \"girls gang\" gave them the freedom to experiment and come up with \"these really funny, filthy lyrics\". There is a childish, subversive charm to the songs, emboldened by the realization that \"we could fool around as much as we wanted.\" Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo.\n\nOn their sophomore album Eilzustellung-Exprès (express delivery), Carambolage's ranks were bolstered by the arrival of Janett Lemmen, who had deputized for the pregnant Angie on a recent tour. The record was produced in Fresenhagen by R.P.S. Lanrue and released on the Scherben label David Volksmund Produktion. Like a whirlwind girl gang on the road, the album revs up with dynamic guitar riffs, indulging their \"turned on to the max\" sexual desires, before the mood shifts to the deeper realms of life on the Eilzustellung-Exprès: melancholy musings on dismaying love affairs, a song about contradictory feelings experienced in childbirth, culminating in a declaration of love for Angie's new daughter Lisa. The baby was always on board when Carambolage went on tour. The idea of her father Kai Sichtermann (Scherben bass player) taking her on tour would have been too much even for the left-leaning alternative Ton Steine Scherben. Making a mockery of male privilege, Carambolage delivered an album orbiting punk and pop in a classic line-up: Britta on drums, Elfie's snotty vocals and effects-drenched guitar and keyboards, Angie on bass. The trio is augmented by Janett's screeching saxophone on the instrumental track \"Maschine\" and a squeaky baby sample (Lisa?).\" - Tapete Records .","brand":"Tapete","offers":[{"title":"LP","offer_id":42708522893531,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/TR499LP_CU.jpg?v=1649947448"},{"product_id":"damon-naomi-a-sky-record-20-20-20-lp","title":"DAMON \u0026 NAOMI - A Sky Record","description":"\"With its meditative tempos and enveloping guitar work by Michio Kurihara -- 'it's like this golden net,' Naomi said of his gorgeous, versatile playing -- A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that's not accidental: Kurihara hasn't traveled outside of Japan in some time, so Damon and Naomi hadn't recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music. In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image -- after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he'd witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent 'Season Without Time,' which also became a tribute to a friend that she and Damon had lost in the last year. From there, the floodgates opened. The wistful and watery 'Midnight' (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi's nostalgia for youthful summers spent at Jones Beach, while the gentle current of 'Sailing By' pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name.\"--Lindsay Zoladz \"Back to make all your folk-pop dreams melt into the sunset.\"--Rolling Stone\" - 20\/20\/20.","brand":"20\/20\/20","offers":[{"title":"LP","offer_id":43375463432411,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/202020018LP_CU.jpg?v=1663166480"},{"product_id":"yoshihide-s-new-jazz-orchestra-otomo-out-to-lunch-aguirre-records-belgium-2lp","title":"YOSHIHIDE'S, OTOMO NEW JAZZ ORCHESTRA - Out To Lunch","description":"\"Reissue, originally released on CD in 2005. Eric Dolphy's final studio album is hailed as one of the finest examples of mid-60s post-bop. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. It marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would have moved past or away from the album in 1965, had he lived. Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final \"Straight Up And Down\", extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, although a photo taken by Daidō Moriyama inside Tokyo's Shinjuku railway station replaces the enigmatic \"Will Be Back\"sign. Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde, and contemporary classical. Recognizable themes (\"Hat and Beard,\"\"Out to Lunch,\"\"Straight Up and Down\") appear, and individual players -- including Alfred Harth on bass clarinet -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage. However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, \"computer.\"Otomo himself plays electric guitar. From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wild man Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. Dolphy is transported into the 21st century and allowed to romp through modern developments in music.\" - Aguirre Records.","brand":"Aguirre","offers":[{"title":"Double LP","offer_id":43375463530715,"sku":"","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ZORN065LP_CU.jpg?v=1663166482"},{"product_id":"after-dinner-paradise-of-replica-aguirre-records-belgium-lp","title":"AFTER DINNER - Paradise of Replica","description":"\"Reissue, originally released in 1989. After Dinner's Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man's land between art pop, Japanese folk music, and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in. Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica -- the record is a scrapbook of bells, strings, and koto humming under Haco's ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album. But Paradise of Replica is far from an impenetrable scholastic endeavor -- in fact, there's something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner's choices are melodious and feel deliberately sequenced. Even crescendos don't tend to rise above a murmur, and there are even apparent hooks on tracks like \"A Walnut\"and \"Ironclad Mermaid.\"Ultimately, there's not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful, and lush, it's a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It's a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.\" - Aguirre Records.","brand":"Aguirre","offers":[{"title":"LP","offer_id":43375463596251,"sku":"","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ZORN082LP_CU.jpg?v=1663166484"},{"product_id":"goldstein-malcolm-early-electronic-tape-collage-music-alga-marghen-italy-lp","title":"GOLDSTEIN, MALCOLM - Early Electronic\/Tape Collage Music","description":"\u003cp\u003e\"\"Alga Marghen proudly presents an LP edition including some of the seminal electronic\/tape collage pieces by Malcolm Goldstein, created in close connection to the sulphuric New York pre-Fluxus environment of the early 1960s. The 1960s downtown New York City, rich with activities, doors opening upon a world fertile with possibilities: the delightful unknown. Malcolm Goldstein first worked at the Columbia-Princeton Electronic Music Center, then joined the Judson Dance Theater with dancers, musicians, poets, and visual artists all interacting in the common ground of improvisation\/exploration. Most of the music on this recording was created for the Judson Dance Theater,  'Sheep Meadow' (1966), a collage of two musics, folk \u0026amp; court music, was realized on a very cheap single tape recorder that offered its own electronic distortion embellishments. It was created for an anti-war demonstration to be held in that meadow of Central Park, with a dancer on top of a flat-bed truck and with loudspeakers. 'Images Of Cheng Hsieh' (1967) was for a dance by Carol Marcy at Judson Church, simultaneously with an instrumental ensemble performing from the calligraphic graphic score, with the name of Cheng Hsieh. 'It Seemed To Me' (1963) was composed for a dance by Arlene Rothlein; a collage of traditional musics chosen by her to be incorporated with electronic sounds. 'Judson #6 Piece' (1963) was for Ruth Emerson, using only electronic sounds. Finally 'Illuminations From Fantastic Gardens' (1964), the only composition for a vocal ensemble on this recording, was composed for Elaine Summers' 'An Evening of Fantastic Gardens,' a multi-media event of dance, music, film and visual projections, as part of the Judson Dance Theater concerts. It is the first music notated by Malcolm Goldstein with graphic renditions of the words of Rimbaud and without traditional music notation. Two performers were trained singers, while the others were a visual artist and an actor; two women \u0026amp; two men, all in the spirit of the times, sources coming together, as art \u0026amp; life blended in an overflowing of exploration. Edition limited to 350 copies, also including a 12-page large booklet with the reproduction of the complete 'Illuminations From Fantastic Gardens' graphic score.\"- Alga Marghen.\u003c\/p\u003e","brand":"Alga Marghen","offers":[{"title":"LP","offer_id":43375463629019,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ALGA025LP_CU.jpg?v=1663166486"},{"product_id":"comelade-pascal-le-non-sens-du-rythme-because-music-france-cd","title":"COMELADE, PASCAL - Le Non-Sens Du Rythme","description":"\"Following Le Cut-Up Populaire (BEC 5676465\/5676466, 2020), Pascal Comelade announces the release of his new album Le Non-Sens Du Rythme. Since his first record published in 1975, Pascal Comelade, a child of the frenzy rock of the '60s and '70s, has developed a profuse body of work including many musical collaborations (PJ Harvey, Robert Wyatt, Jaki Liebezeit (Can), Lee Ranaldo, The Liminanas...) and non-musical collaborations (Jeanne Moreau, Sergi Lopez, Jean François Stévenin, Bob Wilson...) His compositions are reminiscent of MC5, Erik Satie, Nino Rota, Ennio Morricone, Suicide: a language that dances on a musical skeleton in perpetual movement by successive fusions, mixing folklore and underground, repetitive music and French chanson, pataphysical riffs and toy instruments. As a multiple artist, he has developed an aesthetic approach via a particular link to visual arts. He draws, paints and occasionally performs with painters Miquel Barcelo and Hervé Di Rosa. On his new album, Le Non-Sens Du Rythme (to be translated \"the nonsense of rhythm\", the title says it all), Pascal Comelade almost plays all the instruments, not only multiple pianos but also the Rickenbaker e.bass, the Indian Harmonium, various keyboards, and even the tin can. He remains the undisputed master of the instrumental ritornello inspired by popular music as well as krautrock.\" - Because Music.","brand":"Because Music","offers":[{"title":"CD","offer_id":43375463727323,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BEC5610721_CU.jpg?v=1663166487"},{"product_id":"brotzmann-keiji-haino-duo-peter-the-intellect-given-birth-to-here-eternity-is-too-young-black-editions-4lp-box","title":"BROTZMANN, PETER\/KEIJI HAINO DUO - The intellect given birth to here (eternity) is too young","description":"\"It's common for these musicians to be labelled muscular (and other testosterone-laden terms), but it is perhaps more fitting to register them with the female archetype Kali, who enacts destruction in order to make way for new life. As we embark on a new century amidst socio-political upheaval, the Brötzmann\/Haino duo feels like an artistic expression of the moment we are living in and experiencing every day.\"--Philip Greenlief, \"Ode to Destruction\", ART FORUM, August 2018 on Peter Brötzmann\/Keiji Haino Duo at the Chapel, San Francisco\n\nTwo complete performances recorded in Los Angeles and San Francisco in the summer of 2018. The intellect given birth to here (existence) is too young presents the artists traversing a sprawling range of sound and modalities to achieve a stunning alchemy that can't be replicated. Both Brötzmann and Haino have spent their lives creating music that defies easy categorizations -- phrases such as \"free jazz\/improvisation,\"\"rock,\"or \"avant garde\"seem to only scratch at the surface. What can be said is their works have a nearly unmatched intensity and restless spirit -- always uncompromising and only fully understood in their own unique terms. When performing together, the two push each other to entirely new and beautifully alien territories. Keiji Haino's Purple Trap imprint and Black Editions are proud to present the defining work of their decades-long collaboration. Presented in a deluxe four-LP boxed set edition of 800 including full-size, full-color art prints by both artists.\" - Black Editions.","brand":"Black Editions","offers":[{"title":"4 LP Box","offer_id":43375463858395,"sku":"","price":110.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BE1005LP_CU.jpg?v=1663166489"},{"product_id":"va-the-cricket-black-music-in-evolution-1968-69-blank-forms-book","title":"V\/A - The Cricket: Black Music in Evolution, 1968-69","description":"\"A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman and Larry Neal between 1968 and 1969, and published by Baraka's New Jersey-based JIHAD productions around the time of the Newark Riots, this experimental music magazine ran poetry, position papers and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and musicians (including Cecil Taylor, Milford Graves, Sun Ra, Mtume, Albert Ayler and Black Unity Trio) to devise new styles of music writing. The publication emerged from the heart of a political movement -- 'a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,' as Spellman writes in the book's preface -- and aimed to reunite advanced art with its community, 'to provide Black Music with a powerful historical and critical tool' and to enable avant-garde Black musicians and writers 'to finally make a way for themselves.'  This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy. Contributors include: A.B. Spellman, Imamu Baraka (LeRoi Jones), Larry Neal, Cecil Taylor, Milford Graves, Sun Ra, Ben Caldwell, Clyde Halisi, Don L. Lee (Haki R. Madhubuti), Duncan Barber, Gaston Neal, Hilary Broadus, James Stewart, Norman Jordan, Roger Riggins, Ronnie Gross, Stanley Crouch, Albert Ayler, Askia Muhammed Toure, Donald Stone, E. Hill, Haasan Oqwiendha Fum al Hut, Ibn Pori 'det, Ishmael Reed, Joe Goncalves, Larry A. Miller (Katibu), Sonia Sanchez, Willie Kgositsile, Billy (Fundi) Abernathy, Dan Dawson and Black Unity Trio.\"184 pages; 1.35 pounds; 8 x 0.7 x 10.5 inches.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43375463923931,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781953691101_CU.jpg?v=1663166490"},{"product_id":"kraus-meg-baird-helena-espvall-sharron-leaves-from-off-the-tree-bo-weavil-recordings-uk-cd","title":"KRAUS, SHARRON\/MEG BAIRD\/HELENA ESPVALL - Leaves From Off The Tree","description":"\"Bo' Weavil releases Leaves From Off The Tree: a three-way project of Sharron Kraus, Meg Baird (Espers) \u0026amp; Helena Espvall (Espers). This is a beautiful recording of traditional folk material, with the most stunning singing and arrangements of some of England and Appalachia's finest songs. The songs on this record were recorded after many an evening swapping songs (and beers!) in Fishtown, Philadelphia, where Sharron had moved from her native England, and Meg and Helena were already installed. Meg and Sharron both had traditional music backgrounds and would meet up and teach each other Appalachian and English ballads, and improvise harmonies and alternate melodies. At some point, Helena was invited along and her voice and cello added a rich new layer. All nine songs were recorded live in one afternoon, so as to capture the relaxed atmosphere of the group's gatherings.\" - Bo Weavil Recordings.","brand":"Bo Weavil","offers":[{"title":"CD","offer_id":43375463956699,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/WEAVIL016CD_CU.jpg?v=1663166492"},{"product_id":"mcpherson-tetuzi-akiyama-donald-vinegar-rum-bo-weavil-recordings-uk-lp","title":"MCPHERSON, DONALD \u0026 TETUZI AKIYAMA - Vinegar \u0026 Rum","description":"2022 restock. Recorded in New Zealand in 2004, this is the duo recording of New Zealand guitarist Donald McPherson and Japanese guitarist Tetuzi Akiyama. A beautiful meeting of two virtuoso acoustic guitarists, both thoroughly schooled in the vast world of improvising. Donald McPherson, a native New Zealander, has released a number of extremely limited lathe-cut folk records. Tetuzi Akiyama is often associated with the improvising community in Tokyo generated around Tokyo's Off Site venue. But Tetuzi's sound owes just as much to the country blues guitarists of the '30s. His sound has taken the blues form into a new world of minimalist improvisations. His loose playing side-steps the usual clichés of the guitar in both the free improv and traditional folk scenes. Tetuzi has a varied number of very different projects from free improvisations, working with musicians across the globe, to hard minimalist electric blues boogies. Vinegar \u0026amp; Rum finds Tetuzi and Donald playing melodic folk improvisations that grow and morph into compositions that upon each listening uncover some new layer of beauty. Both playing on acoustic guitar, they have a level of communication and understanding that allows a musical connection to grow and blossom into a full-length recording of delicate melodic mayhem.\" - Bo Weavil Recordings.","brand":"Bo Weavil","offers":[{"title":"LP","offer_id":43375464022235,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/WEAVIL012LP_CU.jpg?v=1663166494"},{"product_id":"wilkinson-edwards-noble-obliquity-bo-weavil-recordings-uk-lp","title":"WILKINSON\/EDWARDS\/NOBLE - Obliquity","description":"\"Limited 2022 restock. Originally released in 2007, Obliquity is a free jazz record, if you'll forgive the use of such a hoary, old-fashioned phrase. Its scorching, heads-down momentum, rhythm and drive, places it in direct line of descent from the fierce originators of the genre: Ayler, Sanders, Graves, and Frank Wright. It also swings. At times it dances. Obliquity is a free jazz record through the prism of the improvisational movement in Europe, though. This is no attempt at polite revivalism or looking back\/up to the 1960s. Wilkinson\/Edwards\/Noble are producing new, vital music of and for now. John Edwards pins down the trio with precision and energy -- his tremendous internal rhythm on display to full effect throughout. Alan Wilkinson is a ferocious improviser, probably best known for membership in the demon Hession\/Wilkinson\/Fell trio. Obliquity features full-spectrum Wilkinson: flat-out, take-no-prisoners saxophonication, squeals, coughs, sustained improvisational experimentation, and East London tribal chanting. Steve Noble is an upright drummer with a surgeon's accuracy, his crisp percussion work has accompanied dancers, funksters, poets and tuba players. But he's not played better than here: great power allied with grace, a subtle touch and solid time -- the drumming drives the music on to real heights.\" - Bo Weavil Recordings.","brand":"Bo Weavil","offers":[{"title":"LP","offer_id":43375464055003,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/WEAVIL023LP_CU.jpg?v=1663166495"},{"product_id":"los-abuelos-del-wayku-la-musica-de-los-kechwas-lamistas-registros-sonoros-de-comunidades-nativas-de-lamas-buh-records-peru-lp","title":"LOS ABUELOS DEL WAYKU - La Musica De Los Kechwas Lamistas: Registros Sonoros De Comunidades Nativas De Lamas","description":"\"La Música De Los Kechwas Lamistas: Registros Sonoros De Comunidades Nativas De Lamas (The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas) compiles various recordings made by Los Abuelos del Wayku, a traditional group made up of the oldest musicians from the native communities of Lamas: Medardo Cachique, Reynaldo Amasifuén, Misael Amasifuén, Daniel Sangama, Remigio Sangama, and Pedro Cachique. The selection and recording process has been carried out by the Tarapoto musician and researcher Percy Alexander Flores Navarro. These performances seek to recreate the most indigenous musical performance styles of the various musical genres practiced throughout the Lamista Kechwa nation since colonial times, as well as the foreign and national musical trends incorporated by these communities during the first half of the 20th century. Thus, this album aims to be a chronicle of the historical processes that took place in the region, as well as a guide to the cultural diversity of the Peruvian Amazon. Some of the musical genres present in these recordings are: the Christmas Carol brought by the Jesuit missionaries during the 16th century; the Amazonian pandilla and the various musical forms that comprise it since colonial times; the marinera, adapted to the Andean-Amazonian ensemble at the beginning of the 20th century; rock and roll, which was reinterpreted as the Lamista twist in the middle of the last century, and many other musical genres that constitute the repertoire of traditional and popular music of the native communities of Lamas. After the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo (BR 147LP, 2021), and the launch of the anthology Around the Húmisha: The music of the traditional Amazonian groups of Peru (BR 159LP), Buh Records presents this new volume, dedicated to the music of the native communities of Lamas, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of various musical expressions of the Peruvian Amazon. Includes extensive information and visual documentation. Compilation and notes by Percy Alexander Flores Navarro. Art by René Sánchez.\" - Buh Records.","brand":"Buh","offers":[{"title":"LP","offer_id":43375464087771,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BR163LP_CU.jpg?v=1663166497"},{"product_id":"faust-the-faust-tapes-bureau-b-germany-cd","title":"FAUST - The Faust Tapes","description":"\"Reissue, originally released in 1973. There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co. cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as The Faust Party Tapes -- and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. \"Flashback Caruso\"brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of \"J'ai Mal Aux Dents\"sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of \"Two Drums, Bass, Organ\", a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic \"Dr. Schwitters\", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of \"Elerimomuvid\", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz (\"Hermann's Lament\") before taking slight respite in the beauty of \"Rudolf Der Pianist\"and \"I've Heard That One Before\". The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of \"Stretch Out Time\", \"Der Baum\"and \"Chère Chambre\", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the album.\" - Bureau B.","brand":"Bureau B","offers":[{"title":"CD","offer_id":43375464153307,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB391CD_CU.jpg?v=1663166499"},{"product_id":"pyrolator-niemandsland-bureau-b-germany-cd","title":"PYROLATOR - Niemandsland","description":"\"The musician Kurt Dahlke is not only a member of the bands Der Plan and Fehlfarben, founding member of the group DAF and co-founder of the label Ata Tak, he has also released a stellar line of solo works under the name Pyrolator for which he enjoys great critical acclaim. What began in 1979 with the first release Inland continues its lineal thread with new work Niemandsland -- the sixth album within the Land series. It was 1979, some 43 years ago, when Pyrolator released Inland, an instrumental protest album, as he liked to think of it. Autumnal protests against nuclear weapon stations, against the entire structures of the war generation, but without the pathos of the rebellious songs which soundtracked the 1968 movement. Apart from a few samples, there were no words at all. Now, more than four decades later, Kurt Dahlke alias Pyrolator returns to his origins. But not, this time, in protest: \"The clock already stands at ten past midnight and we have arrived in no man's land. Neither the student movement nor the rejectionist stance of punk changed anything. Avarice has emerged victorious and no future is nothing more than an empty cliché. This is what global reality looks like. The principle of cause and effect.\"This is also a back to the roots story for Pyrolator in the musical sense. Niemandsland was created exclusively with modular synthesizers, the computer merely a recording device. All of the tracks were played live and direct -- neither storable nor replicable. The sixth album in Pyrolator's Land series is more than just a bridge to the past and the music to be found there. It has a formal language all of its own, meandering between the beauty of crystal-clear melodies and restrained ambient moments on the one hand and rugged, dystopian brittleness on the other. A cycle revolving between the hope of a revolution for humanity and arrival in no man's land.\" - Bureau B.","brand":"Bureau B","offers":[{"title":"CD","offer_id":43375464251611,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB410CD_CU.jpg?v=1663166500"},{"product_id":"die-welttraumforscher-liederbuch-bureau-b-germany-cd","title":"DIE WELTTRAUMFORSCHER - Liederbuch","description":"\"When the Welttraumforscher (world dream explorer) started their journey on July 14, 1981, it was not foreseeable that it would last so long. For over 40 years now, Christian Pfluger from Zurich has been working with drawings, texts and songs on the idiosyncratic and fascinating universe of the imaginary trio. This has resulted in numerous cassettes, LP and CD releases. Most recently, a two-part retrospective was released in the spring of 2021 on Hamburg's Bureau B (BB 353CD\/LP and BB 354CD\/LP), giving an insight into the wonderfully rapturous dream world of the project, which despite the continuous work remains something of an insider tip to this day. With their new collection Liederbuch, the Welttraumforscher are going on tour for the first time in many years. When the Welttraumforscher open their songbook, they are met, as in a pop-up book, by the fictional friends they have invented and sung to on their journey through 40 years: the captain to the soul Kip Eulenmeister (the owl master) and the crop circle researcher (iguana) Leguan Rätselmann, the insect twins Brtz and Brxl, the space travelers Lia and Mira from the Nordkristall (northern crystal), Ohm Olunde from the silent forests and the incredible dark pilots. In their distant worldroom, the two insect beings Brtz and Brxl open up the Welttraumforscher songbook. They find the songs, from A to O, sung by the Forscher on their albums dating back to the faraway year of 1981 -- on cassettes, vinyls, CDs and through digital communications kaleidoscopes. It's Sunday and, with plenty of downtime on their hands, Brtz and Brxl listen to all the songs; the one about the yellow wight in the moors, the one about Kip Eulenmeister, the Captain of Souls, one about Leguan Rätselmann, pursuing every riddle, and one about the dark things which sometimes happen around midnight. We want one too, say say Brtz and Brxl, a songbook of our own, all the songs we like to listen to the most, collected in one album. By now it is late on Sunday evening and the moon shines above them like a colorful paper lantern. The two insect beings ponder: what shall we call our songbook? The very name we gave it, songbook. So here it is and this is what it sounds like -- Brtz and Brxl wish you happy listening. As do the Welttraumforscher, whose quiet body of work turned out so well. So, without further ado: welcome! Welcome to the Welttraumforscher songbook!\" - Bureau B.","brand":"Bureau B","offers":[{"title":"CD","offer_id":43375464317147,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB420CD_CU.jpg?v=1663166502"},{"product_id":"moebius-solo-works-kollektion-7-compiled-by-asmus-tietchens-bureau-b-germany-cd","title":"MOEBIUS - Solo Works Kollektion 7 Compiled by Asmus Tietchens","description":"\"Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Kluster\/Cluster and Harmonia, he participated in numerous collaborations (Brian Eno,  Guru Guru). Seven years after Moebius passed away in July 2015, Asmus Tietchens, one of his musical companions, compiled this collection for Bureau B -- he concentrated on his solo works \"as they offer the clearest insight into his personality and inventive potential.\"\n\n\"Together, Dieter Moebius and Hans-Joachim Roedelius were Cluster. Their influence on the development of electronic music in Germany since the early 1970s has been considerable. If we were to represent the two of them as woodcuts reflecting their musical characteristics, Roedelius would be the baroque version of Cluster and Moebius the motorik minimalist. Their solo releases make this all the more obvious, but the serendipitous combination of such divergent components is what makes the music of Cluster so wondrously magical. Aside from his many collaborations with a wide variety of musicians, there are just seven Moebius solo albums, one of which (Metropolis) was released posthumously in 2015. Moebius always wanted to create pop music and he actually thought of Cluster as pop. On the sleeve of the Cluster album Zuckerzeit he can be seen sporting a colorful Hawaiian shirt whilst sitting on Roedelius's knee. He found more than enough to astonish him in the here and now, so esoteric, transcendent, fantastical notions were alien to him. The names he gave to the tracks which populated his LPs and CDs categorically rejected any form of overindulgence. He may have thought he was making pop music, but his interest in the material, aural substance aligns him more closely with contemporary classical composers. The repetitive patterns he favored had less to do with baroque ornamentation and everything to do with minimal shifts in sound and rhythm, their rigor enhanced, time and again, by strange 'little' electronic noises and reverberating layers... Moebius rarely deviates from linear rhythms or tonal harmonies, yet is able to create a world of sound within this rhythmic\/harmonic framework which is unmistakably his own. Never big on messages or statements, his focus has always been on feeling good about -- and in -- his music, a sensation he sought to share with his listeners. As far as I know, his listeners absolutely feel good in the presence of his music. For this collection, my fascination with his music as strong as ever, I have deliberately zeroed in on Moebius's solo works, as they offer the clearest insight into his personality and inventive potential...\"--Asmus Tietchens, March 2022\" - Bureau B.","brand":"Bureau B","offers":[{"title":"CD","offer_id":43375464382683,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB422CD_CU.jpg?v=1663166506"},{"product_id":"faust-punkt-bureau-b-germany-lp","title":"FAUST - Punkt","description":"\"Repressed. After the overwhelming success of the 1971-1974 box set release (BB 374CD\/LP), containing the first four studio albums and for the first time ever this lost \"last\"album recording, Punkt gets a deserved and necessary standalone release.\n\n\"The band called it 5½, fans referred to it as the 'Munich album' and for almost fifty years it's been the missing chapter in Faustian mythology. Now for the first time, the German iconoclasts' previously unreleased fifth album sees the light of day as Punkt... Punkt is Faust at their most unhindered, untethered and unstoppable. Returning to Germany after a loss-making U.K. tour and after their manager Uwe Nettelbeck had split with them, the group dusted themselves down and planned their next project, what would have been their second for Richard Branson's Virgin. Joined as always by their engineering genius Kurt Graupner, the band took residence in the Arabella High Rise Building, the luxury hotel which housed Giorgio Moroder's Musicland Studio in its basement... Faust spent their nights below ground, creating the sublime cacophony which courses through these seven tracks. Driven by Diermaier's primitive repetition and Péron's rabid low-end growl, 'Morning Land' stomps its way through almost ten minutes of heavy psychedelia... A Luciferian spirit courses through the beatless 'Crapolino', a tumult of scorched guitar chords, strident FXs and disembodied vocals which bares all the hallmarks of a black mass. And just like that, the group summon some demonic hunting party for 'Knochentanz' (bone dance), arguably their most immersive creation... The storm clears for a second to allow a celestial chord progression to emerge from the darkness before the heavens open and Sosna's snarling, sawing guitar rains down from above, carrying 'Knochentanz' through its final iteration, a collision of muscular fretwork, percussion freakout and bleeping organ which completes the most psychedelic recording you've never heard. The frazzled optimism of 'Fernlicht' buzzes away like an acid Beethoven bathed in neons, before the breathless 'Juggernaut' stretches the definition of blues rock to its limit as squirming sine waves, clattering cymbals and corrosive guitars pan, reverse and overlap, each following its own unhinged rhythm. Then for a time the sound and the fury abate, making space for the frankly sublime 'Schön Rund', a piano-led diversion into the soul-swelling realms of ECM jazz and fin de siècle impressionism, which rivals anything else in their catalogue for pure beauty. And in case you thought they'd gone soft, Faust sign off with the guttural groans and course drones of 'Prends Ton Temps'...\"--Patrick Ryder\" - Bureau B.","brand":"Bureau B","offers":[{"title":"LP","offer_id":43375464480987,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB392LP_CU.jpg?v=1663166509"},{"product_id":"pyrolator-niemandsland-bureau-b-germany-lp","title":"PYROLATOR - Niemandsland","description":"\"The musician Kurt Dahlke is not only a member of the bands Der Plan and Fehlfarben, founding member of the group DAF and co-founder of the label Ata Tak, he has also released a stellar line of solo works under the name Pyrolator for which he enjoys great critical acclaim. What began in 1979 with the first release Inland continues its lineal thread with new work Niemandsland -- the sixth album within the Land series. It was 1979, some 43 years ago, when Pyrolator released Inland, an instrumental protest album, as he liked to think of it. Autumnal protests against nuclear weapon stations, against the entire structures of the war generation, but without the pathos of the rebellious songs which soundtracked the 1968 movement. Apart from a few samples, there were no words at all. Now, more than four decades later, Kurt Dahlke alias Pyrolator returns to his origins. But not, this time, in protest: \"The clock already stands at ten past midnight and we have arrived in no man's land. Neither the student movement nor the rejectionist stance of punk changed anything. Avarice has emerged victorious and no future is nothing more than an empty cliché. This is what global reality looks like. The principle of cause and effect.\"This is also a back to the roots story for Pyrolator in the musical sense. Niemandsland was created exclusively with modular synthesizers, the computer merely a recording device. All of the tracks were played live and direct -- neither storable nor replicable. The sixth album in Pyrolator's Land series is more than just a bridge to the past and the music to be found there. It has a formal language all of its own, meandering between the beauty of crystal-clear melodies and restrained ambient moments on the one hand and rugged, dystopian brittleness on the other. A cycle revolving between the hope of a revolution for humanity and arrival in no man's land.\" - Bureau B.","brand":"Bureau B","offers":[{"title":"LP","offer_id":43375464546523,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB410LP_CU.jpg?v=1663166513"},{"product_id":"die-welttraumforscher-liederbuch-bureau-b-germany-lp","title":"DIE WELTTRAUMFORSCHER - Liederbuch","description":"\"When the Welttraumforscher (world dream explorer) started their journey on July 14, 1981, it was not foreseeable that it would last so long. For over 40 years now, Christian Pfluger from Zurich has been working with drawings, texts and songs on the idiosyncratic and fascinating universe of the imaginary trio. This has resulted in numerous cassettes, LP and CD releases. Most recently, a two-part retrospective was released in the spring of 2021 on Hamburg's Bureau B (BB 353CD\/LP and BB 354CD\/LP), giving an insight into the wonderfully rapturous dream world of the project, which despite the continuous work remains something of an insider tip to this day. With their new collection Liederbuch, the Welttraumforscher are going on tour for the first time in many years. When the Welttraumforscher open their songbook, they are met, as in a pop-up book, by the fictional friends they have invented and sung to on their journey through 40 years: the captain to the soul Kip Eulenmeister (the owl master) and the crop circle researcher (iguana) Leguan Rätselmann, the insect twins Brtz and Brxl, the space travelers Lia and Mira from the Nordkristall (northern crystal), Ohm Olunde from the silent forests and the incredible dark pilots. In their distant worldroom, the two insect beings Brtz and Brxl open up the Welttraumforscher songbook. They find the songs, from A to O, sung by the Forscher on their albums dating back to the faraway year of 1981 -- on cassettes, vinyls, CDs and through digital communications kaleidoscopes. It's Sunday and, with plenty of downtime on their hands, Brtz and Brxl listen to all the songs; the one about the yellow wight in the moors, the one about Kip Eulenmeister, the Captain of Souls, one about Leguan Rätselmann, pursuing every riddle, and one about the dark things which sometimes happen around midnight. We want one too, say say Brtz and Brxl, a songbook of our own, all the songs we like to listen to the most, collected in one album. By now it is late on Sunday evening and the moon shines above them like a colorful paper lantern. The two insect beings ponder: what shall we call our songbook? The very name we gave it, songbook. So here it is and this is what it sounds like -- Brtz and Brxl wish you happy listening. As do the Welttraumforscher, whose quiet body of work turned out so well. So, without further ado: welcome! Welcome to the Welttraumforscher songbook!\" - Bureau B.","brand":"Bureau B","offers":[{"title":"LP","offer_id":43375464612059,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB420LP_CU.jpg?v=1663166514"},{"product_id":"moebius-solo-works-kollektion-7-compiled-by-asmus-tietchens-bureau-b-germany-lp","title":"MOEBIUS - Solo Works Kollektion 7 Compiled by Asmus Tietchens","description":"\"Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Kluster\/Cluster and Harmonia, he participated in numerous collaborations (Brian Eno,  Guru Guru). Seven years after Moebius passed away in July 2015, Asmus Tietchens, one of his musical companions, compiled this collection for Bureau B -- he concentrated on his solo works \"as they offer the clearest insight into his personality and inventive potential.\"\n\n\"Together, Dieter Moebius and Hans-Joachim Roedelius were Cluster. Their influence on the development of electronic music in Germany since the early 1970s has been considerable. If we were to represent the two of them as woodcuts reflecting their musical characteristics, Roedelius would be the baroque version of Cluster and Moebius the motorik minimalist. Their solo releases make this all the more obvious, but the serendipitous combination of such divergent components is what makes the music of Cluster so wondrously magical. Aside from his many collaborations with a wide variety of musicians, there are just seven Moebius solo albums, one of which (Metropolis) was released posthumously in 2015. Moebius always wanted to create pop music and he actually thought of Cluster as pop. On the sleeve of the Cluster album Zuckerzeit he can be seen sporting a colorful Hawaiian shirt whilst sitting on Roedelius's knee. He found more than enough to astonish him in the here and now, so esoteric, transcendent, fantastical notions were alien to him. The names he gave to the tracks which populated his LPs and CDs categorically rejected any form of overindulgence. He may have thought he was making pop music, but his interest in the material, aural substance aligns him more closely with contemporary classical composers. The repetitive patterns he favored had less to do with baroque ornamentation and everything to do with minimal shifts in sound and rhythm, their rigor enhanced, time and again, by strange 'little' electronic noises and reverberating layers... Moebius rarely deviates from linear rhythms or tonal harmonies, yet is able to create a world of sound within this rhythmic\/harmonic framework which is unmistakably his own. Never big on messages or statements, his focus has always been on feeling good about -- and in -- his music, a sensation he sought to share with his listeners. As far as I know, his listeners absolutely feel good in the presence of his music. For this collection, my fascination with his music as strong as ever, I have deliberately zeroed in on Moebius's solo works, as they offer the clearest insight into his personality and inventive potential...\"--Asmus Tietchens, March 2022\" - Bureau B.","brand":"Bureau B","offers":[{"title":"LP","offer_id":43375464644827,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB422LP_CU.jpg?v=1663166516"},{"product_id":"mcphee-evan-parker-joe-sweet-nothings-for-milford-graves-corbett-vs-dempsey-cd","title":"MCPHEE, JOE \u0026 EVAN PARKER - Sweet Nothings (for Milford Graves)","description":"\"Two masters of wind instruments blowing in from the Windy City. In 2003, as part of the seventh annual Empty Bottle Festival of Jazz \u0026amp; Improvised Music, Joe McPhee and Evan Parker squared off for a round of intimate dialogues. The resulting recording is just the second time they had played as a duet, the previous also being in Chicago, at a studio in 1998, where the limited their instrumentarium to tenor saxophones, resulting in the Okka Disc classic Chicago Tenor Duets (2002). In this case, they expanded their arsenal to include tenor and soprano saxophones, as well as McPhee's trusty pocket cornet. Held in a beautiful hall at the Chicago Cultural Center, the concert was unforgettable. Fortunately, it was documented by the legendary mobile recordist Malachi Ritscher, who recorded most of the Bottle Fests with his usual rough-and-ready style. From the opening notes, Sweet Nothings was notable for the musicians' intuitive connection. Freely improvised in seven parts, these are duets of the highest caliber performed by two musicians who are constantly seeking common ground -- what you might call \"agree-to-agree\"improvisors. But there's no lack of tension or productive dissonance; on the contrary, that's part of their unity of vision, the shared ability to diverge and reconnect.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375464710363,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD085CD_CU.jpg?v=1663166518"},{"product_id":"dredd-foole-and-the-din-songs-in-heat-1982-corbett-vs-dempsey-cd","title":"DREDD FOOLE AND THE DIN - Songs In Heat (1982)","description":"\"While Dredd Foole would stamp his legend as a foundational figure in the New Weird America free folk underground of the 1990s and 2000s, that is just the second half of the story. Forty years ago, in February 1982, Dredd entered the studio with Mission of Burma, stepping off a remarkable decade of post-punk activity that drew comparisons to The Stooges, Tim Buckley, and various outsider musicians. They would never tour and lacked ambition, so their powers were largely witnessed by a cloistered Boston scene. After an exhaustive approach in which hundreds of live, studio, home, and private performances have been located and reviewed over several years, Corbett Vs. Dempsey presents the first release in an ongoing series that will reconstruct the legacy known and the legacy damned of the most overlooked and under-documented American free rock unit, Dredd Foole and the Din. During an era of peak corporate control on popular music, when guitars were in the closet, improvisation was in retreat, and the flames of fire music were dimming, Dredd Foole and the Din emerged as part of a new underground kicking against the pricks, holding the line with the firmly clenched spirit of The Stooges, The Velvet Underground, and the newfound freedoms of the DIY post-punk landscape. Dredd's approach was radical even by the underground standards of the day: only the chords and some lyrics were predetermined, yet the songs were recorded in one take, without rehearsal. He sought to engineer maniacal and spiritually-frenzied bursts of raw aliveness. That this was achieved with such rock action is testament to the power of those involved. Until now, the only documentation of Dredd Foole and Mission of Burma's nearly two years of lowkey collaborative activity -- the celebrated band's sole collaboration during their initial incarnation -- was a two-song 7\"single. Radically remixed\/fully mixed from the original master tapes, remastered, and with the full cooperation of Dredd Foole and Mission of Burma, this first archival effort surfaces the entirety of that blistering studio session, growing it to near-album length and presenting a full picture of the Din's sound. The studio effort is balanced by a lo-fi selection of the project's astounding live debut from later that year, captured on cassette. Select live at the Channel 8\/9\/82, previously unreleased. Personnel: Dredd Foole - guitar, vocals; Roger Miller - organ, guitar; Clint Conley - guitar; Martin Swope - prepared bass; Peter Prescott - drums. Previously unpublished photographs by Pat Ireton. Produced and designed by Kris Price.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375464841435,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD086CD_CU.jpg?v=1663166519"},{"product_id":"grawe-quintet-georg-new-movements-corbett-vs-dempsey-cd","title":"GRAWE QUINTET, GEORG - New Movements","description":"\"German pianist Georg Gräwe, one of the most impeccable and imaginative improvisers in contemporary free music, made his debut recording, New Movements, in 1976, under the auspices of Free Music Production, the legendary Berlin-based organization run by Jost Gebers. At FMP's Jazz Now festival, in April of that year, Gräwe presented his working band, a classic hard-bop configuration with trumpet, saxophone, and rhythm section. Indeed, some vestiges of that hard-bop feel permeate the music, however it's been fractured and expanded in its ambitions to include post-bop, freebop, free jazz, and free improvisation, all with an overall set of structures that betray Gräwe's deep interest in contemporary classical forms. It is an audacious debut, one of the most thrilling jazz-related European outings to emerge from the FMP program. Tenor and soprano saxophonist Harald Dau is spectacular, reminiscent in places of the great Gerd Dudek's work with Manfred Schoof Sextett -- tough as nails, free within a blues-oriented context, totally inventive. He's matched by lithe trumpeter Horst Grabosch, and Gräwe's rhythm team is impeccable, with Hans Schneider's bass and Achim Kramer's drums. The album kicks off with a 22-minute-long rollercoaster ride written by Gräwe, and continues with two more long tracks by Dau, all of them featuring thrilling interplay and brilliant tunes. First reissue since it was first available in the mid-1970s. Licensing directly from FMP, with newly remastered music direct from the original tapes, CvsD put this important piece of free music history back into circulation, throwing light on the early years of Georg Gräwe's music and expanding the picture of what FMP's vanguard mission meant. Edition of 500.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375464874203,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD092CD_CU.jpg?v=1663166521"},{"product_id":"grawe-quintet-georg-pink-pong-corbett-vs-dempsey-cd","title":"GRAWE QUINTET, GEORG - Pink Pong","description":"\"German pianist Georg Gräwe, one of the most impeccable and imaginative improvisers in contemporary free music, made his debut recording, New Movements, in 1976, under the auspices of Free Music Production, the legendary Berlin-based organization run by Jost Gebers. At FMP's Jazz Now festival, in April of that year, Gräwe presented his working band, a classic hard-bop configuration with trumpet, saxophone, and rhythm section. Indeed, some vestiges of that hard-bop feel permeate the music, however it's been fractured and expanded in its ambitions to include post-bop, freebop, free jazz, and free improvisation, all with an overall set of structures that betray Gräwe's deep interest in contemporary classical forms. The band featured tenor and soprano saxophonist Harald Dau, matched by lithe trumpeter Horst Grabosch, and Gräwe's rhythm team is impeccable, with Hans Schneider's bass and Achim Kramer's drums. The same band hit the stage a year and a half later, again for FMP, recording Pink Pong. Even more adventurous and tightly wired, this version of Gräwe's fivesome plays more concise compositions, a total of eleven of them, spread out almost evenly amongst band members. The resulting album is one of FMP's absolute classics, simultaneously a nod at precursors like Alexander von Schlippenbach's early groups and Manfred Schoof's killer mid-sized ensembles, but also indicating a new path for a younger set of players. Steeped in a love of folks like Lennie Tristano and Steve Lacy, the band's points of reference were diverse enough to make them stand out against some of the more exclusively hard-blowing Germans of the era. First reissue since it was first available in the mid-1970s. Licensing directly from FMP, with newly remastered music direct from the original tapes, CvsD put this important piece of free music history back into circulation, throwing light on the early years of Georg Gräwe's music and expanding the picture of what FMP's vanguard mission meant. Edition of 500.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375465136347,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD093CD_CU.jpg?v=1663166522"},{"product_id":"reichel-hans-bonobo-beach-corbett-vs-dempsey-cd","title":"REICHEL, HANS - Bonobo Beach","description":"\"Subtitled some more guitar solos, Bonobo Beach was German guitarist and instrument inventor Hans Reichel's fourth and final record of solo guitar works. After this record, Reichel would turn much of his attention to the bowed wooden-tongued instrument he created called the daxophone. Reichel recorded the six tracks at his home in Wuppertal in April, 1981, and in the process made what might be his masterpiece. These are not just some more guitar solos. Concentrating largely on acoustic guitar with no frets as well as his electric pick-behind-the-bridge guitar, he transforms tones into crystalline formations -- patience with resonances, attention to silence, formation of symmetries around a common sonic point, jetting notes that arc and spread and then hover. One might look for other references to describe what Reichel is up to -- the magic of Terje Rypdal, the aura of early William Ackerman, the eccentric multiple pickups of Fred Frith -- but really this is unique in guitar repertoire. Reichel built his instruments as tools for improvised exploration, and then he dove deep into them, never so far as on tracks like \"Could Be Nice\"or the quivering \"Southern Monologue,\"or the two brilliant versions of the title track, \"Bonobo Beach.\"On \"Two Small Pieces Announced by a Cigar-Box,\"the titular box is bowed in a vocal manner that portends Reichel's development of the daxophone. This CD reissue, licensed directly from FMP, restores Reichel's original artwork and design for the LP, as well as an amusing insert tracking the development of his guitars from 1972-1981. A beautiful, essential document from one of the great outsider guitarists of all time. Edition of 500.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375466578139,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD094CD_CU.jpg?v=1663166524"},{"product_id":"lacy-evan-parker-steve-chirps-corbett-vs-dempsey-cd","title":"LACY \u0026 EVAN PARKER, STEVE - Chirps","description":"\"What could possibly happen when two ultimate masters of soprano saxophone square off for their only recording of duets? Chirps is the only place to find out. Steve Lacy -- the one who planted the flag for soprano saxophone in the ground of modern jazz, who established its iconic status, who devoted himself to the axe with monkish devotion, who brought shakuhachi breath and stairstep melody into its upper-register antics. Evan Parker -- arguably the one who pushed the instrument the furthest post-Coltrane, the technical marvel, the polyphonist, the one willing to immerse in the instrument's harshest environs and find things of radiant beauty. Performed in Berlin at the Haus am Waldsee in July, 1985, it was every bit the chamber concert -- super intimate and interactive, gorgeously recorded by FMP's Jost Gebers in an ideal acoustic room. Rather than alternate between one and the other, Lacy and Parker explore middle-terrain the whole time, perhaps skewing a tad more Lacy's funky-tuneful direction, becoming a single soprano entity made of fragments of sound sometimes accreting into perfectly imperfect lines. Two long tracks, \"Full Scale\"and \"Relations,\"are completed by a final four-minute coda aptly titled \"Twittering.\"Indeed, the whole program has the joyous interactivity of Paul Klee's painting \"Twittering Machine,\"birds aligned on a line, proposing and picking up lines, nothing cruel or mean-spirited, free play all a graceful twitter. This CD reissue restores the original Tomas Schmit design from the initial release on SAJ Records. Licensed directly from FMP. Edition of 500.\" - Corbett Vs. Dempsey.","brand":"Corbett Vs. Dempsey","offers":[{"title":"CD","offer_id":43375466774747,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CVSD095CD_CU.jpg?v=1663166526"},{"product_id":"gysin-brion-permutations-daba-book","title":"GYSIN, BRION - Permutations","description":"\u003cp\u003e\"The first collection of the Beat mentor's long-influential permutation poems -- one of the earliest examples of computer-generated literature. Written between 1958 and 1982, Brion Gysin's permutation poems begin with short phrases or sentences whose constituent words are exhaustively rearranged over the course of the text. At first, Gysin wrote these poems manually, although later, in collaboration with programmer Ian Sommerville, he would write permutation poems with the assistance of a computer, making them a very early instance of computer-generated literature. Some of these works were published in books, while others exist only as audio recordings. Many derive from a 1960 BBC radio commission, The Permutated Poems of Brion Gysin, in which readings of the texts were recorded, cut up, modulated and overlapped. For the first time, this collection brings together all published and -- where transcribable -- unpublished versions of each poem, as well as Cut-Ups Self-Explained, a short text by Gysin that contextualizes the work. The poems are organized in chronological order by first publication or first recording, with further versions of each poem grouped together in chronological order immediately after the initial version. This organization brings distinctions between versions into relief, allowing readers to explore the playful systematicity that undergirds this remarkable body of work. Brion Gysin (1916-86) was a multidisciplinary artist, author and poet. Born in Taplow, England, he studied painting at the Sorbonne in Paris and immigrated to New York in 1939. In the 1950s he lived in Tangier, where he first met William S. Burroughs. Gysin collaborated often; after returning to Paris, he developed the cut-up method with Burroughs, and with engineer Ian Sommerville he created the Dreamachine, a kinetic light sculpture. Gysin would become a mentor for generations of artists, musicians and writers, including David Bowie, John Giorno, Keith Haring, Brian Jones and Genesis Breyer P-Orridge, among others.\"- Daba.\u003c\/p\u003e","brand":"Daba","offers":[{"title":"Book","offer_id":43375467036891,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781734681772_CU.jpg?v=1663166529"},{"product_id":"nurse-with-wound-the-ladies-home-tickler-and-other-exotic-devices-dirter-promotions-uk-2lp","title":"NURSE WITH WOUND - The Ladies Home Tickler (And Other Exotic Devices)","description":"\"USA exclusive clear\/blue splatter edition. This expanded collection is the definitive version of The Ladies Home Tickler, originally released in 1993. An essential historical document for the new and lifelong Nurse With Wound follower. Classic tape cut-ups, radio sludge, surrealism, and abstract chaos. The birth of NWW, a project that is now in its fifth decade. Recorded back in 1980, the NWW line-up for these recordings was: Steven Stapleton - record player, cassette machine, noise; Jim Thirlwell - bass, ergonomic jack plug, WASP; William Bennett - guitar, WASP. Remastered by Andrew Liles.\" - Dirter Promotions.","brand":"Dirter Promotions","offers":[{"title":"Double LP","offer_id":43375467233499,"sku":"","price":44.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DPROM162LP_CU.jpg?v=1663166531"},{"product_id":"donkey-no-no-bloom-feeding-tube-records-cassette","title":"DONKEY NO NO - Bloom","description":"\"Deep new Quarantine Vibes from this hard lovin' Western Mass trio. Two of the tracks were recorded during Donkey No No's superb appearance on the QuaranTunes Zoom concert series (Friday May 14, 2021), the third was done three months later at an undisclosed location.  The building blocks, as usual, are Omeed's alternately chipper and fragmentary guitar lines, Jen Gelineau's fluid viola\/violin runs, and the weep and sizzle dynamism of Ted Lee's bowed cymbals. If their namesake metal donkey was harmed at any point during these sessions, you won't prove it by me. There is a bit less of rural heft on this tape than on some of the band's other releases. I'm not absolutely certain why this is, but I think it may be there are too many abstract elements in Omeed's playing to reconcile it with the straight line management required of true farmers. Call it creeping city slickerism if you must, but I don't think that captures its raison d'etre. The basis of Donkey No No's sound has always been based on slow-bore improvisation, and their music this time mirrors the unsettled feel so rampant back in mid-2021, evoking the clunky push-pull of continuously evolving disease and protection theories. The trio's earlier music had a much more placid center, built on a general benevolence of spirit quite lacking at the time of these performances. Since their creative process is organic, it's natural for these three to reflect the roil of the days surrounding them. The QuaraTunes tracks definitely evoke this. The August material has a heightened sense of composure to it, but there's still an acerbic bite to both strings and bows. The pre-electric feel that often lends their material some of the same ghostliness as the very earliest work by Dirty Three is definitely present, but the collective reluctance to embrace easy melodies gives everything a very modern cast. It'll be interesting to see if this change in direction is something momentary or more lasting. Either way, Donkey No No's music will be as cool to hear as always.\"--Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"Cass","offer_id":43375467331803,"sku":"","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR381CS_CU.jpg?v=1663166532"},{"product_id":"rootless-what-the-truth-leaves-out-feeding-tube-records-cassette","title":"ROOTLESS - What The Truth Leaves Out","description":"\"Rootless (or, more properly, rootless) is a solo project that's been going for better than five years now, helmed by Brooklyn's Jeremy Hurewitz. Two types of sounds are created under this banner -- low key electronics is one, and fingerpicked acoustic guitar is the other. what the truth leaves out focuses on the latter. The shared thread between these styles is a highly personal and intimate feel. When listening to rootless, you often get the sense this is music created solely for the pleasure of the artist himself. The aura of introspection is as deep as the night, so it's possible to almost feel like a voyeur while listening in. But hey, Jeremy sent us this stuff to hear, so we played it and asked him if he'd let us put it out, and like a true gentleman he agreed. The music goes in a couple of directions. Some of the pieces are patchworks of small, beautiful sonic fields. They possess mixed flashes of sunlight seen through smoke and are laced together with complete melodic threads. Other pieces are less attuned to resolution. They're more like questions left unanswered, and these questions are posed in a variety of languages. You can hear bits of Chadbournian flamenco fake-outs, circular breathing as done by fingers, and even a snippet of the wandering teacup raga if I'm not mistaken. The music of rootless manages to communicate and keep its secrets at the same time. Even when it gets abstract, there are obvious emotions powering everything. Like private performance for the public good. I'm not sure if this's driven by altruism or sheer cussedness, but whatever the root of the rootless sound, I'm a fan.\"--Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"Cass","offer_id":43375467364571,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR391CS_CU.jpg?v=1663166534"},{"product_id":"arn-eyal-maoz-eric-kost-nix-feeding-tube-records-cd","title":"ARN \u0026 EYAL MAOZ, ERIC - Kost Nix","description":"\"This is our fifth release with the Vienna-based guitarist Eric Arn, and as with each of his albums, Kost Nix (No Cost) is different from all that have preceded it. Eric is a musician whose interests and techniques are constantly evolving, so it has been a pleasure to observe his evolution from a power raunch generator (with Crystalized Movements, then Primordial Undermind) into the wildly unpredictable improviser he has become. This is the third duo album we've done with him, following Paranza Corta (FTR 384LP) with Margaret Unknown, and Hydromancy (FTR 493LP) with Jasmine Pender, and it is another stone killer. Eric's sparring partner this time is Eyal Maoz, the great Israel-born, NYC-based guitarist who has long been an important part of John Zorn's circle. Eyal has had loads of projects and solo outings, and also plays in a dizzying array of styles, so this match-up was a dream date. The recording was done live in October 2021, at VEKKS Vienna, and the set is explosive. Because both players are incredibly mutable (and I have no visual clues), it's all but impossible for me to tell who exactly is doing what. The massive sound of their collaboration creates its own unique sonic field. The grace of their interaction makes it seem like they've been doing this for years, but we can just chalk that up to a combination of good ears and good reflexes. They also display more skill and taste than most musicians can manifest in a year. The three long pieces move through a vast array of moods and tones. 'Quiet Concessions' has passages of almost classical delicacy, merging into tangled webs of zoned space improvs akin to Sonic Youth's extended string break-downs, with nods to the shattered weirdness of the Dead's '68 noise eruptions. 'Luminous Motion' starts like a collaboration between Donald Miller and Hans Reichel, with a drunk baby controlling their knob settings, until it settles into a valley of low twangs and drones. 'Optimus Locus ad Finem' is a slow, damp bramble with light fingered weirdness generating a very special kind of tension. And that's it. The breadth of this collaboration will definitely make you want to see these guys live, if only so you can see who's doing what. How likely that is, I cannot say, but hey -- why not dream big? Life is short, art is long. Don't be a sissy.\"--Byron Coley\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"CD","offer_id":43375467430107,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR692CD_CU.jpg?v=1663166535"},{"product_id":"hurley-michael-redbirds-at-folk-city-feeding-tube-records-lp","title":"HURLEY, MICHAEL - Redbirds At Folk City","description":"\"\"Here's an expanded vinylization of a boss live show from Snock and his Vermont roustabouts, recorded at Folk City on July 17, 1976. Most of it was first issued back in '88, as side two of the Land of Lo Fi\/Redbirds cassette on Bellemeade Phonics. But some new masters showed up subsequently, so there's an extra song and a half available for your listening pleasure. And pure pleasure is what it is. I always believed I had seen Hurley play somewhere in NYC before this. I thought maybe it was during the Unholy Modal Rounders' stint at Broadway Charly's, but Woodbill has continuously disabused me of this notion over the years. By his count, there were zero Manhattan Hurley shows until after the release of the acclaimed Have Moicy! album in 1976. And he oughta know. Consequently, this was probably the first time Hurley brought his band out of the hills. Guitar, bass, drums, piano and trumpet, all of them beautifully in sync and swinging like the rural hippie boogie band they were -- tested by long nights in halls filled with rowdy snowmobilers and the women who love them. Hurley \u0026amp; the Redbirds were more than ready to bowl over the city slickers who filled Folk City this hot mid-summer evening. Snock's voice is limber and strong, flipping easily into falsetto and yodels, and the music is faultless. Something like the Platonic ideal of what 'bar rock' can be. They only do one tune from Have Moicy!, but nobody could have minded. The music rolls out like the sweetest-ever guzzle of maple syrup laced with Mello Corn Whiskey. So loaded, so powerful, you're likely to shit the bed if you listen lying down. So hop right up, and let the music shuffle your feet around for you. You'll be glad you did.  Besides the boss sounds, this issue includes liner notes by Snock recalling the scene around Fairfield Vermont back in the summer of '75. It's a very nice read. Count yourself lucky. Don't delay.\"--Byron Coley, 2017. Edition of 2000.\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43375467462875,"sku":"","price":16.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR240LP_CU.jpg?v=1663166537"},{"product_id":"4-letter-words-band-in-boston-studio-live-at-cantone-s-july-15-1981-feeding-tube-records-lp","title":"4-LETTER WORDS - Band In Boston: Studio\/Live at Cantone's July 15, 1981","description":"\"As the '80s dawned, Phil Milstein was living in Central Square in Cambridge, setting type and working on the machinations of the Velvet Underground Appreciation Society. He was also beginning to explore his musical alter-ego, Pep Lester, with the first evidence of this appearing on an L.A.F.M.S. comp tape. Phil was also a maniacal tape trader in those days, and one of the people he regularly swapped mixes with was a juvenile delinquent from Athol, Massachusetts named Dana Hatch, whom he'd met when he bought a copy of Phil's VU fanzine What Goes On from him. Dana and a couple of his high school pot buddies started a band called The Rags to make a bunch of noise and play the annual school concert, although they had to change their name to The 4-Letter Words to do it. As a devoted fan of extreme arcana, Milstein soon signed on as the 4LW's manager, arranging for a gig at the grubby Boston venue, Cantone's, opening for Jad Fair. Phil also set up a recording session to precede the gig, at Men \u0026amp; Volts' rehearsal space in a former telescope factory in the Boston neighborhood of Jamaica Plain, with Roger Stevenson and David Greenberger manning the levels. Band In Boston documents the momentous events of that day -- July 15, 1981. The studio session is amazingly crude. It reminds me of the promo sticker on a Kim Fowley project called Underground All Stars -- 'GENUINE ALL STAR HYPE! REALLY TEENAGE!' Playing a mix of covers and originals, the vocals are howled, the guitar is fuzzed, the beats primitive. In short, it's pretty much everything you need for a good time. And judging from the sound of the audience, a good time is just what everyone at Cantone's had later that night. The Modern Lovers cover sounds particularly apt, as Cantone's was essentially the home club for the Real Kids, whose leader, John Felice, was an original Modern Lover. But everything is done wild, loose and full of juice. And man, the audience digs it. Alas, the 4LW didn't last much longer in its protean form. A few years later and weary of the limitations of the criminal lifestyle Dana moved to Boston, where he hooked up with the Shannon brothers, and Cheater Slicks was born. But that's another and much longer story. 4 Letter Words are short and sweet. Just like the band itself. Go nuts. You deserve it.\"- Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43375467528411,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR423LP_CU.jpg?v=1663166539"},{"product_id":"more-klementines-who-remembers-light-feeding-tube-records-lp","title":"MORE KLEMENTINES - Who Remembers Light","description":"\"Four years after their magnificent, eponymous debut, this Connecticut trio returns to vinyl with another brain-blurring set of tunes. Picking up where that last LP left off, drummer Michael Kiefer, guitarist\/vocalist Jon Schlesinger and guitarist\/bassist\/mandolinist\/electronics\/mark tree-rep, Steubs, dig ever deeper into the pulse of the Earth. The first track here, 'Hot Peace,' sounds like stuttering, shimmering emanations from the core of the planet. Remember that episode of the Superman TV show, where mole men come up out of the world's deepest oil well? The instrumental parts of this album remind me of those little dudes. Because everything they touched started glowing. And even though one gets the feeling there's more than a soupçon of anger in the way More Klementines attack their instruments, who amongst us doesn't believe a little glowing psychedelic aggression is called for in this dismal day and age? The two instrumentals on the flip have more pastoral flows. Guitar tones whirl off into the aether the way piss flies from a carousel, but the way the drops hit your skin makes them feel like beads of the purest dew, quivering in extreme close-up as you squint in the sunlight to make them out. But just when you think the drugs have totally taken over, a searing sequence of riffs emerge that make you sit up straight, so the drums can slap your head back and forth. Indeed, much of this album seesaws between the poles of abstraction and focus. Just like tripping! There's also one vocal track, 'Key of Caesar,' which has lyrics I can't figure out, but makes me think of Bob Pollard doing a blues tune based on 'Take the Skinheads Bowling.' Which is just the kind of thing he might do if he'd deign to swap his frosty mug for a sugar cube. Which ain't happening this week. But Who Remembers Light is happening right now and will continue to do so every time you slap it on the box. Which should be often.\"--Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43375467593947,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR644LP_CU.jpg?v=1663166542"},{"product_id":"elkhorn-distances-feeding-tube-records-lp","title":"ELKHORN - Distances","description":"\"Brilliant new instrumental fork-bending from the always amazing Elkhorn, presented here in a quartet setting I had not heard before. The basic band remains Drew Gardner on electric guitar and Jesse Sheppard on acoustic, but as often seems to happen with these guys, there are a couple more faces in the studio. This time it's two drummers. One is Ian McColm, a Virginia tub monster who has played in many excellent situations, including a 2012 Feeding Tube duo cassette with Daniel Bachman. The other drummer is DC-based Nate Scheible who does his own records and has also worked with everyone from Mark McGuire to Matt Wascovich. The wide foundational base these two provide allows Drew and Jesse to climb higher than they have ever dared before. By shifting the basic conceptual thrust closer to rock-qua-rock, this formation is capable of psyching-out with pure guitar force. The Ouroboran elements of open-form improvisation-based music really gel when the snakes are encouraged to eat their own tails. The drumming adds shimmer to the acoustic passages, and power distensions to the electric ones. Holding the strings accountable to forces of rhythm forces both the note and chord lines to twist in ways they otherwise mightn't. It's like the percussion challenges the guitars to not get too comfortable with a groove. Be prepared, fellas. Anything could happen. That said, Distances is a beautiful-sounding record. The core of Elkhorn has always known how to get to a real special musical spot, where acid flash meets acoustic burn. I'm just saying, the drums take this sound even deeper. You will get a lot of spins out of this one. Or I'll eat my hat.\"--Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43375467626715,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR652LP_CU.jpg?v=1663166544"},{"product_id":"cotton-alison-the-portrait-you-painted-of-me-feeding-tube-records-lp","title":"COTTON, ALISON - The Portrait You Painted of Me","description":"\"Orange vinyl (US exclusive). \"Here we have the third solo LP by London's Alison Cotton, following on previous successes, All Quiet at the Ancient Theatre (FTR 424LP, 2019) and Only Darkness Now (FTR 564LP, 2020). And as with each of Cotton's projects it is a stylistic advance as well as another example of her dark signature sound. Alison's work with bands is well documented by recordings with Saloon, 18th Day of May, Trimdon Grange Explosion, and her current, ecstatic folk\/psych duo, The Left Outsides. But her solo recordings always seem a bit more experimental in terms of song structure and musical texture, as the six tracks on The Portrait You Painted of Me clearly demonstrate. The touchstones of her sound are viola, harmonium, and voice, but these are merged together in all sorts of different ways, creating a rich and thoroughly artastic suite of songs. 'Murmurations Over the Moor,' is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of Northeast England (from whence she hails.) 'The Last Wooden Ship' evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley's Sirens urging listeners to a rocky demise. 'I Buried the Candlesticks' has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. 'That Tunnel Underground Seemed Neverending' is a musical vision of Northumberland's mining culture at the dawn of the 20th Century -- labyrinthine, subterranean, dimmer than night. 'Violet May,' the only 'song' on the album, was inspired by a trip to Vita Sackville-West's Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound, make me think of a post-modern approach to lyrical concerns dealt with by folk singers of the British '60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. And finally, we have '17th November 1962,' inspired by nearly forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison's voice again evoking the Sirens. Damn, what a good spin. As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison's partner, Mark Nicholas. She expressed concern at one point that the album might be a little too heavy in spots for some listeners, but that is a canard. I think one of the main things people relish about Alison's solo work is exactly the somber, exquisite melancholy she creates. This is some serious and remarkable stuff.\"--Byron Coley, 2022\" - Feeding Tube Records.","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43375467692251,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR658LP_CU.jpg?v=1663166546"},{"product_id":"oliver-standing-stone-guerssen-records-spain-cd","title":"OLIVER - Standing Stone","description":"\"Part-time farmer\/musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK. His cult masterpiece Standing Stone was recorded in early 1974 at a remote farm in Wales, using a portable 4-track TEAC reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and \"smaller winged creatures\", Oliver sang and played acoustic and electric guitars filtered through tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless. Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver's music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe. He remains a kind of a mysterious figure and we're proud to offer a new, long-awaited reissue of Standing Stone, sanctioned by him. RIYL: Captain Beefheart, Syd Barrett, Roy Harper, Brian Eno, Robert Johnson, Magical Power Mako, Fresh Maggots, Comus, Tony Caro \u0026amp; John. Incudes insert with liner notes by Richard Allen and rare photos. Sourced from the original master tapes. \"Few other musicians have been able to mix and blend folk, blues, psychedelia together as Oliver has managed to do\"--Ricardo Martillos (Distorsioni). \"Like a rustic, ramshackle mix between Electric Ladyland and No Pussyfooting\"--Giacomo Checcucci (Pincopanco). \"A truly remarkable record\"--Galactic Ramble.\" - Guerssen Records.","brand":"Guerssen","offers":[{"title":"CD","offer_id":43375467757787,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/GUESS065CD_CU.jpg?v=1663166549"},{"product_id":"gillespie-gareth-quinn-redmond-c-r-the-exquisite-corpse-shall-drink-the-new-wine-hidden-harmony-recordings-estonia-lp","title":"GILLESPIE, C.R. \u0026 GARETH QUINN REDMOND - The Exquisite Corpse Shall Drink the New Wine","description":"\"C.R. Gillespie and Gareth Quinn Redmond on the album: \"'The exquisite corpse shall drink the new wine,' wrote the French Surrealists almost 100 years ago, and from this missive stems the parlor game in which we partake here. Through obscuring the tower itself, they cobble together meandering staircases in which to ascend with absent-minded haste; spontaneous line-weaving amasses figures and phrases into new planes of thought, therefore holding captive the illusion of creative reciprocity. Although housed in unrecognizable quarters, dull rain now tallies itself upon your window panes just as it once kept count on theirs. Apparitions unknown sound instruments of winding origin in celebration of the ink dry in the well. A graffito of tea leaves stains the porcelain cup. This cloven tall-tale traces an epistolary journey between id and consciousness upon a page that has been adorned and wiped clean again and again and again. The wet meadow expands and contracts within a breath, moving through the windpipe to expel upon the glistening dew. From this dew rises anthills of diminishing complexity, and busying themselves within insanity, the occupants labor to hold fast against the unseen wave of oblivion.  An exercise in aleatoric sentence-finishing between two aligned performers, The Exquisite Corpse Shall Drink the New Wine mimics the economics of unconscious beauty-making to such a degree that light will neither pass through it nor divert its path. Draw upon it what you will, and ready yourself for the unrelenting ataraxy. The job's oxo.\"180-gram vinyl record. Edition of 300 numbered copies. Die-cut cardboard outer sleeve, color print inner sleeve + poly-liner sleeves.\" - Hidden Harmony Recordings.","brand":"Hidden Harmony","offers":[{"title":"LP","offer_id":43375467856091,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HH006LP_CU.jpg?v=1663166552"}],"url":"https:\/\/www.fusetronsound.com\/collections\/october-6-2022.oembed?page=5","provider":"fusetron","version":"1.0","type":"link"}