{"title":"screenshot","description":"","products":[{"product_id":"sprung-aus-den-wolken-1981-west-berlin","title":"SPRUNG AUS DEN WOLKEN - 1981 - West-Berlin","description":"\u003cp\u003e\"\u003cspan\u003eThe Berlin project \u003c\/span\u003e\u003cb\u003eSprung Aus Den Wolken\u003c\/b\u003e\u003cspan\u003e was part of the \"Geniale Dilletanten\" movement in the early 1980s, along with \u003c\/span\u003e\u003cb\u003eEinsturzende Neubauten\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eMechanik Destruktiw Komandoh\u003c\/b\u003e\u003cspan\u003e. The band first released an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983, then on the French outlet Les Disques Du Soleil Et De L'Acier until 1991. The track \"Pas Attendre\" was part of the soundtrack of \u003c\/span\u003e\u003cb\u003eWim Wender\u003c\/b\u003e\u003cspan\u003e's movie \u003c\/span\u003e\u003ci\u003eDer Himmel Uber Berlin\u003c\/i\u003e\u003cspan\u003e and thus became an underground hit. Bureau B is thrilled to now re-release the debut EP under the title \u003c\/span\u003e\u003ci\u003e1981 West Berlin\u003c\/i\u003e\u003cspan\u003e, including additional songs from the band's early days, which have been carefully remastered from the original cassettes.\" - Bureau B.\u003c\/span\u003e\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":45982346412251,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BB457LP_CU.jpg?v=1724450788"},{"product_id":"dora-delphine-le-grand-passage","title":"DORA, DELPHINE - Le Grand Passage","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eDelphine Dora\u003c\/b\u003e\u003cspan\u003e is a prolific composer, improviser and musician who has released on a plethora of labels including Recital, Morc, Sloow Tapes, Feeding Tube, Okraïna and more. \u003c\/span\u003e\u003ci\u003eLe Grand Passage\u003c\/i\u003e\u003cspan\u003e is a stunning set of songs for piano and voice, recorded in one take without overdubs or edits, contrasting gilded piano motifs with improvised and abstracted vocal expressions, channeling the divine. Delphine Dora was nearing the end of a three-day prepared piano residency when a technician stepped in to tune her grand piano for her final performance. He removed the objects from the strings and fixed the pitch, leaving Dora with a freshly tuned instrument. Mesmerized by its new sound, she proceeded to switch on her recorder and pour out her soul, channeling, in her own words, \"something greater than myself.\" The result is some of the most unusual but elevated material the prolific composer, improviser and multi-instrumentalist has ever recorded, rooted in a deep understanding of European musical history but willing to push at its boundaries, questioning the earthly logic of life and death, asceticism and impiety. Baroque paradigms bleed into fragile, introspective mantras, expressed through a made-up language of existential yearning and channeled through piano and voice. It's music that caresses the sublime, made without any premeditation. Dora conjures affecting, plainspoken poetry, like a bedside diary written in a hypnagogic, delirious state: a stream-of-unconsciousness, channeling the beyond. The album title connects to a book dedicated to French philosopher and activist \u003c\/span\u003e\u003cb\u003eSimone Weil\u003c\/b\u003e\u003cspan\u003e, who famously pored over global religions to ascertain spiritual truths. To Weil, meditation was a passage to access mystical experience, or a bridge between humanity and divinity. In Dora's hands, this idea is a corridor between herself and the listener, a liminal place where she's able to address feelings without making anything explicit. The title, of course, also refers to life, its impermanence, finitude, and fragility, presenting the complex, multidimensionality of being through one of the most undiluted, unbridled set of songs imaginable. RIYL \u003c\/span\u003e\u003cb\u003eAndrew Chalk\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eVirginia Astley\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDominique Lawalrée\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEmahoy Tsege Mariam Gebru\u003c\/b\u003e\u003cspan\u003e. Mastered by \u003c\/span\u003e\u003cb\u003eRashad Becker\" - Modern Love.\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1557361994\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Modern Love","offers":[{"title":"LP","offer_id":45982364565723,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/LOVE131LP_CU.jpg?v=1724451577"},{"product_id":"demdike-stare-junk-tuff-crew","title":"DEMDIKE STARE - Junk\/Tuff Crew","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eDemdike Stare\u003c\/b\u003e\u003cspan\u003e return to Modern Love with their first release on the label since 2018. The A-side features vocals from \u003c\/span\u003e\u003cb\u003eAlice Merida Richards\u003c\/b\u003e\u003cspan\u003e. Edition of 500 copies, comes with a holographic Modern Love sticker. Mastered and cut by \u003c\/span\u003e\u003cb\u003eRashad Becker\u003c\/b\u003e\u003cspan\u003e. Both cuts find Demdike in wickedly rambunctious mood, the A-side \"Junk\" weaving gated filters and squashed subs into the gynoid vocal delivery of Alice Merida Richards, formerly of baroque pop band \u003c\/span\u003e\u003cb\u003eVirginia Wing\u003c\/b\u003e\u003cspan\u003e, and here giving it a full \u003c\/span\u003e\u003cb\u003eNico\u003c\/b\u003e\u003cspan\u003e via \u003c\/span\u003e\u003cb\u003eTrish Keenan\u003c\/b\u003e\u003cspan\u003e thing. Imagine the Chain Reaction label doing monochrome, mutant pop, and you're just about there. \"Tuff Crew\" on the flip sees the duo panel-beating sheet noise, gnashing drums and hyperpop hiccups into a seething industrial dancehall swivel made to swarm warehouses with its dizzying stereo diffusions. Hands down some of their best gear, play extra loud for the full madness.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Modern Love","offers":[{"title":"7\"","offer_id":45985855930587,"sku":"","price":19.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/LOVE135EP_CU.jpg?v=1724602596"},{"product_id":"anderson-beth-i-cant-stand-it","title":"ANDERSON, BETH - I Can't Stand It","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCarving an unlikely and elaborate niche in the stoney academic landscape which she once shared with the likes of \u003c\/span\u003e\u003cb\u003ePhill Niblock\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJohn Cage\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eSorel Hayes\u003c\/b\u003e\u003cspan\u003e, the excitable proto-punk poèmes sonores of the linguistic loose cannon known as \u003c\/span\u003e\u003cb\u003eBeth Anderson\u003c\/b\u003e\u003cspan\u003e first rolled through New York in the mid-1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost Letterism, face paint and threadbare drummy funk to astonish gallery floors, lecture theatres and loft apartment stages. One thousand leagues under the radar of the commercial music industry, with a sense of humor that elevated way above her highbrow peer group, the music of Beth Anderson has successfully evaded the pressing plant for most of her creative career, and not unlike fellow New York gallery actionist \u003c\/span\u003e\u003cb\u003eSuzanne Ciani\u003c\/b\u003e\u003cspan\u003e, it has taken decades to successfully collect and contextualize these early recordings -- expanding her elusive discography beyond the rare and mysterious solo single entry in the process. In 1980, the 45rpm single \"I Can't Stand It\" combusted into the consciousness of adventurous participants with its deep rhythmic backbeat (courtesy of future \u003c\/span\u003e\u003cb\u003eSonic Youth\u003c\/b\u003e\u003cspan\u003e\/\u003c\/span\u003e\u003cb\u003eDinosaur Jr\u003c\/b\u003e\u003cspan\u003e producer \u003c\/span\u003e\u003cb\u003eWharton Tiers\u003c\/b\u003e\u003cspan\u003e, member of the new wave band \u003c\/span\u003e\u003cb\u003eTheoretical Girls\u003c\/b\u003e\u003cspan\u003e), climaxing with two colorful and commanding linguistic tantrums before disappearing in a puff of smoke leaving would-be fans dumbstruck without so much as a label name or distribution contact to explain what they had just heard. For those who have spent the subsequent years on the edge of that same seat, it might come as some comfort knowing that somewhere out there is also a contrasting world of gallery patrons and experimental sound poetry enthusiasts that similarly didn't know that their regular performance poet Beth Anderson even made the ambitious pop record. For the uninitiated, the enigmatic Beth Anderson has straddled both sides of the art\/rock fence placed between two equally niche pastures. Hopefully this first-ever vinyl compendium will succeed in joining the dots, loops, yelps, squeaks, beats and repeats!\" - Finders Keepers\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2671877451\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Finders Keepers","offers":[{"title":"LP","offer_id":45991273234651,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FKR119LP_CU.jpg?v=1724770492"},{"product_id":"beresford-steve-dancing-the-line","title":"BERESFORD, STEVE - Dancing The Line","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Wewantsounds presents the reissue of \u003c\/span\u003e\u003cb\u003eSteve Beresford\u003c\/b\u003e\u003cspan\u003e's highly sought-after album \u003c\/span\u003e\u003ci\u003eDancing the Line\u003c\/i\u003e\u003cspan\u003e, released in France in 1985 on the French label nato. The album, taking its inspiration from French designer \u003c\/span\u003e\u003cb\u003eAnne Marie Beretta\u003c\/b\u003e\u003cspan\u003e's fashion, features his \u003c\/span\u003e\u003cb\u003eAlterations\u003c\/b\u003e\u003cspan\u003e acolyte \u003c\/span\u003e\u003cb\u003eDavid Toop\u003c\/b\u003e\u003cspan\u003e plus \u003c\/span\u003e\u003cb\u003eAlan Hacker\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eKazuko Hohki\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eFrank Chickens\u003c\/b\u003e\u003cspan\u003e) with lyrics by \u003c\/span\u003e\u003cb\u003eAndrew Brenner\u003c\/b\u003e\u003cspan\u003e. The music mixes sophisticated ambient pop powered by a RX11 drum machine with elements synth funk and experimental music. \"Tendance\" and \"Comfortable Gestures\" have become underground classics over the years and this is the first time the album is reissued, in partnership with nato. The reissue includes audio newly remastered by \u003c\/span\u003e\u003cb\u003eTranslab\u003c\/b\u003e\u003cspan\u003e in Paris, original gatefold artwork, and a four-page insert with liner notes by nato's \u003c\/span\u003e\u003cb\u003eJean Rochard\u003c\/b\u003e\u003cspan\u003e. British musician, composer and arranger Steve Beresford has been a vital force in the British and international music scene since the early '70s. Starting his recording career in 1973, recording with the \u003c\/span\u003e\u003cb\u003ePortsmouth Sinfonia\u003c\/b\u003e\u003cspan\u003e alongside \u003c\/span\u003e\u003cb\u003eGavin Bryars\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eBrian Eno\u003c\/b\u003e\u003cspan\u003e, he went on to collaborate with a wide array of leading musicians in the free improvisation field and beyond, including \u003c\/span\u003e\u003cb\u003eDerek Bailey\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJohn Zorn\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eHan Bennink\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThe Slits\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePrince Far I\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThurston Moore\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eChristian Marclay\u003c\/b\u003e\u003cspan\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1985, Rochard introduced Beresford to French fashion designer Anne Marie Beretta and, in Spring of that year, the musician came over to Paris with his friend and collaborator, lyricist Andrew Brenner to spend a few days at Beretta's atelier in order to write songs for an upcoming album themed around the designer's works. Together they came up with several songs inspired by the fashion ideas, the fabrics, the colors used by Beretta and the emotions they conveyed. The recording featured Beresford on piano, voice, Yamaha DX7 keyboard and RX11 drum machine, David Toop on flute and guitar, Alan Hacker on Clarinet and London-based Japanese singer Kazuko Hohki from the group Frank Chickens, which Beresford and Toop had recently produced. The album \u003c\/span\u003e\u003ci\u003eDancing the Line\u003c\/i\u003e\u003cspan\u003e was released in France in October 1985. It is a subtle mix of ethereal pop songs, funkier tracks, a beautiful piano ballad, and a couple of free instrumentals. In the last years, the album has been rediscovered by a growing legion of new fans and has become an underground favorite with many DJs and collectors around the world. \u003c\/span\u003e\u003ci\u003eDancing the Line\u003c\/i\u003e\u003cspan\u003e was only released in France at the time.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"LP","offer_id":45991277986011,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/WWSLP097LP_CU.jpg?v=1724770611"},{"product_id":"carter-dorothy-troubadour","title":"CARTER, DOROTHY - Troubadour","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Drag City presents the first official reissue of \u003c\/span\u003e\u003cb\u003eDorothy Carter\u003c\/b\u003e\u003cspan\u003e's 1976 album debut, her folk-music exegesis, \u003c\/span\u003e\u003ci\u003eTroubadour\u003c\/i\u003e\u003cspan\u003e. In her lifetime, Dorothy, a self-made traveling musician and folklorist, brought forth masterful evocations on hammered dulcimer and psaltery from a myriad of times and places. Her music was played, produced and sold outside of that era's mainstream music distribution. \u003c\/span\u003e\u003ci\u003eTroubadour\u003c\/i\u003e\u003cspan\u003e reissue producer \u003c\/span\u003e\u003cb\u003eEric Demby\u003c\/b\u003e\u003cspan\u003e can look back to a childhood spent off the grid: the early '70s in rural Maine, and later on, in Boston -- wherever his freewheeling father brought the family, at one point or another, there too was Dorothy, as she lived and breathed, playing her hammered dulcimer. The early '70s found everyone living up on the farm up in rural Maine; it was here that \u003c\/span\u003e\u003cb\u003eRutman\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eConstance\u003c\/b\u003e\u003cspan\u003e, Dorothy and some others formed \u003c\/span\u003e\u003cb\u003eCentral Maine Power Company\u003c\/b\u003e\u003cspan\u003e, a troupe of almost feral improvisers playing on a combination of self-made and found instruments, with live video feedback to boot. In 1976, Dorothy had been playing music for decades, but had yet to record any of it. That year, she went to Cambridge's Studio B with Rutman and friend \u003c\/span\u003e\u003cb\u003eSteve Baer\u003c\/b\u003e\u003cspan\u003e at the console. Constance and \u003c\/span\u003e\u003cb\u003eSally Hilmer\u003c\/b\u003e\u003cspan\u003e accompanied her. The performances captured there were released later that year as \u003c\/span\u003e\u003ci\u003eTroubadour\u003c\/i\u003e\u003cspan\u003e. In addition to hammered dulcimer and psaltery, Dorothy played the flute and sang. She chose songs from all over: Appalachian folk tunes, old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies, with a few of her own songs for good measure. They all flow together effortlessly under Dorothy and friends' hands in a syncretic space that we can identify today as a garden of world musics -- a highly energized, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her with the eternal. This edition of \u003c\/span\u003e\u003ci\u003eTroubadour\u003c\/i\u003e\u003cspan\u003e reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from Eric Demby exploring the era -- his childhood -- from a vantage point of some 50 years. This reissue is a long-held family dream come true, and it is dedicated in loving memory to Bob Rutman, Constance Demby, David Demby and Dorothy Carter.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Drag City","offers":[{"title":"LP","offer_id":45991281852635,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/DC908LP_CU.jpg?v=1724770924"}],"url":"https:\/\/www.fusetronsound.com\/collections\/screenshot.oembed","provider":"fusetron","version":"1.0","type":"link"}