BIS AUFS MESSER AUgust news

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BIS AUFS MESSER AUgust news

Messagepar ADAGIO830 » 14 Aoû 2020, 12:27

hi. Welcome to the first newsletter for August. A bunch of new records and restocks arrived like

LOUISE CYPHRE - Discography LP JASON MOLINA - eight gates LP , STEVE ALBINI / ALISON CHESLEY / TIM MIDYETT / GAELYNN LEA - Girl on the Third Floor OST DLP, GARY NUMAN & TUBEWAY ARMY - Replicas LP, JIM SULLIVAN - U.F.O. LP, ANALYTICA – Analytica LP & the CERAMIC HELLO - Absence Of A Canary LP re issue, OKRAINA 10“ restocks, the new LIIEK 7“, JAN JELINEK - Tierbeobachtungen LP re issue, LOREN CONNORS & KATH BLOOM - Sand In My Shoe LP, ÖSTRO 430 - Keine Krise kann mich schocken (Die kompletten Studioaufnahmen 1981​-​1983) DLP, ROBERT RENTAL - Paralysis LP, SUZANNE CIANI - Music For Denali LP, CRITERIA - en garde LP and other Thirty something titles, SENYAWA & STEPHEN O’ MALLEY – Bima Sakti LP and much more.

The FREE shipping for orders in between GERMANY over 50 euros and 100 euros in EUROPE is still on. THANK YOU FOR YOUR SUPPORT


You can also get digital stuff on the adagio830 Bandcamp etc.

THANK YOU! All the support means so much for us. STAY SAFE!!!!!!!!!

Norman & Robert

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7“

LIIEK - s/t 7“ (mangel - 3 new tracks by Berlin's postpunk band LIIEK on their own IMPRINT Mangel records. Ltd to 250 copies. Recorded at SO36 by Tobi Lill / Artwork by Billo) 7.00


10“

LINUS VANDEWOLKEN - Het Vlier, Een Hommel Op Aarde 2x10“ (okraina - back in stock - " What you are listening to is the sound of a forgotten instrument. It has existed since the middle ages, but the earliest example still intact is from 1608. Once a staple in most households in the low countries, it is a true folk instrument, of the people, mainly played in the past by women who used their kitchen tables as a resonating surfaces to amplify & accompany traditional religious & secular tunes. Nowadays it seen rarely outside of museums in Brussels & other places you most likely have never heard of. It is not spectacular, its simplest version is just a long thin box with strings on top. Some of the strings are melody strings, which have frets placed underneath them, some are drone strings that have no frets. Traditionally it was strummed with a goose feather & notes were made by sliding a hard stick with a handle, from fret to fret on the melody strings leaving the drone strings ringing openly. The constant hum of the drones is where the name of the instrument comes from: bumblebee, which in Flemish, is a hommel. )18.00

MAHER SHALAL HASH BAZ - Je Est Un Autre 2x10“ (okraina - back in stock - This recording is not a "best of", it is a reflection of Tori Kudo's evolution as a composer, from playing with seasoned musicians, to playing with people just starting out, from playing with meticulous scores, to playing call & response melodies written down, to the songs here on "Je est un Autre": instant improvisations based on keyboard compositions that Tori plays for the group. Yes, that is it. He plays a recording of himself on the keyboard, with singing or humming sometimes and he leaves it to the "big band" to interpret this on the spot. Sometimes, you can make out the melody, other times it is quite obscure, as if a sort of common shyness flows out of the collected instrumentarium. And other times, well, it is a big party. Mr Kudo and the group were invited to tour Europe to celebrate 20 years of the project Le Ton Mité, members of which are absorbed into the ensemble. The recording evolves from the static sound of hermetic conditions to the live concert in the later tracks. The studio here, is a trendy concert hall in Brussels Les Ateliers Claus. You hear the applause of the brave ears that weathered the ride of accidental psychedelia & moiré of various notes fading into and out of each other. This is only a sliver of the material from the 20 hour recording marathon documenting the new composing/playing style of Mr Kudo & snippets from the last concert of the March 2018 tour. Perhaps the album should be called "Je est un autre : Volume 1" in a vague reference to "My Brother The Wind" series from Sun Ra. In any case, here you have four sides of ten inch vinyl to take you on a journey into Maher: Je est un autre... ) 18.00

PAK YAN LAU & DARIN GRAY - Trudge Lightly 2x 10“ (by the bluest of the sea -  » (…) Pak Yan Lau, one of the most original pianists of the new European creative scene, has the ability to build complex formal architectures starting from minimal materials – insistent rhythms, barely hinted melodies, electronic effects as evocative as they are mysterious. Darin Gray uses his long experience as the backbone of many improvisational groups with a painstaking work on timbre and a deep and multiform sound, providing a solid support to extemporary creations that have the solidity of pondered compositions. The music of the duo develops on wide structural strings, elegantly combining the continuous surprise of free improvisation with the material suggestions of electroacoustic experimentation, in a game of references and narrative developments almost cinematic, which tell a fascinating sound world, strangely familiar yet constantly new and surprising) 21.00

YOSHIO MACHIDA & CAL LYALL - Premeditation 2x10“ (by the bluest of the sea - In the early 2000s, Tokyo’s SuperDeluxe was a meeting point for many experimental musicians, both international and Japanese. This duo sprung from a live collaboration at the venue in 2006, where Machida was experimenting with processed steel pan and Lyall was largely performing using a tabletop guitar setup with a range of electronics. Many subsequent encounters were heavily experimental, ranging from densely layered noise music to sound collage. Through the years, the collaboration shifted to a more tonal approach, with standard tunings and stronger compositional elements. Both musicians have a deep interest in traditional improvisational forms, so there was a natural evolution towards structural ideas—based on minimal scalar patterns—as the sound became more acoustic. The most recent instrumentation explores the unusual combination of steel pan, slit drums and banjo, while also delving deeper into the characteristics of the instruments themselves.) 21.00


LP

ANALYTICA – Analytica LP (ice machine - A new sublabel of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020 with two fresh Canadian synth-pop LPs on vinyl. Along side a reissue of Ceramic Hello’s cult 1981 minimal synth classic “The Absence Of A Canary,” comes this, the self-titled debut LP from a new Toronto-based duo, Analytica. Analytica is comprised of David Lush, who’s released several killer solo tapes under the name Memorex, and Gabe Knox, who made a big splash last year with his awesome instrumental synth/kraut solo LP “ABC” on acclaimed UK label Polytechnic Youth. Analytica make synth-pop the old-fashioned way: driving, verse/chorus pop songs utilizing hardware synthesizers and drum machines, vocals and bass guitar, and recorded to tape. The comparisons to early-Depeche Mode (there’s even a cover of “Reason Man” — an unreleased, Vince Clarke-penned, Depeche song that was part of their earliest live sets), and prime-era New Order (right down to the Oberheim DMX percussion and Peter Hook-style bass guitar) are inevitable, but rarely are these sounds executed with such style and conviction. According to the band, lyrically Analytica “explore facets of the dark age ahead — the propaganda, the nationalism, the environmental disaster in front of our faces - while attempting to offer something of a defence against a nihilistic response to these fears. It's at once a call to arms and a recognition that we're entirely fucked.”) 20.00

BOB NANNA - Celebration States LP (new Granada - Chicago indie songwriter Bob Nanna (Braid, Hey Mercedes, The City On Film, Lifted Bells) delivers Celebration States, a highly personal work chronicling a major life shift for the seasoned musician. His first proper full length under his own name, States is a full, all-acoustic album recorded entirely on September 7, 2019, the day that would’ve been Nanna’s wedding anniversary. Simple and exposed, the recordings place his distinct, honeyed vocals on full display while lyrically navigating the personal process of coping with this certain type of loss. Of the 10-song set, Nanna says it “documents the highs and lows of a one year-long story. It’s autobiographical and I purposely awaited a positive resolution before I decided to complete the project.” Celebration States takes the listener on a confessional ride of emotional hardships and self-exploration followed by the eventual enlightenment of inner healing. Equally heartbreaking as uplifting, we invite you on this journey of re-discovery.) 23.00

CERAMIC HELLO - Absence Of A Canary LP (ice machine .-A reissue CERAMIC HELLO’s seminal 1981 LP, The Absence of a Canary. A long-time cult favourite among fans of obscure '80s synthpop, this LP remains highly sought-after by minimal synth vinyl collectors. The LP has been painstakingly remastered, transferred from perhaps the last sealed copy of this LP in existence. Long-time followers of Suction Records will remember that we had originally planned to reissue this LP in 2002. Ten years + one sold-out reissue on Germany's Vinyl-On-Demand later, and we are very excited to make this Canadian minimal synth classic available again. Ceramic Hello was formed in 1980 by BRETT WICKENS, in Burlington, Ontario, Canada. Having just left future-Canadian-pop-sensations THE SPOONS, Wickens teamed up with ROGER HUMPHREYS, recording just one 7" single, followed quickly by The Absence Of A Canary, in 1981. The music was inspired by the contemporary synthpop sounds coming out of the UK (OMD, John Foxx, Gary Numan, et al), but the production was decidedly more lo-fi, and combined with Humphreys' neo-classical contributions, the result was a unique electronic pop sound. Selling 1000 copies of Ceramic Hello in 1980 was no easy task, but appreciation for the record grew steadily over the next 25 years, with copies of the original LP eventually selling for as much as US0 on Ebay. Even Vinyl-On-Demand's 2006 reissue has long since sold out, and now commands nearly as much money as the original LP. Although this Suction Records release won't be the first official reissue of the LP, it is the first time it will be reissued in its original single-LP format, with the original artwork. It is also the first time that the LP will be reissued in CD / digital download format. Both vinyl and CD editions will also come with a fold-out poster, containing various Ceramic Hello press clippings—interviews, reviews, and college radio chartings—culled from Wickens' personal archives.) 20.00

CRITERIA - en garde LP (thirty something - People throw around the phrase "criminally overlooked" hither and yon, willy and nilly. But when we tell you that Criteria's 2003 Initial Records debut, En Garde, was criminally overlooked, understand we are not using code for "kind of crappy, but we promised them we'd reissue it if they'd let us put out the new one." On the contrary, En Garde was the album for which the cliche "criminally overlooked" was created.) 16.00

GARY NUMAN & TUBEWAY ARMY - Replicas LP (beggars - REPLICAS is the second and final album by Gary Numan + Tubeway Army and was originally released in 1979. It was the first album in what Numan referred to as the “machine” phase of his career, which these three albums comprise. The song “Are Friends’ Electric?” was a surprise #1 UK hit single and this album was a huge breakthrough. Replicas began as a concept album, based on a book that Numan never completed about a futuristic metropolis where androids with cloned human skin called “Machmen” team up with machines to keep citizens controlled under fear and force.) 20.00

HIROSHI YOSHIMURA - green LP (* First ever reissue of this groundbreaking ambient work * Produced in full cooperation with Yoshimura's estate * Remastered for vinyl and pressed at RTI * Unseen original handwritten track notes by Yoshimura // Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company. Originally released in 1986, GREEN is one of Hiroshi Yoshimura's most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura's home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey "the comfortable scenery of the natural cycle known as GREEN"-which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones. This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release) 35.00

IANNIS ​XENAKIS – GRM ​Works ​1957-​1962 LP (editons mego. 2020 REPRESS, Embossed Cover Artwork, incl. printed inner Even though Iannis Xenakis never made "musique concrète" in the sense given by Pierre Schaeffer, the GRM was a locus for experimenting with his ideas about sound and sound structures. The works, composed between 1958 and 1962, show a boldness as advanced as in his orchestral approach. The relationship between Xenakis and Schaeffer was often tense. It nevertheless entailed mutual recognition and respect towards each other's musical approach. Moreover, "Bohor" is dedicated to Schaeffer, as evidenced by the letter Xenakis sent him on October 8th, 1968: "Dear Pierre, I have decided to dedicate Bohor to you, out of friendship and gratitude for your contribution to music. I hope you are pleased with this." Schaeffer found the piece disproportionate in terms of intensity but was indeed pleased by the dedication. The four pieces presented here, all produced at the GRM, undoubtedly demonstrate the experimental intent and the strictly "physical" character of Xenakis' music, in that it provides the audience with a listening experience of a rare intensity.) 22.00

JAN JELINEK - Tierbeobachtungen LP (faitiche - Faitiche presents Jan Jelinek’s album Tierbeoachtungen in a limited pressing on vinyl for the first time. Originally released on Scape in 2006 as a CD and download, the album’s six tracks took their cues from Jelinek’s live concerts of that period: dense, slowly unfolding loop improvisations made with a laptop, various effect pedals and miniature synthesizers. It is music that floats in a semi-conscious state between dream and awakening, always slightly mysterious, leaving traces that lead directly to the psychedelic-cosmic music of the kraut era. In his release notes for Tierbeobachtungen at the time, the late lamented Martin Büsser wrote: "The animal is experiencing a renaissance in music. It provides a reflective surface for our notion of the unbridled and irrational, of that Other the philosophers Deleuze/Guattari – as part of their ‘Animalisation’ – called the embodiment of artistic deliverance. And yet, how much of a liberation can art actually tolerate? To what extent can music truly throw off its fetters without descending into chaos? Jan Jelinek’s album title provides a first hint of this development: Tierbeobachtungen (animal observations) is his fourth album for ~scape, and it addresses the issue of release and liberation. Recorded almost in transit, while preparing his move to a new studio, the tracks reveal and relish in their improvisational character, and drifting, lost sound – yet they never lose sight of their underlying structure. Tierbeobachtungen might be Jelinek’s freest and most personal work, with simply arranged tracks based on four to five layered and modulated loops, while his own studio equipment provides the main sampling sources, from synthesizer and guitaret to vibraphonette. Jelinek takes on the role of observer on this record, with a level of reflection remaining audible throughout. However, this is by no means intellectual, distanced music – Jelinek leads us straight into a thicket, an acoustic jungle where sumptuous splendour meets the uncanny. A long tradition of psychedelic music pervades the recordings – Amon Düül, Cluster, My Bloody Valentine – yet whatever musical memories might vie for our attention, these are no clear-cut references, just loose associations. On occasion, one might even be tempted to take them for field recordings – gems discovered, stored and returned from their travels by ethnologists fifty or a hundred years ago. Similar to the pioneers of industrial music, like Cabaret Voltaire or Zoviet France, who experimented with field recordings to challenge Western listening habits, Tierbeobachtungen takes us to new, unknown territories and brims with sounds that defy geographic or stylistic classification, not unlike the semi-conscious state between dream and awakening. (...)" Martin Büsser, 2006) 20.00

JASON MOLINA - eight gates LP (secretly Canadian - Sometime in 2006 or 2007, Jason Molina moved from the midwest to London. Separated from his bandmates and friends and never one for idleness, Molina explored his new home with fervor. Sometimes he’d head out on foot, often with no destination in mind. Other times, he’d pick a random tube stop and find his way back home. He’d pick up on arcane trivia about London’s rich history, and if the historical factoids weren’t available — or weren’t quite to his liking — Molina was quite comfortable conjuring his own history. His adoration of The Great American Tall Tales like John Henry and Paul Bunyan’s blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall’s seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina’s way into London, a gate only passable in the mind. Fast forward to 2008, Molina set off on an experimental solo tour through Europe. While in Northern Italy, Molina claimed to have been bitten by a rare, poisonous spider. A debilitating bout of illness ensued. "I was in the hospital here in London,” Molina wrote in a letter. “Saw six doctors and a Dr. House-type guy. They are all mystified by it, but I am allowed to be at home, where I am taking a dozen scary Hantavirus type pills a day that are all to supposedly help — but they make me feel like shit.” There is no record of a single doctor visit, not any prescription record for these medications. It is entirely plausible there was no spider and that whatever was keeping him indoors during this time was entirely self-induced. While at home, he of course wrote songs. Molina also claimed that during this time, he fed several bright green parrots that would gather in his yard. While often associated with a greyscale sensibility, Molina was oft-clad in a Hawaiian shirt and had, at least in part, selected the name Songs: Ohia for his first project as a nod to Hawaii’s ‘Ohi’a lehua flower. Which is all to say, the tropical element the parakeets brought to those sick days delighted Molina. He made short, crude field recordings of them with his trusty four-track. Only once Molina was officially on the mend and re-exploring the streets of London would he learn that those parrots had their own fabled tale. Back in the 60s, Jimi Hendrix — in a moment of psychedelic clarity — released his pair of lime green ring-necked parakeets from their cage, setting them free into the London sky. Now, their decendents are spotted regularly around certain parts of the city. Or so we’re told. ) 25.00

JIM SULLIVAN - U.F.O. LP (lita - A seventh son of a seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame; hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, Easy Rider. UFO was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; instead, it was a fully realized album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan's voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren't happy - but filled with despair. The album is punctuated with a string section (that recalls David Axelrod), other times a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show). UFO is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south. Yet, the record went largely unnoticed, and Jim simply moved on, releasing a further album on the Playboy label. But by 1975, his marriage breaking up, Jim left for Nashville and the promise of a new life as a sessioneer in the home of C&W. That's where it gets hazy. We know he was stopped by cops for swerving on the highway in Santa Rosa. We know he was taken to a local police station, found to be sober, and told to go to a local motel to get some rest. Some time later, his car was spotted on a ranch belonging to the local Genetti family, who confronted him about his business there. The next day Jim's car was found twenty-six miles from town, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes, and several copies of his second album, but no note, and no Jim. It was as if he had simply vanished into thin air. Jim's family traveled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the Genettis moved to Hawaii. His disappearance remains a mystery, so much so that Light in the Attic spent years retracing Jim's last known whereabouts including a recent trip to Santa Rosa. Like many before them, the label returned with more questions than answers. One thing is certain, UFO stands as an eerie masterpiece by an artist who left us far too soon.) 38.00

LAUGHING HANDS - Dog Photos LP (bfe - Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesisers, guitar and hand percussion much of which was then treated through the synthesisers, producing their soft, insistent and rhythmic sound. “Dog Photos” was originally released in 1981 by band's own label Adhesive records. The sounds in these 11 pieces are a combination of direct to tape & cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings and foreground rhythm abstractions. For fans of Chris & Cosey, Dome, Cabaret Voltaire, Coil, etc.) 20.00

LOREN CONNORS - Blues: The "Dark Paintings" of Mark Rothko LP (family vineyard - Blues: The ‘Dark Paintings’ of Mark Rothko is one of Loren Connors’ most cherished and sought after albums. Originally released in a handmade edition of 200 or so copies on Connors’ own St. Joan imprint in January 1990 under the name Guitar Roberts -- Blues has been unavailable in any form until now. At time of its release, Connors was still an inscrutable guitarist whose matchless and alien rendering of the blues was just gaining recognition despite more than a dozen solo and collaborative releases since 1978. Connors’ classic, song-based In Pittsburgh had only been available for three months when Blues welcomed the new decade with its reformation of the blues as minimalist lines and tone; a compound of influences spanning Louisiana guitarist Robert Pete Williams to painter Mark Rothko.) 24.00

LOREN CONNORS & KATH BLOOM - Sand In My Shoe LP (family vineyard - The extraordinary creative partnership of New Haven, CT duo Kath Bloom and Loren Connors has haunted fans of fragile folk and blues since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren's free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities. Early on, their music mixed folk and blues traditionals with a handful of Kath's vulnerable, moving originals. By the later albums the songs were all Kath's – her fragile voice and subdued finger- picking set against Loren's abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting. Kath & Loren's first two albums in 1981-82 were live recordings, released via Loren's Daggett Records label. Next came 1982's Sing The Children Over on Massachusetts label Ambiguous Records. Then Sand In My Shoe emerged in 1983 as the first release on Loren's new St. Joan label, in an edition of 200-300 copies with handmade sleeves. Restless Faithful Desperate and Moonlight followed in 1983-84, before the prodigious duo parted ways. After reissuing Kath & Loren's four landmark studio albums on CD in the late 2000s, Chapter has now embarked on the first ever vinyl reissues for these remarkable records. Restless Faithful Desperate was reissued in 2018, while Moonlight will be released alongside Sand In My Shoe in October 2019.) 23.00

LOUISE CYPHRE - Discography LP (rwp - Louise Cyphre were a four-piece screamo band from Germany that were around from 1999 to 2007. Their name is probably familiar, since they are probably one of the best and most influential "skramz" bands ever. Fans of that chaotic, noisy emo-violence sound will basically worship this band, and for good reason. I don't have to say much else, really. If you like dark, spastic screamo, you'll love this shit. They released a discography LP which includes all they've done except their one track on the Emo Apocalypse comp. Members now play in Republic Of Dreams.) 15.00

LOREN CONNORS & KATH BLOOM - Restless Faithful Desperate LP (family vinyard - The extraordinary creative partnership of New Haven, CT duo Kath Bloom and Loren Connors has haunted psych-folk fans since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren’s free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities. Early on, their music mixed folk and blues traditionals with a handful of Kath’s vulnerable, moving originals. By the later albums the songs were all Kath’s – her fragile voice and subdued finger-picking set against Loren’s abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting. Restless Faithful Desperate emerged in 1984, in an edition of 200-300 copies. As her creativity accelerated, Kath’s songs became looser and more intuitive, but Restless contains one of her most gorgeously realised compositions, Look at Me. Loren’s long-term collaborator Robert Crotty contributed electric guitar on a couple of tracks. By 1984, however, Kath was married with a young son, and Connors was entering a new relationship, so the duo found themselves drifting apart. Kath did not release anything again until a 1993 solo cassette Love Explosion, but then developed a devoted cult following through the pivotal use of her song Come Here in Richard Linklater’s 1995 film Before Sunrise. Kath has since released three solo albums on Chapter Music (Finallyin 2005, Terror in 2008 and Pass Through Here in 2015), as well as the Bloom tribute album Loving Takes This Course, featuring covers by the likes of Bill Callahan, Mark Kozelek, Devendra Banhart, Josephine Foster and many more. She has also recorded two albums and an EP for Mark Kozelek’s Caldo Verde records. Loren also retreated from music for a period until re-emerging in the late 1980s. He is now recognised as a pioneering guitar explorer, and has worked with the likes of Thurston Moore, Keiji Haino, Jim O’Rourke and many more. After reissuing four of Kath & Loren’s landmark albums on CD in the late 2000s, Chapter now embarks on the first ever vinyl reissues for these remarkable records. Expect more volumes in early 2019. This album includes a digital-only bonus track of 1982 compilation track Tell Him. Each LP will include digital bonus material.) 22.00

ÖSTRO 430 - Keine Krise kann mich schocken (Die kompletten Studioaufnahmen 1981​-​1983) DLP (bureau b - Die Düsseldorfer Frauen-Punkband Östro 430 wurde Ende 1979 gegründet. Östro 430 spielte erstmals im Mai 1980 auf dem Festival des Punkfanzines SCHMIER in Neuss, wo sie von der Band Fehlfarben entdeckt und als Vorgruppe für deren Deutschland-Tournee engagiert wurden. Auf einem dieser Konzerte war auch Lothar Rieger, der das Schallmauer-Label gründete und im Herbst 1980 drei Songs auf dem Schallmauer-Sampler veröffentlichte. 1981 folgte dann die erste EP Durch dick & dünn mit insgesamt 8 Songs, darunter u.a. ihr wohl bekanntester Titel Sexueller Notstand. Überhaupt waren Sex, überholte Ansichten (besonders gegen Frauen) und Spießigkeit oft vertretene Themen in den Songs von Östro 430. Auffällig war auch die Instrumentierung, die aus Gesang, Bass, Schlagzeug, E-Piano und Saxophon bestand – E-Gitarren hingegen wurden gänzlich vernachlässigt bzw. einfach nicht benötigt. Im Frühjahr 1983 erschien das erste „richtige“ Album „Weiber wie wir“, weitere Veröffentlichungen kamen jedoch nicht mehr zustande. Im Mai 1984 gab Östro 430 noch ein Abschiedskonzert in Düsseldorf und löste sich auf.) 27.00

RAPOON - Vernal Crossing DLP (abstrace - White ink artwork on brown kraft paper Vernal Croossing was Rapoon's fourth album, originally released in 1993 by Staalplaat. One of the most interesting records released by Robin Storey (founding member of the pioneering industrial group :zoviet*france) on vinyl now for the first time. A magic balance between percussion and electronics, creating mind-bending tapestries of minimalistic patterns and quasi-melodic drones fused with occasional doses of well-placed white noise. An approach much in debt to his 12 year stint with zoviet-france. It paints a gossamer diaphanous drifting veil of mood over the top. Other than some moody loops and psychoacoustic dimensions, it sounds authentic - hardly a trace of crude electronics or sampling. The drumming - in soft tones rather than hard hitting ones - does nothing to intrude on the passive mood. The overall atmosphere does not really change throughout the recording making it a cool, pacifying atmosphere while having the madcap tempo which would be very easy to dance to. This edition includes a new track called Total Crossing, edited/constructed by Colin Potter, who has been in charge of the remastering of the record. A deep drone trance/meditation edit that blew Robin's own mind (and also ours!). The successful experiment explained by Colin: "I imported all the masters to my DAW to make a mock-up of the LP & initially they were all together at the beginning of the multitrack, before I spaced them out in the record's running order. And I thought.... what would it sound like with them all playing at once? Well, it was actually suprisingly interesting, so I did a mixdown.") 27.00

ROBERT RENTAL - Paralysis LP (dark entries - Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018. The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity. The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.) 18.00

SEKE MOLENGA & KALO KAWONGOLO - s/t LP (antarctica starts here - "Over the years, they would come to say that the Africans just appeared one day in Jamaica. That two Congo men somehow materialized on the streets of Kingston sometime in 1977, almost as if by magic, speaking not a word of English or patwa. The duo, they say, were musicians brought in by a Jamaican promoter – a woman who ditched them, leaving them to fend for themselves, stranded in a strange land. What really happened is harder to fully divine. The two young Africans – Molenga Mosukola (aka Seke) and Kawongolo Kimwanga (aka Kalo) – were musicians from the Democratic Republic of the Congo, then known as the Republic of Zaire, and had indeed been brought to Jamaica by a woman. But she was not a Jamaican promoter; she was a Frenchwoman named Nadette Duget, an executive at CBS France. Seke and Kalo were both vocalists and guitarists who also played percussion; one of them also handled the saxophone. Initially, Duget had intended for the recording to take place at Byron Lee's Dynamic Sounds studio. Somehow, though, the project instead ended up at Lee 'Scratch' Perry's Black Ark. When Seke Molenga and Kalo Kawongolo arrived at the Black Ark, Perry was wrapping up the sessions for the Heart of the Congos. He was immediately enamored with the two Congolese visitors and did regard their presence as a fortuitous sign. As he later said in 1992, 'I know they were sent from Africa, because Africa wanted to make that heart connection in the Ark Studio. So African have to appear in the Ark Of The Covenant to manifest the African drum.’ Perry eventually completed the work with Seke and Kalo: a deeply rootsy and rugged album under the working title Monama (which in Lingala means 'Rainbo'). He submitted it to Island, but as they had done with Heart of the Congos, they passed on releasing it. While it has remained relatively obscure, even as Perry's Black Ark oeuvre has been rehabilitated and lionized over the past two decades, the album has nevertheless been quietly influential. Its groundbreaking amalgamation of African music and dub anticipated similar experiments by producers like Adrian Sherwood, Bill Laswell and Jah Wobble who would ride to critical acclaim in the '80s and '90s." – Uchenna Ikonne (excerpt from the liner notes)) 23.00

SENYAWA & STEPHEN O’ MALLEY – Bima Sakti LP ( ideal - Edition of 700 copies, purple vinyl, incl. printed inner sleeve - Ancient Indonesian tradition meets doom rock in profoundly Ur ways on Stephen O’Malley and Senyawa’s collaborative commission for choreographer Gisèle Vienne. Following a decade of creative bonds forged between theatre director and choreographer Gisèle Vienne and doom sayer Stephen O’Malley that spans multiple soundtracks (solo and with Peter Rehberg in KTL) and visual artworks, the pair travelled to Indonesia on a commission to explore the country’s rich culture in 2018. They immersed in a magical world of performative rituals where they encountered Wukir Suryadi, an experimental musician and instrument builder whose acclaimed releases both solo and as half of Senyawa have invigorated the avant and experimental rock scene over the past decade. The six tracks of ’Bimi Sakti’ document groundbreaking ventures between Senyawa and O’Malley, yielding an incredibly powerful mix of electric guitar and bass guitar amp worship blended with the remarkable range of tonalities from Senyawa’s custom-built bambuwukir, plus traditional pipes and possessed vocals. Practically without precedent in the modern musical sphere, the 44’ release speaks to a resounding mutuality and common musical philosophy between two musicians who are usually geographically separated by a hemisphere. Slow to start, but culminating in a wholly dilated musical vision, the performance effectively collapses eons of musical practice and thought into a singular yet timeless expression of beauty and anguish that transcends the sum of its parts. Fleshing out the frequency spectrum between flighty, avian flutes and sprawling subharmonic bass riffs, they come to inhabit a thrilling mid-ground over the course of the performance as O’Malley moves up the registers to thrashing mid-range riffs while Suryadi invokes a range of demonic voices and unearthly tones from his bamboo instrument. The results come to prod the pineal like little else beyond, say, O’Malley’s Nazoranai trio with Keiji Haino and Oren Ambarchi, or the Phurpa album on his Ideologic Organ label, and we reckon should hailed among the boldest and most astonishing records of 2020.) 28.00

STEVE ALBINI / ALISON CHESLEY / TIM MIDYETT / GAELYNN LEA - Girl on the Third Floor OST DLP (toch & Go - When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge.  After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim Midyett (Mint Mile, Silkworm) and Alison Chesley (Helen Money) to complete the ensemble that would compose and record the soundtrack.  "Upon completion of the soundtrack, Albini reflected, “Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time.”) 33.00

SUZANNE CIANI - Music For Denali LP (finders keepers - Finders Keepers Records’ continued and unwaning commitment to preserving the archives of composer Suzanne Ciani pays off in an avalanche of dividends with this latest master tape discovery, placing further markers in the historical development of electronic music and cinematic composition. Developed at a lesser-documented axis combining Ciani’s key disciplines as a revolutionary synthesist and an accomplished pianist, these early works from 1973 capture a rare glimpse of one of the world’s most important electronic music figures embarking on the early throes of a fruitful career as a film composer and sound designer with this rare and previously unheard documentary music illustrating the first-ever skiers’ decent from the peak of the tallest mountain in Alaska. Capturing innocence and optimism in its composition, but never less than masterful in its realisation, Denali takes what would later become the yin and yang in Ciani’s versatile musical personality and provides unrivalled vistas from both side of the mountain, scaling a treacherous and fine creative line. The music on this record was also commissioned two years before Suzanne’s first Buchla concerts in 1974 and 1975, which were accompanied by her seminal National Endowment Paper, and would reveal Suzanne’s proud commitment to the developed Buchla instrument and her confidence in its place in modern music, thus proving the likes of Denali to be an earlier showcase of the instrument in it’s advanced infancy although still robust enough to carry the emotive and ambitious songwriting skills of the classically trained Ciani. After hearing this record it will come as little surprise that the track known as Ski Song would later be reappropriated (and rerecorded) on Ciani’s globally critically acclaimed debut album Seven Waves (as the Fourth Wave), which was initially released exclusively in Japan before Turkish-born electronic music pioneer Ilhan Mimaroglu signed the record to his Finnidar imprint at Atlantic records, thus making musical history for Suzanne as a widely celebrated American-Italian female composer. It stands as testimony to the composer’s determination and inventive nature that this single track, which would later make its way on to every future music best-seller list in the country, was originally composed on just piano and the modular synth model which she had helped to assemble on Buchla’s production line ten years before her Tokyo debut. “Denali was composed using just Buchla and piano,” explains Suzanne in 2020.) 25.00

SUZANNE ​VALLIE – Love ​Lives ​Where ​Rules ​Die LP (night bloom -- After a hard spell, heartbroken and drifting, Suzanne Vallie aimed to make a driving record rich with sympathy, high romance, and dedicated to the magic of good-timing. Other themes on the album include dogs, surfers, and the supernatural. Vallie, a sorta-recluse living in rural Big Sur, California, is known for her improvisational performances where she freestyles lyrics and tells stories, both mythical and rowdy. She wrote the bulk of Love Lives Where Rules Die during the bummer summer after a breakup. It was a time when she drove up and down Highway 1 trying to blow out the speakers of her 94’ Honda. (bummer summer playlist) The 11 songs of Love Lives Where Rules Die were largely live-tracked over five days. Suzanne Vallie and a core band of California collaborators flew out to upstate New York during the last warm days of September 2019. Vallie and her producer, Rob Shelton, chose Dreamland Recording in Hurley, New York, for many reasons. The analog signal flow sounded embracing. The studio, a hundred-some-year-old church, had room for the whole crew to live-track. Some said a ghost might come around. What’s more, much of the band was already on tour out East, playing a run of shows with both Luke Temple and Meerna, double duty every night. They were plenty warmed-up. Opening with “Ocean Cliff Drive”, Vallie sings of driving on the winding cliff side of Highway 1, blinded by fog and rain, all the same singing, “I can't see the road ahead of me, but I’m coming.” The title track, "Love Lives Where Rules Die", begins with baritone guitar calling in a story of a broken heart among good company. With no way out in a three-day storm, Vallie asks friends to sing her love songs, and flies "on a wild light" with a “heart on borrowed wings.”) 20.00

UNDERSTAND - Burning Bushes and Burning Bridges LP (thirty something - The 25th anniversary re-issue of Understand´s debut full length. "Formed in Southend, Essex, England, in 1992, alternative rock band Understand grew from the ashes of local group Stand Off (other members of that band, Hallam Foster and Tony Maddocks, went on to work with Above All). Comprising Dom Anderson (vocals), John Hannon (guitar), Rob Coleman (guitar), Stuart Quinnell (bass) and Andy Shepherd (drums), they continued Stand Off’s ‘straight edge’ creed of abstinence from drink and drugs, with their musical influences clearly American. Fugazi, the leaders of the ‘emo-core’ (emotional hardcore) and straight edge scenes, are their obvious chief influence. Their debut self-titled EP was recorded with noted hardcore producer Don Fury in his studio in 1994, but failed to garner sympathetic press coverage - though earlier reviews of their demos and live shows had been much more positive. Their debut album for EastWest Records, Burning Bushes And Burning Bridges, proved much more popular. Produced by Chris Sheldon, best known for his work on Therapy?’s Troublegum, this was a more disciplined, powerful showcase for their work. The songs that attracted most attention were ‘Southend’, a tribute to the group’s seaside home-town, and ‘The Rudeness We Encounter’, a plea for the return of a very old-fashioned English concept - politeness. " IHateThe90s) 16.00

V/A - Electronic Voyages: Early Moog Recordings 1964-1969 LP (waveshaper - Silver-foil block printed jacket, incl. printed inner sleeve, 4-page essay insert In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl. Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems). The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.) 19.00

V/A - Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 DLP (LIAT - When Light In The Attic released Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. Pacific Breeze included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around. With Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread & Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic. Pacific Breeze 2 once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.) 51.00

V/A - Sowas Von Egal Vol. 2 (German Synth Wave Underground 1981-1984) LP (Two years have passed since the successful release of the first "Sows von egal" compilation. "Sowas von egal" is a collaboration between the Hamburg record label Bureau B and the Hamburg party series Damaged Goods where they present rare, obscure synth & wave discs from the early 1980s which absolutely deserve to heard. It was clear from the outset that “Sowas von egal 2” would need to scale similar heights of excellence as its predecessor, featuring carefully selected, sought-after, danceable tunes. In contrast to the first volume, most of the acts here were only active in the early 1980s and have not released any records since then. The tape artists were particularly invested in the DIY ethic – as is often apparent in their sound aesthetics and the unbridled energy which has lost none of its intensity today. Their art was seldom – if ever – tempered by commercial considerations or sales strategies. A year in the making: “Sowas von egal 2” is a worthy successor to part 1!) 23.00


TAPE

LIIEK - s/t TAPE (Liiek is a new Postpunk band from Berlin feat. peeps of Pigeon, Benzin, Aus etc Think of Gang Of Four meets Q And Not U.) 7.00

V/A - Flennen No. 9 TAPE (new FLENNEN comp with 20 tracks from Cage Kicker, Bobby Would, Neon Lies, Verräter, Ex White etc etc ) 7.00


MAGAZINES

WIRE - #439 | September 2020 MAG + CD (On the cover: Mourning [A] BLKstar: The prolific Cleveland, Ohio ensemble speak to the power of community with a continually evolving amalgam of soul, funk, blues and jazz. By Neil Kulkarni. Plus: Beverly Glenn-Copeland: The resurgent Philadelphia born singer-songwriter’s new age folk-pop promotes compassion and kindness in defiance of harsh reality. By Joshua Minsoo Kim; Lao Dan: The Chinese multi-instrumentalist blends formal training with strategies of unlearning to create stark and physically demanding works. By Josh Feola; and Bunita Marcus: The post-minimalist composer and conductor quietly reclaims the spotlight. By Louise Gray. Also inside this issue: Invisible Jukebox: Marcia Bassett × Samara Lubelski, Theresa Wong, No Home, Alan Braufman, Eve Maret, Anòmia, CHEWn!, East Man, hundreds of reviews and more.) 8.00
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ADAGIO830
Ce n'est pas qu'j'aime pas me mélanger mais disons Simplement qu'les aigles ne volent pas avec les pigeons
 
Messages: 890
Inscription: 31 Déc 2005, 14:38
Localisation: Berlin

Re: BIS AUFS MESSER AUgust news

Messagepar ADAGIO830 » 21 Aoû 2020, 21:42

hi. Welcome to another newsletter for August. A bunch of great stuff arrived like the fantastic LOREN CONNORS - Beautiful Dreamer 10“, the JIM SULLIVAN - U.F.O. LP re issue, ÖSTRO 430 - Keine Krise kann mich schocken (Die kompletten Studioaufnahmen 1981​-​1983) DLP restock, ELDER - The Gold & Silver Sessions LP, BAIT - Revelation of the Pure LP, STEVE VON TILL - No Wilderness Deep Enough LP, new SNEAKS LP, PRIVATE WORLD - Aleph LP, LE REN - morning & melancholia LP, PHOEBE BRIDGERS restock, BELL WITCH AND AERIAL RUIN - Stygian Bough Volume I DLP restock, AI ASO - The Faintest Hint LP, KTL - VII LP, VLADISLAV DELAY / SLY DUNBAR / ROBBIE SHAKESPEARE - 500-Push-Up LP, DEREK BARON - Curtain LP

Also lots of restock from Darkthrone, DEATH Long Sleeves, Bathory, Electric Wizard, older LOREN CONNORS titles and more ..

We also reprinted the ADAGIO830 T-Shirt in White, Black and grey and also a few Tote bags. Also the new SLOW WORRIES LP went to the pressing plant. We just got two copies of their debut left.

The FREE shipping for orders in between GERMANY over 50 euros and 100 euros in EUROPE is still on. THANK YOU FOR YOUR SUPPORT


You can also get digital stuff on the adagio830 Bandcamp etc.

THANK YOU! All the support means so much for us. STAY SAFE!!!!!!!!!

Norman & Robert

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7“

AMID THE OLD WOUNDS - Vignette 7“ (For the first time since his songwriting dawn in the late 90’s daniel becker (known for his works as vocalist, guitarist and songwriter for duct hearts and wishes on a plane) takes a great leap backward to where he musically came from. Just his voice, and his guitar. Three songs written between sometime 2000 (long overdue, you might think) and 2020, finalized and tracked down during a covid-19 related slowdown of daily life on a hi end, yet fragile and imperfect living room recording serve their means as a portrait of someone who’s neither afraid of where he came from, nor where he is, nor where he is going. Heavily influenced by late 90’s/early 00’s acoustic emo music as performed by the new amsterdams, early dashboard confessional or the get up kids. “All of us carry wounds and scars. as heavy as their wear and tear may be, if we are aware of them and accept them being a part of us, they will make us stronger. we will always find space in between for new beginnings. This is mine.”) 6.00

10“

LOREN CONNORS - Beautiful Dreamer 10“ (family vineyard - Beautiful Dreamer is a two-part suite dedicated to Steve Dalachinsky -- an original among New Yorkers and everyone else; an indefatigable supporter of the avant garde; an ingenious poet; and a close friend to Loren Connors. Connors recorded these two solo guitar pieces shortly before Dalachinsky's passing in September 2019. Afterward, Connors returned to the music, and for the first time, used post-production to transform his real-time improvisations into an ethereal soundwork. It is unmistakably Connors -- a rich, ghostly tone birthed from the blues -- yet a new direction where slowness reveals a spectrum of shifting notes like a small choir, from rumbling baritones to vibrating sopranos. Beautiful Dreamer equally honors the dreams of Dalachinsky and captures the suspension of the Auguste Rodin dancer on the cover.) 17.00

THE ​NOTWIST – Ship 10“ (morr - After six years, The Notwist return with three new tracks on Morr Music. It’s both an exposition of the the band’s musical variety and a prospect on a forthcoming album. Six years have passed since The Notwist released their last regular studio album, but that doesn’t mean that the members of this outstanding band have been idle in the meantime. There have been side projects, movie scoring, and other activities, like programming four editions of „Alien Disko“, a festival taking place in Munich, Germany. One of that event’s regular guests was the Japanese duo Tenniscoats – and a lovely side effect from that was an evolving friendship between the two bands. It lead to various collaborations: most recently in a new album by international band „Spirit Fest“ (featuring Tenniscoats singer Saya & The Notwist’s Markus & Cico) & a deep digging compilation of Japanese indie music called „Minna Miteru“. ) 18.00


LP

AI ASO - The Faintest Hint LP (editons mego - "Ai Aso's immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On The Faintest Hint she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the center of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia... or even saudade. The album was recorded, mixed and mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and more so as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust." -- Stephen O'Malley, Stockholm June 2020) 22.00

ALBERT AYLER / DON CHERRY - New York Eye and Ear Control LP (esp - Restocked; 2017 repress; originally released in 1966. Featured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry(trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd(trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. "This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout." --Scott Yanow, AllMusic) 26.00

ALESSANDRA NOVAGA - I Should Have Been a Gardener LP (schachtel - Offering a visionary approach to the solo guitar, Milanese experimentalist Alessandra Novaga, delivers an expansive meditation on the late filmmaker, Derek Jarman, with "I Should Have Been a Gardener", proudly presented by Die Schachtel. Alessandra Novaga is among the leading figures within Italy’s thriving new, experimental, and improvised music scene, consistently rendering striking solo efforts, as well as equally noteworthy collaborating with Stefano Pilia, Paula Matthusen, Elliott Sharp, Sandro Mussida, Travis Just, and others. Remarkably ambitious and forward thinking, her approach to the guitar veers from the trajectories of visceral emotiveness and textural extended techniques that have held sway over the instruments applications within avant-garde contexts over the last half century, encountering her relentlessly deconstructing and rethinking its unique properties through applications of structure, resonance, space, and tone. As remarkably listenable as it is challenging and pregnant with ideas, Novaga’s "I Should Have Been a Gardener" represents a strikingly at ease step forward in the potentialities of experimental music. Bravely taking on the ubiquitous expectations of the guitar, Novaga refused to relinquish the clarity of source and sound, forcing the ear to rethink what is accepted and known at every turn. An immersive journey from one of Italy's most important contemporary voices, available from Die Schachtel in a very limited Edition of 200 copied on 180 gr. heavyweight, yellow vinyl, accompanied by an extensive, exploratory booklet. ) 26.00

BAIT - Revelation of the Pure LP (BAIT was founded in 2013 in Wuerzburg, Germany. After the release of its first EP, “Cursed among Saints” in 2014, the band performed three tours covering 11 different countries.BAIT released its second EP “Sunburst in 2016 with labels such as WOOAAARGH and Sell Your Soul Records. The band had the opportunity to share the stage with Amenra, Full of Hell, Integrity and Oathbreaker, and played in 14 European countries.Managing to combine various involvements in other bands (Der Weg einer Freiheit) and their project, BAIT started recording its first album in 2018. This opus entitled “Revelation of the Pure” is a piece of shear nihilistic and utterly destructive music to be released by Les Acteurs de l’Ombre Productions in June 2020.) 22.00

BLACK MARBLE - I Must Be Living Twice LP (Red Vinyl) (sacred bones - “I’ve always loved the cover song aspect of live performance. Most musicians are fans first and covers are a way for bands to show this. They can add an improvisational tone to an otherwise rehearsed feeling set, and give a sense that songs are owned not only by the people who write them but by the fans that know them and the other musicians that take influence from them. ) 23.00

CLAIRE ROUSAY - Both LP (second -claire rousay has been exploring the sensitivities of sound always in relation to "the self" and "the other", equally. Her work is always seen as a contribution, as engagement. Recording, collaging and composing become acts of considering, remembering, giving. Therefore music becomes a context, or more precisely, a habitat. But what does it say about this music when the artistic choice goes deeper, when it is not only an urge to express but to find oneself? When there is more to communicate, to connect to than a "musical work"? This new record features two attuned location-based Hörstücke that sit somewhere between conceptual composition and magical realism. Library is a site-specific piece recorded at, and played back to the halls of the Central Library in San Antonio, Texas. A meticulous recording of social against functional space. Mixing a live microphone feed through a pair of loudspeakers and accompanying it with two sine tones pitched specifically to the building’s dimensions and resonant frequencies, rousay is blending architectual space and human interaction into one curated arrangement. On the opposite side, Two Things acts as a transient dream sequence, an elusive mise en scène. It provides a sense of location so familiar yet very disorienting. A (re)introduction to a periphery state, a fictional truth, an outside world constructed entirely and deliberately from the inside of an apartment.) 23.00

DEREK BARON - Curtain LP (recital - Derek Baron is a composer, musician, and artist. Curtain is a diary. Both in musical and non-musical situations, they attribute a filmic quality to their journal-like aural self-documentation. Dreams turn real then dissolve. Single phrases and events arrive and leave, abruptly. Yet, the overall sense of place that Baron creates is understood. Opening Curtain is the eponymous piece. A 21-minute live chamber work for quintet recorded in 2018. A musical assemblage of glued-together fragments and scraps of sheet music from Baron’s past. Compositions wrote in the small margins and folds of paper; illustrated in the art booklet included with the LP. The flute, violin, guitar, keyboard, and bass clarinet phrases saunter at a pre-sleep pace, until a subdued, yet ecstatic Mass theme ushers in periodically. Delivering the warmth of life… it is a slow beauty. It brings me such happiness listening to this piece. Its continuity is cut with scissors and pasted about oddly… all soaked in a certain malaise; a resigned grace. The next piece and other side of the LP, “Chancel,” is rather different. An audio journal flipped through, dropped on the ground, picked up and opened to another page. A confusing montage of world-ized musical snatches: car radios, church choirs emanating to the streets, moldy organs, domestic piano recordings. Similarly, machine vibrations, bodega conversations, and other environmental observations segue the harmony and disharmony of this listening experience. I’ll finish with some of Derek’s notes from the booklet: “Co-opting new achievements / Thank you for this incredible demonstration / This theatre of procedures / This consoling play of recognitions / No theatre but “what’s that”, / Nowhere for the silver ball to roll to. / How are we so in love.” - Sean McCann (July 2020) ) 27.00

ELDER - The Gold & Silver Sessions LP (blues funeral - Capturing Elder's expanding dynamic and ongoing progression, The Gold & Silver Sessions is an experimental LP of ranging psychedelic jams that captures their expressive and nuanced development in a way a "regular" studio release wouldn't. This is still the band who put out 2017's crushing "Reflections of a Floating World," but here you'll witness them following their imaginations in an entirely new direction.) 25.00

GIRL FRIDAY - Androgynous Mary LP (hardly art - Initial run of vinyl will be on Dark Green vinyl. Burning deep in Girl Friday's music is an unquenchable will to survive. The LA-based band don't blunt the impact of the themes they work through in their ferocious, knotty rock songs, but they don't let the more harrowing aspects of being alive and young in the 21st century daunt them, either. Dystopian shades of post-punk and noise rock abound alongside abundant optimism on Girl Friday's arresting debut LP, Androgynous Mary. The world is a hellscape, but the four of them are in it together. With bold, dramatic guitar lines and tightly wound vocal harmonies, Girl Friday - guitarist Vera Ellen, bassist Libby Hsieh, guitarist Sierra Scott, drummer Virginia Pettis - negotiate the stress and alienation of being sidelined by society. "Does the average man feel like he's on the outside?" goes the beginning of "Public Bodies," a wistful jangle-pop gem that shudders open into a snarling punk coda. Taking cues from boundary-pushers Sonic Youth, Girl Friday favor the rush of jarring turns over the safety of well-defined pop taxonomy. Looking to queer provocateurs like Placebo, they cherish the frisson of incongruous musical elements: "really dark, heavy things mashed up with quite beautiful things, whether that be a distorted guitar line and a sentimental vocal or vice versa," as Ellen puts it. That duality dovetails with the thematic friction running through the album, the alternating despair and hope that intertwine in the fight to survive as disenfranchised people in the US. Written during a year of personal struggle for all four band members, Androgynous Mary reflects the solace they took in each other -- as a band, but also as a microcommunity and a chosen family. On the record's final song, "I Hope Jason Is Happy," Girl Friday sing in unison: "My head is on your chest / In the end I'll be happy if you do your best / You've got to fight to keep your breath in this world." It's a testament to the power of their bond, and a gesture of solidarity with those listening. Alone, we suffer under the weight of everything designed to keep us down. Together, we stand a fighting chance. Girl Friday place their hope squarely on that chance.) 20.00

H.C. McEntire - Eno Axis LP (merge - Early rise, start the fire, till the rows, pass the tithes.” So starts H.C. McEntire’s sophomore release, Eno Axis. It’s a set of directions delivered with assurance and authority, reaching the listener without pretension almost as a sermon or spell. McEntire has always had one foot planted in the traditional country gospel roots of her upbringing while boldly wrestling with its complications, creating an Americana sound of her own. But that has never rung as true as it does now on the transcendent psalms of Eno Axis.) 23.00

JIM SULLIVAN - U.F.O. LP (lita - A seventh son of a seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame; hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, Easy Rider. UFO was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; instead, it was a fully realized album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan's voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren't happy - but filled with despair. The album is punctuated with a string section (that recalls David Axelrod), other times a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show). UFO is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south. Yet, the record went largely unnoticed, and Jim simply moved on, releasing a further album on the Playboy label. But by 1975, his marriage breaking up, Jim left for Nashville and the promise of a new life as a sessioneer in the home of C&W. That's where it gets hazy. We know he was stopped by cops for swerving on the highway in Santa Rosa. We know he was taken to a local police station, found to be sober, and told to go to a local motel to get some rest. Some time later, his car was spotted on a ranch belonging to the local Genetti family, who confronted him about his business there. The next day Jim's car was found twenty-six miles from town, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes, and several copies of his second album, but no note, and no Jim. It was as if he had simply vanished into thin air. Jim's family traveled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the Genettis moved to Hawaii. His disappearance remains a mystery, so much so that Light in the Attic spent years retracing Jim's last known whereabouts including a recent trip to Santa Rosa. Like many before them, the label returned with more questions than answers. One thing is certain, UFO stands as an eerie masterpiece by an artist who left us far too soon.) 38.00

KHEMMIS - Hunted LP (20 buck spin - "The new album ‘Hunted’ reveals a Khemmis fortified in its purpose and vision, forging an unrivaled synthesis between immense Doom riffs and Maiden-esque harmony. Overall song length has increased yielding more expansively arranged and dramatic storms of elegance and melancholy. And yet Khemmis are not content to plod through a sea of tears, they are always a rock band first, in service to the movement of the song, even approaching a High On Fire like pace to open the pummeling ’Three Gates'. The lauded singing of vocalist Phil Pendergast reaches ascendent new heights on tracks like ‘Candlelight’ and ‘Beyond The Door’, while the tasteful use of harsh vocals remains, providing a dark foreboding contrast. The 13-minute title track once again closes the album with an epic stunner. Undoubtedly ‘Hunted’ is an album that will solidify Khemmis’s place at the vanguard of Doom’s most notable modern manifestations, in large part because they transcend the label itself. They’ve seamlessly blended their influences into an extraordinarily listenable album worthy of countless spins. With such a glut of music released nowadays, ‘Hunted’ stands apart, rewarding repeat listens with songs seared straight into the heart.“) 25.00

KTL - VII LP (editons mego - A new timley studio album from the duo of Peter Rehberg and Stephen O’Malley. Recorded and mixed during an unexpected extended stay in Berlin when the borders of the world suddenly closed. The claustrophobic urgency of this scenario is seared into the colossal vibrations set into this vinyl release.  Unlike many of their releases this is a studio record made unto itself as opposed to the many soundtracks they have made for theatre works and the like. It also stands as one of their most fully realised releases to date.  Proceedings are launched with The Director. Sitting somewhere between contemporary classical and doom this is a sliding and menacing mass of sound, more Masque of the Red Death than The Decameron.  Silver lining is an alarming swooping buzzing track, looming and lowering only to rise and descend again. A delicate play with the Shepard-Risset glissando manifesting a delirious swarm of sound. Lee’s garlic orbits into a short fragmented zone with bursts of harsh feedback and crashing fx, all manner of audio enters and is discarded with an underlying sense of despair and frustration. Proceedings continue on Side B with Tea With Kali where a calmer plateau is embedded with oscillating guitar and fluttering electronics. Beating sine waves envelop the listener in a meditative thought piece of sound. Frostless concludes this epic dispatch as a subtle and gentle foray into twitching electronics as a light buzzsaw drone swirls as around your mind. The interplay of sources (guitar, electronic equipment (hardware, software, speakers) is so entwined it’s often difficult to discern who is doing what amongst the broad sound field. KTL VII is instrumental music as visual narrative resulting in an exquisitely crafted release full of sophisticated and sublime illusory effects. ) 23.00

LE REN - morning & melancholia LP (secretly Canadian - Le Ren’s close-to-the-bone, heartbreak folk songs seem, at first, to tap into a shared musical memory. A melody swirls forward and you’re just sure it’s known to the back of your mind; was it in from a movie you saw, some classic mid-60s setpiece? Maybe it’s something you heard as a kid, in the backseat of your mom’s Cutlass, or the shotgun seat of your own. But before you can zero in through the fog, your heart is torn apart by her voice — rich, direct and mellifluous — steering you through these slowburn tunes about real-life loss. “Discussing songwriting feels the same as when someone asks about your tattoo,” says Lauren Spear, 26, the sole voice and songwriter behind Montreal’s Le Ren. “You’re putting it out there, showing it in public right on your arm. Then, when someone asks you ‘Hey, what’s that tattoo mean?,’ you’re shocked to have to explain it, as it is a choice that feels essential for a particular moment.” Two years ago, Spear’s ex-boyfriend was killed in a car accident. Since then, she has been struggling with the immeasurable weight of being the sole keeper of their shared memories and in response, translated a sliver of that experience into music.) 18.00

MUDHONEY - Superfuzz Bigmuff LP (col. vinyl) (Sub Pop - Anthems that fucked up a generation.) 22.00

ÖSTRO 430 - Keine Krise kann mich schocken (Die kompletten Studioaufnahmen 1981​-​1983) DLP (bureo b -Die Düsseldorfer Frauen-Punkband Östro 430 wurde Ende 1979 gegründet. Östro 430 spielte erstmals im Mai 1980 auf dem Festival des Punkfanzines SCHMIER in Neuss, wo sie von der Band Fehlfarben entdeckt und als Vorgruppe für deren Deutschland-Tournee engagiert wurden. Auf einem dieser Konzerte war auch Lothar Rieger, der das Schallmauer-Label gründete und im Herbst 1980 drei Songs auf dem Schallmauer-Sampler veröffentlichte. 1981 folgte dann die erste EP Durch dick & dünn mit insgesamt 8 Songs, darunter u.a. ihr wohl bekanntester Titel Sexueller Notstand. Überhaupt waren Sex, überholte Ansichten (besonders gegen Frauen) und Spießigkeit oft vertretene Themen in den Songs von Östro 430. Auffällig war auch die Instrumentierung, die aus Gesang, Bass, Schlagzeug, E-Piano und Saxophon bestand – E-Gitarren hingegen wurden gänzlich vernachlässigt bzw. einfach nicht benötigt. Im Frühjahr 1983 erschien das erste „richtige“ Album „Weiber wie wir“, weitere Veröffentlichungen kamen jedoch nicht mehr zustande. Im Mai 1984 gab Östro 430 noch ein Abschiedskonzert in Düsseldorf und löste sich auf.) 27.00

PHILIP CORNER - Chord / Gong! (with Carles Santos) LP (unseen world - New York, 1978, kindred composers Philip Corner and Carles Santos meet at the Bösendorfer piano of Charlemagne Palestine to record four-hand piano versions of Corner’s pieces “Chord” and “Gong!”. The result is a long-flowing distillation of the source of the two composers’ affinity: avant-garde practice of austere artistic devotion at play with perfect imperfections of the uncontainable human spirit. A small cassette edition appeared in the late 1980’s and is now presented in a new digital restoration by Stephan Mathieu, alongside a limited edition of 300 vinyl records cut by Lupo.) 24.00

PRIVATE WORLD - Aleph LP (col. vinyl) (dais - Aleph is often defined as the “oneness of God”, and Cardiff, UK indie pop outfit Private World thematically embrace the sentiment on their debut album for Dais while eschewing pop conventions, simultaneously navigating and subverting its context. Rather than individual tracks that inform a greater narrative, Aleph finds members Harry Jowett and Tom Sanders weaving in and out of a space they call the “pop psyche,” where songs become scenes in a collective exploration of sentimentality and melody. In a sense, the songs that comprise Aleph are soothing vehicles that dart about pop history, stopping at touch points throughout the ‘80s to borrow from jazz-tinged synth, ambient music, and even cinéma vérité. The plot twist is while weaving this tapestry, they omit the familiarity of chorus-driven song, allowing space and mood to build melancholy transitions that feel whole and floaty. As much as their single “On the Run,” released with DAIS in 2019, touched on this hushed world of memory, Aleph retains Private World’s DNA but tames the dynamics of pop with Eno-esque intention. Aleph is an album you can pick up at any entry point and loop into its conscious nostalgia. Rather than singular statements, each song on the album nods to Roxy Music, Peter Gabriel, Talk Talk, Spandau Ballet in tandem. In a sense, it’s a rolling piece that spans ten movements, each informing a sphere of culture. Though it’s not forward-facing lyrically, Aleph is a culture driven work, as the duo offers it as an equalizer that transcends social boundaries or divisions—united passages meant to be heard and immersed by all. On its own, “Blue Spirit,” is very much the album’s mission statement, as vocal unapologetically indebted to Brian Ferry leads the way over a gated beat as instruments pulse in and out, punctuating the rhythm before disappearing into the echoes of the next moment. One second over five minutes in length, “Magic Lens,” is Aleph’s most direct and authoritative, without disrupting its tonality. As Tom Sanders delivers a syncopated vocal, the track lightly sprinkles synth washes and prominent bass accents that plod out atmospheric pattern. Embracing the overarching north star for their sound to be a return to sophistication, Aleph embodies the sentiment by redefining it. Yes, the album’s sounds work back to the masters of synth-pop but the actual journey bounds forward with vivid personality and contemporary control. Private World offers a singular embrace of the pop psyche -- and a startlingly refreshing debut. ) 26.00

REB FOUNTAIN - Reb Fountain LP (flying nu - Celebrated singer-songwriter Reb Fountain’s forthcoming self-titled album marks a new chapter in the kiwi artist’s career and her first full-length release on Flying Nun Records. Reb Fountain came together in the well-seasoned walls of Neil Finn’s iconic Roundhead Studios in Auckland, New Zealand. This arrangement came about after Fountain performed, recorded and toured with Finn through his ‘Out of Silence’ album cycle, and it seemed only natural. Long-time studio collaborator and head engineer at Roundhead, Simon Gooding, manned the helm of Fountain’s 3-week recording stint, alongside the legendary Dave Khan on producing duties and Chris Chetland (Kog Studios) who mastered the final result. The album features a range of musical cameos including Finn Andrews, Ben Woolley (The Yarra Benders), Elroy Finn and Logan Compain. The ten-track record features singles Faster, and her new single Samson which premiered worldwide on The FADER with a captivating video featuring kiwi drag-superstar Medulla Oblongata. Over the span of her illustrious career as an independent singer-songwriter, Fountain has become well-known for her earnest and honest approach to storytelling, garnering a close following of fans around the world and in her home, New Zealand. While spearheading a career of her own, Reb has recorded and performed with the likes of Neil Finn, Tami Neilson, The Eastern, Don McGlashan, Marlon Williams, Steve Abel, and more. Her 2017 EP Hopeful & Hopeless saw Fountain awarded Best Country Music Artist at the 2018 NZ Music Awards. The song of the same name won the 2018 APRA AMCOS NZ Best Country Song. Over the last year, Fountain has roamed Europe, the UK and US, performing with Finn Andrews as well as sharing her solo work with the world. ) 24.00

SNEAKS - Happy Birthday LP (merge - Continuing the collaborative relationships from 2019’s Highway Hypnosis with mixing engineer Carlos Hernandez and legendary producer Jacknife Lee, Sneaks’ Eva Moolchan felt free to turn up the energy and explore more elaborate melodies than ever before. With astrological assertions alongside poetry filtered through a riot grrl spirit and set to thumping bass lines and infectious beats, Moolchan asks all of the questions but invites the listener to divine their own answers. Put on your headphones and let Sneaks lead you on an unforgettable journey of self-discovery that will keep you humming for days.) 20.00

STEVE VON TILL - No Wilderness Deep Enough LP (neurot - Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic. Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form. Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the unique folks songs he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework. ) 25.00

TROUBLE - The Skull LP (BLUE - Trouble’s second album “The Skull” from 1985 is a cornerstone of Doom Metal) 22.00

VLADISLAV DELAY / SLY DUNBAR / ROBBIE SHAKESPEARE - 500-Push-Up LP (From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.) 22.00

WISHES ON A PLANE - Unreleased LP (time is a color - Clocking in at a little over 30 minutes playing time these unearthed 5 songs, intitally recorded in 2005 show the band’s musical origins, before screamish and post influences kicked in and formed records like ‘this faint line’ (released in 2008). Mostly influenced by classic mid 90s emo bands and recordings such as jimmy eat world’s ‘clarity’, texas is the reason’s ‘do you know who you are?’ or the get up kids’ and christie front drive’s entire discography, some 00’s pop punk like the ataris and a more mature take on emo like elliott on ‘false cathedrals’ we get a suprisingly poppy at times, yet fragile and imperfect record, unconventionally arranged, rough and rocking that deserved to rise from the old harddisk it hibernated on for almost 15 years.These 5 songs deal with thoughts or fears of two people being no perfect match but intertwined so deeply you find it difficult to embrace a life on your own. Questioning if you know at all what love is, or even more so, what not loving feels like, and how to know when love is gone.) 13.00


TAPES

TROUBLE - The Skull TAPE (Trouble’s second album “The Skull” from 1985 is a cornerstone of Doom Metal.) 12.00

TROUBLE - Psalm 9 TAPE (Trouble’s classic debut album from 1984 with faithfully restored audio represents everything that Doom Metal should be.) 12.00


MAGAZINES

BOOTHEAVEN - #4 FANZINE (Great music zine. 36 pages. DIY xeroxed cut'n paste aesthetics. Interviews with Tin Savage, Gagged, Pressure Pact, James Trejo (Cadaver Dog, Civilized…) 4.00
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ADAGIO830
Ce n'est pas qu'j'aime pas me mélanger mais disons Simplement qu'les aigles ne volent pas avec les pigeons
 
Messages: 890
Inscription: 31 Déc 2005, 14:38
Localisation: Berlin

Re: BIS AUFS MESSER AUgust news

Messagepar ADAGIO830 » 27 Aoû 2020, 20:50

hi. Welcome to another newsletter for August. A bunch new stuff and also restocks arrived like the new ANGEL OLSEN - a whole new mess LP, THE EX - All Corpses Smell The Same 7“ re issue, BLOD - Livets Ord DLP re issue and other new AGUIRRE records re issue, CONRAD SCHNITZLER - auf dem schwarzen kanal 12“ re issue, CORTEX - Troupeau Bleu LP re issue, the new EIKO ISHIBASHI - Hyakki Yagyō LP, IKE YARD - Night After Night LP, FLUENCE - Fluence LP re issue, MARTIN DENNY - exotic moog LP re issue, WASHED OUT - Purple Noon LP, SAM PREKOP - comma LP, SHEER TERROR - Hässlich und Stolz LP re issue, restock of the killer ES - Less Of Everything LP on UPSET THE RHYTHM records a long with the new VINTAGE CROP - Serve To Serve Again LP and the NAKED ROOMMATE - Do The Duvet LP and much more

We also reprinted the ADAGIO830 T-Shirt in White, Black and grey and also a few Tote bags. Also the new SLOW WORRIES LP went to the pressing plant. We just got two copies of their debut left.

The FREE shipping for orders in between GERMANY over 50 euros and 100 euros in EUROPE is still on. THANK YOU FOR YOUR SUPPORT


You can also get digital stuff on the adagio830 Bandcamp etc.

THANK YOU! All the support means so much for us. STAY SAFE!!!!!!!!!

Norman & Robert

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7“

CORTEX - L'Enfant Samba / Mary & Jeff 7“ (trad vibe - Official re-edition of the 1st Cortex 7“) 13.00

THE EX - All Corpses Smell The Same 7“ (superior viaduct - Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. All Corpses Smell The Same, The Ex's first single, marks the beginning of this DIY odyssey – appearing in June 1980 on Hé Records, a precursor to the band's own stalwart Ex Records imprint. The core of The Ex's propulsive sound can be found in these tracks, as they show a band starting to push beyond the boundaries of punk. The exuberant jag and slash of Terrie Ex's guitar drive "Human Car" and "Rock 'N' Roll-Stoel," while the rhythmic churn of "Cells" and "Apathy Disease" hints at the shape of Ex music to come – centering on vocalist G.W. Sok's incisive poetic invective. With only 500 copies pressed originally and gone in a flash, All Corpses Smell The Same quickly became a legendary piece of the international punk puzzle, and The Ex would begin an inspiring career that continues to this day. These songs show that from the jump, The Ex were operating on punk's freest and most exploratory edges. In the words of The Mekons' Jon Langford, The Ex have "always epitomized the boundless potential of punk's initial moment.“) 14.00

JESUS LIVES IN VEGAS - s/t 7“ (New cold wave project from France. “Two boys, guitars, bass, synthesizers, drum machine and a mesmerizing voice. Cold, melancholic and sometimes soft-nostalgic music conveys great emotions. Jesus Lives in Vegas takes you away, far away …”) 11.00

TED CASSIDY - the lurch 7“ (jackpot - Ted Cassidy, is the actor who played the sinister-looking, sepuchral-voiced butler Lurch in the comedy television series The Addams Family from 1964 to 1966. He was six feet nine inches tall, and his unusual height was said to be both the boon and bane of his existence, but he won the role of Lurch because of it, despite competition with more seasoned but shorter actors. He did also record, perform and "sung" his signature tune "The Lurch" Ted Cassidy (Lurch of TV - The Addams Family) sings as Lurch, the Motown influenced monster track : "The Lurch". One of the rarest US Capitol Records 7" picture sleeves. Never before reissued. Sourced from the original 1965 master tapes. Limited to 500 copies.) 18.00


LP

ANGEL OLSEN - a whole new mess LP (jajaguwar - The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, My Woman, had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love_how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape Whole New Mess, Olsen's first solo album since her 2012 debut and an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time. At least nine of the eleven songs on Whole New Mess should sound familiar to anyone who has heard All Mirrors, Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. "Lark," "Summer," "Chance"_they are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries. Considered alongside All Mirrors, Whole New Mess is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs_solitary, frank, and unflinching examinations of what it's like to love, lose, and survive_are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we've all known, as if just for herself and whoever else needs it.) 25.00

ALASTAIR GALBRAITH - Seconds Marks III LP (Seconds Mark III is the third iteration of a unique work within the remarkable, ever-sprawling discography of Alastair Galbraith: poet-dilettante, improvisor extraordinaire and one of the most important figures of New Zealand's storied DIY underground. Commencing his collaborative musical activities in the early 1980s as part of Flying Nun outfit The Rip (with Jeff Harford and Robbie Muir), it was almost a decade earlier when Galbraith first invested in the violin, an instrument that would accompany him throughout the rest of his career. "I think it was much like the kind of thing I do now, because it was a solo occupation". Established at the end of the decade in response to The Nun's growing affiliations with major music labels, Xpressway - a relatively short-lived operation formed together with Bruce Russell (The Dead C) and Peter Jefferies - proved to be crucial in exposing the trio's activities to the rest of the world, forging relationships with US-based labels Siltbreeze, Drag City and Ajax while releasing seminal sides by the likes of Sandra Bell, Scorched Earth Policy, This Kind Of Punishment and The Terminals. It was during this time that Galbraith honed-in on his intimate, intricate style of songwriting detailed on Morse (Siltbreeze, 1993), Talisman (Next Best Way, 1995) and the first Seconds tape (1994). Gathered from source material recorded during a fertile period of touring and collaboration and re-imagined as a brand new work, Seconds Mark III elucidates Galbraith's hushed yet commanding presence felt on Mirrorwork (Emperor Jones, 1998), Cry (2000) and Orb (Next Best Way, 2000), culminating in Mass (Siltbreeze, 2010) - his last solo album. Despite being rooted in psychedelic traditions of narcotic time-dilation, Galbraith's dealings are distinctively out of time, out of tune; dismantling and eschewing notions of song and structure for small, affecting gestures and fragmentary glimpses. The result is a world of fragile, quietly enveloping sound and poetry that embraces fleetingness and intimacy and undulates between hope and pain.) 23.00

BELLOWS - Undercurrent LP (black truffle - Following on from high-profile releases on Boomkat Editions and Shelter Press in the last few years, the eight untitled pieces making up Undercurrent continue the pair’s hypnotic and disorientating practice of improvisation based on tape loops. The new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti is sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo have developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo.) 25.00

BLOD - Livets Ord DLP (aguirre - Low-key synth & keyboard studio album by Swedish all-rounder Gustaf Dicksson. Limited edition of 300 copies with insert. From the early days of the found-sounds recordings (like the downright scary Unga Röster album and the hilarious Mandys Bil 7"), the homespun kitchen recordings/tape collages of the still-going Idiotmusik series to the more carefully elaborated and precise Leendet Från Helvetet and Knutna Nävar albums, the massive Livets Ord dropped like a bomb when it originally surfaced as a self-released cassette in 2018. Heavily based on synths and keyboards and clocking in on no less than close 70 minutes over 4 LP-sides, this is arguably THE epic album from the cluster around the Förlag För Fri Musik empire. Gustaf Dickssons' fascination for christianity/religious assemblies shines through once again, the title Livets Ord ("The word of life") derived from the Swedish free church/sect with the same name that was based in Uppsala between 1983-2013 and casting a pastoral shadow over the ambient music of the album. While dabbling with a long tradition of kosmische musik and private-pressed new age wonders, Blods now patented sound of a Björn Isfält-gone-sour still lingers throughout the entire recording. A cornerstone in contemporary Gothenburg underground music. Featuring guest appearances by Emelie Thulin and Jerker Jarold.) 27.00

CONRAD SCHNITZLER - auf dem schwarzen kanal 12“ (bureau b - "Auf dem schwarzen Kanal" ist eine der herausstechendsten und gesuchtesten Veröffentlichungen in Conrad Schnitzlers umfangreichem Katalog. 1980 als einzige von Schnitzlers Platten bei einem Majorlabel veröffentlicht, war diese Maxi und insbesondere das Titelstück ein Flirt mit dem zeitgleich aufkommenden experimentellen New Wave und klang dennoch so eigenwillig wie keine andere Musik zu jener Zeit. Die zusammen mit Wolfgang Seidel entstandenen und in Peter Baumanns Berliner Paragon Studio aufgenommen vier Tracks sind ein bissiger, dissonante Mutant Disco Trip, der bis heute nichts von seiner Faszination eingebüßt hat. Bureau B freut sich dieses lange vergriffene Werk endlich wieder verfügbar zu machen!) 12.00

CORTEX - Troupeau Bleu LP (trad vibe - „Troupeau Bleu” is the 1st and most famous album which had been recorded by the French Jazz-Funk band legend, Cortex. The obscure French jazz group that's been a favorite of funky collectors for years! In 1974, Alain Mion, Alain Gandolfi & Jeff Huttner formed the mythical band, Cortex, who then recorded several LPs, including the legendary “Troupeau Bleu”. “Troupeau Bleu”, recorded in 2 days in july 1975, is a real musical U.F.O, an unclassifiable record, a mixing of thousand flavours, the kind of records you will discover listening after listening. The result is a stunning electric groove with a feeling that's really fresh, nice and warm, and funky in all the right parts! Sampled by best world producer like Rick Ross, Madlib, Dj Day, Dj Cam…) 25.00

EIKO ISHIBASHI - Hyakki Yagyō LP (black truffle - Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray. Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging. The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka (‘mad poetry’) with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future. As Ishibashi’s liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture – as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi’s underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions. The album was produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū’s satirical tanka. O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways. ) 25.00

ELDER - The Gold & Silver Sessions LP (Capturing Elder's expanding dynamic and ongoing progression, The Gold & Silver Sessions is an experimental LP of ranging psychedelic jams that captures their expressive and nuanced development in a way a "regular" studio release wouldn't. This is still the band who put out 2017's crushing "Reflections of a Floating World," but here you'll witness them following their imaginations in an entirely new direction.) 25.00

FLUENCE - Fluence LP (etat - Fluence is the brainchild and first release of sound artist / provocateur Pascal Comelade. Recorded in Montpellier, France in 1974-1975, the project consists of exploratory electronic pieces in the Fripp & Eno vernacular with a Kosmische tinge. "A Few Reasons To Stay / A Few Reasons To Split," a title inspired by Swiss conceptual artist Urs Lüthi, features Comelade's kaleidoscopic arpeggios and Richard Pinhas' howling guitar, which variously resembles a dreamlike cello and ghostly human moans. "Barcelona Tango's" off-kilter exotica with pocket trumpet and looping drum beats foreshadows Comelade's later work, which would create a stir in some avant-garde circles for his use of unorthodox instruments (plastic saxophone, toy piano, etc.). On the side-long "Schizo," Comelade's electric organ with probing, Terry Riley-esque swooshes collides with Gabriel Ibanez's thick, reedy buzz – together forming a truly magical soundscape. These incendiary performances ably join the ranks of other dreamily cosmic, impressionistic guitar-and-synth masterworks like No Pussyfooting and The Serpent (In Quicksilver) as well as Conny Veit's work with Popol Vuh. Originally released in 1975, Fluence offers a remarkable emotional and textural range – richly experimental and deeply progressive – that sounds at once timeless and strikingly contemporary. This first-time standalone reissue is limited to 750 numbered copies.) 28.00

IKE YARD - Night After Night LP (superior - New York no-wavers Ike Yard are perhaps best known for being the first American band signed to Factory Records, and it isn't difficult to hear why: the group's music has much in common with the existential frigidness of Joy Division and early New Order as well as the mutant noise-funk of Section 25 and A Certain Ratio. That said, the sound of Night After Night, the band's debut EP, is one that could only have emerged from the lawless dystopia of '70s New York City. Vocalist/percussionist Stuart Argabright, guitarist Michael Diekmann, vocalist/bassist Kenny Compton and synth player Fred Szymanski traffic in a particularly foreboding rhythmic tension, creating in the process an unlikely amalgam of minimal wave, industrial and post-punk. Recorded shortly after forming in 1980 and originally released on seminal Brussels imprint Les Disques Du Crépuscule, Night After Night suggests an alternate history in which Tobe Hooper and Jah Wobble provided the soundtrack to The Warriors. The atmosphere throughout is thick. Every cymbal is dubbed-out and spacey; every vocal utterance treated, alien and detached. Fans of Chrome's damaged ice machine-guitar or Suicide's menacing, anything-can-happen m.o. will rejoice in the siren-sounds, metal clanging and metronomic death-pulse of "Sense of Male," while “Infra-ton" evokes the cacophonous rattle of gates being pulled down over bodega storefronts and the screech of subway brakes. Side two kicks off with "Motiv's" mechanical dread, and the squelchy din of "Cherish" recasts The Residents as streetwise, urban punks Night After Night remains primal evidence of the dank, uncompromising narcotica of Ike Yard's embryonic period. This first-time reissue comes with original sleeve design.) 21.00

JAN JELINEK - Zwischen LP (Faitiche is delighted to release a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures. We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor? Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise. In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure – not via the spoken word, but through sound. The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Žižek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono and Max Ernst.) 22.00

JEAN MARIE MERCIMEK - La Flourenn En Mars LP (aguirre - Wonderful lo-fi synth / poetry / collage LP by Marseillaise duo Jean-Marie Mercimek. Limited edition of 250 copies with insert. Something has been brewing in France in recent years. Underground record shops, small venues, micro labels and young musicians are creating a new vibe in various parts of the country. A broad range of styles & genres get randomly mixed into a melting pot with refreshing results. Jean Marie-Mercimek is one of those projects coming out of this new scene. The duo of Marion Molle and Ronan Riou revisits french lo-fi synth pop in a fairytale-like way, utilising their collection of rare automatic casio keyboards, frequency modulation chanson and tape collages towards a multilayered comic book journey in form of a concert. As if there was an animated wax brush painted cartoon version of Elli & Jacno!) 23.00

JOHN CARPENTER - skeleton LP (sacred bones - Blood Red" vinyl limited to 2000 copies! Legendary composer/director John Carpenter has returned with his first non-soundtrack music since 2016's Lost Themes II. Collaborating again with son Cody Carpenter and godson Daniel Davies, his bandmates and co-composers for the David Gordon Green-directed Halloween films, Carpenter is sharing the propulsive new single "Skeleton" and its B-side, the haunting "Unclean Spirit." The sessions for these songs saw the trio shifting their focus from scoring for the screen and engaging a totally different creative muscle. Instead of being guided by what was happening in the world of Halloween, they were free to work toward other ends. "It was refreshing to be able to write music that didn't have to fit to any sort of locked image," John said. "We also had a specific focus and direction we wanted to follow when working on Halloween, both in terms of mindset and instruments, and being able to return to working without that narrow focus was refreshing. Although working on Halloween didn't specifically influence any of these new compositions, there is always a honing of craft that must take place when working on a film like Halloween, and our improved skills definitely helped us in writing these songs." Working together to score a major Hollywood production only deepened the collaborative chemistry between the three composers. That comfort level paid dividends, as the songs developed largely in the room where they were recorded. "Like the majority of the songs that we write, both `Skeleton' and `Unclean Spirit' mainly started with an improvised riff, which was then expanded and built upon to create the full song," John explained. "Like the previous Lost Themes album, we each handled duties of writing and recording, with all three of us contributing ideas and parts.“) 25.00

LOL COXHILL & MORGAN FISHER - Slow Music LP (agquirre - Unique improv / ambient album by two creative minds Lol Coxhill & Morgan Fisher. Originally from 1981 and now re-issued for the first time on vinyl in transparent green & black vinyl. Cherry Red generously gave Morgan Fisher musical carte-blanche by offering to distribute a label of his own so, like his studio, he called his label Pipe. For the first album he decided to record an album of ambient music. Rather than using synths, Morgan decided to invite soprano sax supremo Lol Coxhill to supply some raw material which he then processed in various ways. The opening track is based on Lol’s beautiful performance of Handel’s Largo, recycled through tape delays, VCS3 filters and octave shifts. The result (in Morgan's opinion) is somewhat like a Mexican funeral march. Other tracks transform the sound of the sax sound into bells (!) and lush orchestral soundscapes. The 20-minute title track is based on the melody of the short closing track (which Lol sang, accompanied by church bells!). Morgan recorded phrases from the melody using piano, guitar, bass and voice. He snipped off the beginning of each note (about 5mm of tape) making the sounds less recognisable, then looped each phrase and recorded long stretches of the loops onto individual tracks of his 8-track TEAC. Finally he created this piece in real time by fading tracks in and out through long tape delays. This pioneering work took weeks of intense experimenting and has been cited as an influence by several top Japanese artists such as Haruomi Hosono of YMO. Lol Coxhill passed away after a long illness, on July 10 2012, aged 79. RIP.) 25.00

MARTIN DENNY - exotic moog LP (jackpot - Exotic Moog is the glittering grail for both Martin Denny collectors and Moog fans. There really is nothing else like it, and the LP is very much in short supply. The Moog in this case is one of the earliest synthesizers, which is more like a wondrously imaginative computer from a 1950s science fiction film than the more "realistic" synthesizers of today. Mostly because of the Moog's difficulty and sharp differentiation from traditional instruments, Moog records of the late 1960s tend to be disappointing musically. That is okay, however, because the camp value can be extraordinary -- the various beeps, clicks, and sprongs take even such warm tunes as "Spanish Flea" into the cold depths of space. Fortunately, the exceptional Exotic Moog ranks highly musically, almost on a par with the incredible work of Moog pioneer Jean Jacques Perry. Get this oddity if you can. The Inventor of Exotica/Cocktail Music goes Electronic/Moog. First time ever reissued. Originally released in 1969. "Exotic Moog" starts off our reissue campaign of Martin Denny classics coming out in 2020. Colored Vinyl. Audiophile pressing at RTI. Limited to 1500 copies.) 35.00

NAKED ROOMMATE - Do The Duvet LP (upset the rhythm - "NAKED ROOMMATE was conceived in 2018 by Amber Sermeńo & Andy Jordan --- partners in art & life --- as a playful aside from their roles in Oakland’s most dearly-departed ensemble, THE WORLD. With a handful of twitching insta-sketches, each addled with late-nite D.I.Y. quiver, the duo’s side-hustle sprouted in classical easy/cheap fashion [see the demo tape on their Public Nipples imprint for evidence]. As “global” concerns slowed, compatriots Michael Zamora (a superbly slanted multi-instrumentalist late of BAD BAD) and Alejandra Alcala (the region’s one true bass supervisor, also of bright lights BLUES LAWYER and PREENING) joined Sermeńo & Jordan as additional exposed flesh. In full form, Naked Roommate has not only become a must-see, ever-evolving live act, but architects of Do The Duvet, one of the most intriguing and inspired recordings to come out of 2020’s American subterranea. Do The Duvet proffers leftfield hijinks via punk execution, answering all the questions posed by questionable post-punk revivalism with sour lemon sneering and cherry-sweet smiles. It’s a fever dream, really…A flailing, sparking wire of hyper-compressed rhythms (breathing and synthetic), devolved guitar work and minced electronic compost. The resultant congealed groove is suitable for club situations and/or living space pulsations alike. Either way, the landlord is pissed. Jordan’s beat programming, presumably inspired in part by recent obsessions with unjustifiably discarded electro sounds, manages to elicit physical response without veering into genre clichés like decay dance or Armageddon rave. Instead, movement is prompted by sheer playfulness and high humour: see the sleepily sampled City sax on “Fondu Guru” or the comically taut bassline from “Credit Union”, itself a dreamwork born straight from a lovingly held-tight 99 Records 12”. Thematically, Do The Duvet bounces between dissections of bourgeois trickery, the absurdity of domestication and the recognizable insanity of living in this particular age. As narrator, Sermeńo’s vocal presence is time-capsule great: a commanding grand-slam performance, alluring yet switchblade-dangerous in terms of wit and gaze. So totally wonderful. What do you really own, anyway? What if your home does not even exist? Why not simply Do The Duvet and answer these queries yourself?" - Mitch Cardwell ) 18.00

NOCTURNAL EMMISSIONS - Drowning In A Sea Of Bliss LP (mannequin - Originally released on Sterile Records in 1983, "Drowning in A Sea of Bliss" is dominated by a sheer violent noise which dissolves back and forth between found sounds, cut-ups and rhythmic, hypnotic beats, in the vein of Nurse With Wound, Cabaret Voltaire and early Throbbing Gristle. "Drowning in A Sea of Bliss" placed #58 in the FACT's Magazine 100 Best Albums of the 1980’s.) 23.00

PASCAL COMELADE - Sentimientos LP (Originally released in 1982, Pascal Comelade's Sentimientos is one of the most elusive and sought after LPs in the French composer's vast catalogue. Recorded on a two-track Revox machine, the album is an eclectic series of brief pieces – only two of the twenty tracks exceed four minutes – showcasing his poetic imagination and impressive range. While much of Comelade's early work hints at many of the major electronic movements to come, Sentimientos remains earthbound and organic. Melodic fragments performed on piano, organ, plastic saxophone, vibes, guitar, toy piano, ukulele and synthesizer place Comelade's boundless creative spirit on display. It is telling that Comelade chooses to cover a Brian Eno tune not from the ambient pioneer's seminal Music For Airports, released just four years earlier, but rather the more traditional "Taking Tiger Mountain," here rendered to highlight the song's previously hidden hymn-like qualities. Like fellow countryman Ghédalia Tazartès, there is something distinctly unclassifiable about Comelade's music. Undoubtedly, the two artists share a flair for the mischievous. Sentimientos is an unapologetically whimsical, frequently dizzying and loveably anarchic album of manic energy and radiant mystery – a perfect introduction to Comelade's singular musical mind. This first-time reissue is limited to 750 numbered copies.) 28.00

PENDERECKI / DON CHERRY & THE NEW ETERNAL RHYTHM ORCHESTRA - Actions LP (our swimmer - Recorded live at the Donaueschingen Music Festival on October 17, 1971, Actions features a truly mind-bending confluence of musicians of the avant-garde, in the broadest sense of the term. Don Cherry - the brilliant American free jazz trumpeter - had recently expatriated to Sweden and was finding his way not only among the emerging free-jazz scene of Europe but also within his own constantly expanding musical palette that had begun to incorporate elements of African rhythms, Turkish folk idioms, and Indian classical music.) 25.00

PHOEBE BRIDGERS - Punisher LP (dead oceans - Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. 'Punisher,' her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of 'Punisher' cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter. Deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with and driven by that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither. Bridgers pulls together a formidable crew of guests, including Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst; Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner; and her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps.) 26.00

PHOEBE BRIDGERS - Stranger in the Alps LP (dead oceans - Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.) 22.00

ROSE CITY BAND - Summerlong LP (thrill rocky - It is impossible to talk about modern psychedelic music without mentioning Ripley Johnson. As bandleader of Wooden Shjips and one half of Moon Duo, Johnson has continually charted new cosmic paths that expand on the language of the genre. With Rose City Band, Johnson’s songwriting and beautiful guitar lines take center stage, the veil of psychedelia notably drawn back. While his vocal treatment would be recognizable to any Wooden Shjips fan, the sparseness of the instrumentation lays bare the beauty of his writing. Shimmering guitar lines are free to shine, buoyed by driving rhythms. New to the mix are arrangements and instruments drawn directly from classic country, resulting in songs with more than a hint of twang. The aptly named Summerlong, born of Johnson’s own fondness for the season, delivers an emotional lift—an expression akin to the joy of getting out there on a warm day, be it gathering for a BBQ, hopping onto a bike, leaping into a swimming hole, or simply reading in a park. Rose City Band started purely as a recording project, with Johnson's role mostly obscured for the self-titled debut album. Released with no promotion, in the style of private press records, it was a liberating act, a focus on music without any expectations. Explaining it with a chuckle, Johnson elaborates, “I always would threaten to my friends that I’m gonna start a country rock band so I can retire and just play down at the pub every Thursday night during happy hour. I love being able to tour and travel, but I also like the idea of having a local band … more of a social music experience.” Freedom from expectation and obligation gave Johnson the space to experiment with new instrumentation and arrangements. The introduction of lap steel, mandolin, and jaw harp enhance Johnson’s lean guitar work with radiant overtones, placing Summerlong more overtly within the country tradition than its predecessor. Work on the album began at Johnson’s home studio in Portland during the summer, but, interrupted by touring, it would not be finished until the winter season. The dark isolation of winter and the pining for summer’s easier days can be felt in the album’s few quieter moments. Summerlong was mixed by John McEntire (Stereolab, Broken Social Scene, Tortoise) at his newly minted Portland Soma Studios and mastered by Amy Dragon at Telegraph Mastering, also based in Portland) 25.00

SALLY ANNE MORGAN - thread LP (thrill jockey - YOLK COLORED VINYL - Sally Anne Morgan is an artist and multi-instrumentalist whose mastery of traditional folk forms is matched only by her ability to push the bounds of those forms into fresh, imaginative pastures. Known for her fiddle playing with the traditional Black Twig Pickers and the duo House and Land, Sally Anne’s debut solo album Thread establishes her as an unparalleled voice in contemporary folk. With a penchant for tuneful melodies, combined with hypnotic rhythms, the result verges on pop. The candor and austerity of Appalachian music serve as the warp to Morgan’s musical tapestries, where strands of psychedelia, rock, and experimentalism are the weft, deftly woven in intricate and beguiling patterns. Sally Anne Morgan’s Thread is centered on interconnectivity and exploration, stringing together practices both ancient and modern and brimming with simple beauties. Morgan’s artistic practices emphasize connections to the natural world and a modern reframing of rural traditions. Both in her music, in her work as a letterpress artist, and in her rural homestead, Morgan implements conventions from bygone eras to craft work that honors and expands on those traditions. Thread traces Morgan’s myriad of influences and their deep connections, from the psychedelic leanings of Trees and the Third Ear Band, to folk singers like Jean Ritchie and Nic Jones, to Kentucky fiddler Clyde Davenport, to Pauline Oliveros and Johanna Brouk, to their roots and circling back again. The process of composing and arranging the songs across Thread found Morgan exploring the depths of her own voice, inspired as always by traditional Appalachian music, but free to explore and abandon any false notions of authenticity. Morgan spins these connections into works all her own, her original fiddle tunes, ethereal meditations, and sweeping ballads standing as timeless as their traditional counterparts. The organic energy of Thread grows lushest with its ensemble pieces, featuring Morgan’s partner Andrew Zinn on guitar, and drummer Nathan Bowles. Bowles’ percussive flares across the record lend the folk rock edge to songs like opener “Polly on the Shore” and the neolithic stomp to the jubilant “Sheep Shaped.” Morgan retains that energy on solo pieces while allowing for space to add sparse but potent embellishments. “Garden Song” celebrates the simple pleasures of watching a garden grow, imbued with the summer warmth and paradisiacal June birdsong, through fingerstyle parlor guitar and violin countermelodies. “Wintersong,” in contrast explores the ineffable feelings and mysteries of winter. With “Sugar in the Gourd,” Morgan amplifies a traditional fiddle tune’s hypnotic, repetitive nature as well as layers in her own melodic twists that reframe the music into a piece entirely her own.) 23.00

SAM PREKOP - comma LP (thrill jockey - WHITE VINYL - Sam Prekop’s boundless imagination is guided by his strong sense of melody. For more than 25 years, as a solo artist or as part of The Sea and Cake, Prekop creates a singular sound inventive and warm. His distinctive vocals, guitar playing and work on modular analog synthesizers are inventive, delicate, and always bear his signature sense of melody. Comma finds Sam Prekop for the first time working extensively with beat programming, focusing his enveloping synthesizer pieces around a newfound rhythmic pulse. Prekop’s creative process is a combination of preparation and improvisation. Writing sessions for Comma began with an open-ended exploration of sounds and textures from which the first fragments of songs would reveal themselves. The introduction of drum machines and additional synthesizer units to his modular setup shifted things in surprising new directions as he worked to bend them into more traditional pop song structures. Drum tracks and emergent rhythms provided the frameworks and narrative sketches to be fleshed out with lustrous widescreen synth pads and ribboning melodies. In approaching his writing with a completely open mind and letting himself be guided by the music, Prekop maintains a delicate balance between composition and chance, control and spontaneity. Comma embraces the analogue synthesizer’s often unpredictable nature, imbuing the record with a decidedly organic feel even while working within the relative rigidity of beat architectures.) 23.00

SHEER TERROR - Hässlich und Stolz LP (superhero - Hässlich & Stolz presents the street kings from New York with a classic set in a never before heard clear sound, which goes right into your face and still doesn't lose any of its early nineties feeling! It becomes immediately clear, the Rose Tattoo of hardcore is called Sheer Terror and everyone who loves the real old outsider and street dog sound should take it without hesitation!) 23.00

VINTAGE CROP - Serve To Serve Again LP (upset the rhythm - Over the last four years the Geelong group have become a burgeoning force in the Australian punk scene. Their burly, brusque yet supple songs have evolved from the garage rock of 2017’s TV Organs album into the post-punk panic attack of last year’s Company Man EP. Now they’ve sculpted their sound further, the barrage now offset with robust songwriting, their full-pelt bounce tempered with flailing guitar lines and sardonic commentary. Bringing to mind Wire tackling tracks from early 7”s by The Yummy Fur, it’s an inspired approach, both striking and effortlessly mirthful. Vintage Crop still dish-up plenty of commanding stomp, their lyrics remain as keen-eyed as ever, but now they’re unafraid to mess with the tempo and drive their point home.) 18.00

V/A - Cleveland Confidential LP (superior viaduct - "When I say 1980 was a kind of dead zone in the Cleveland music scene, I can hear a collective, 'Isn't every year a dead zone in Cleveland?' Go ahead, take your Johnny Carson-era jokes and see what they buy you. Puff your chest about NYC in '75 or London in '76 or L.A. in '77 to some 27-something today. Allow me to save you face and remind you to add in late '70s Cleveland. Because when you revisit this comp of struggling, straggling, oil-stank Cuyahoga River rats, it might sound like the most intriguing current day, underground punk. "Here was compiler Mike Hudson (Pagans) and pals/enemies circa 1978-82 (when these rackets were recorded), glancing out bar windows to see 'hoods of crumbling warehouses and factories that, unlike in England, couldn't be blamed on the Nazis. Musically, they were inspired by the fifteen (give or take) forefathers of that early '70s Cleveland legend (Rocket from the Tombs, Pere Ubu, Dead Boys, Peter Laughner, Mirrors, electric eels). But instead of seeing them sit at bars complaining about their failed major label deals, simply saw them sitting at bars. The later '80s Cle action that led to some excellent post-punk was still in the burbs, and the mainstream radio world that once had a few of its biggest offices in Brownstown had given up on the leather 'n' spikes stuff. "Hence, the amazing, idiosyncratic, clanky shuffling that permeates all the Rust Belt rants herein. From AM-radio hook-ghosts (Severe, Keith Matic, Lab Rats), to a few lingering legends (Styrenes' shambolic cover of eels' anthem 'Jaguar Ride' and Dave E.'s own Jazz Destroyers), trashy sarcasto-punk (the Pagans, with Pere Ubu's Davd Thomas on gtr/back-up vox on 'Boy Can I Dance Good'), slimey proto-core (Dark, Easter Monkeys), and a prostitute or two – this 'scene,' as it were, might've been unseen in its dark day, but sounds surprisingly congealed on Cleveland Confidential. "The soot-stained mood and context of this shit can't be replicated. And in a few decades it will seem as foreign as a gaslight. It might also seem like a dream. A time when humans could make music in abandoned storefronts, generally stave off the day job a few more months, and not just wander a barren landscape searching for food. Who knew end-of-the-'70s Cleveland would look so appealing?" – Eric Davidson (New Bomb Turks)) 24.00

V/A - Soul Love Now: The Black Fire Records Story 1975​-​1993 DLP (strut - Strut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, spanning 1975 to 1993. Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James “Plunky” Branch returning to Richmond from New York to form Oneness Of Juju. The band’s ‘African Rhythms’ album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire hand-illustrated sleeves for this release. The album set the tone for a series of landmark releases on the label including Oneness Of Juju’s ‘Space Jungle Luv’ (1976) and debuts from soulman Wayne Davis (1976) and early go go pioneers Experience Unlimited (1977). Gray continued to use his influence and strong A&R instincts to bring in more key artists – great jazz players like Byard Lancaster and Hamiet Bluiett, Ghanaian master percussionist Okyerema Asante and talented collectives including Southern Energy Ensemble and music / drama troupe Theatre West. Due to personal and cashflow issues, many releases had to be canned and only surfaced subsequently on CD releases during the early ‘90s. ‘Soul Love Now’ brings together some of the many highlights from the label onto one essential compilation. Opening with Theatre West’s powerful soul message ‘Children of Tomorrow’s Dreams’, the tracks include a Byard Lancaster recording with Tunde Kuboye’s Drummers Of Ibadan in Nigeria and Lon Moshe’s driving jazz dance classic ‘Doin’ The Carvin’ For Thabo’. Wayne Davis brings the explosive gospel rare groove ‘Look At The People’ while Plunky’s JuJu and Oneness Of Juju feature with three tracks spanning their career, including a storming previously unreleased version of the classic ‘African Rhythms’ recorded in DC in 1975. ‘Black Fire’ features extended sleeve notes with extended interviews with musicians from the label and includes a reprint of one of the three Black Fire magazines published by Jimmy Gray which predated the launch of the label. ) 27.00

WASHED OUT - Purple Noon LP (Loser Edition) (Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over the course of three uniquely enchanting, critically-lauded albums and an EP, the music he makes has proved both transportive and visual, each new effort inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, the first Washed Out EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his full-length debut on Sub Pop, found Washed Out’s sound morphing into nocturnal, icy synth-pop and embraced provocative imagery. Paracosm is Greene’s take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably with Sudan Archives on her debut Athena) which enabled Greene to explore genres like R&B and modern pop for the first time. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter in Greene’s growth both as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and overall, a more comprehensive depth of dynamics that has yet to be heard on a Washed Out record. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. The coastlines of the Mediterranean inspire Purple Noon, and Greene pays tribute to the region’s distinct island culture -- with all of its rugged elegance and old-world charm -- and uses it as a backdrop to tell the album’s stories of passion, love, and loss (Purple Noon’s title comes from the 1960 film directed by Rene Clement, which is based on the novel “The Talented Mister Ripley” by Patricia Highsmith). Much like the romantic Hollywood epics, the melodrama throughout is strong -- a serendipitous first meeting in “Too Late”; the passionate love affair in “Paralyzed”; the disintegration of a relationship in “Time to Walk Away”; the reunion with a lost love in “Game of Chance.” Each Washed Out release has been rooted in a form of escapism, but coupled with this new layer of emotional intensity, Purple Noon takes Washed Out’s music to dazzling new heights.) 23.00

WIDOWSPEAK - Plum LP (white vinyl) (captured tracks - “The stone that’s buried: what the fruit is for.” So goes the title track from Plum, Widowspeak’s forthcoming fifth album. The line serves as an apt analogy for the record itself: the self-aware sweetness that the band employs to deliver the seed of a harder, sharper idea. Singer Molly Hamilton coats wry observations in a voice as honeyed as the sun-ripened fruit, and Widowspeak have always made a bitter pill much easier to swallow. From its opening strum, there’s a palpable warmth and familiarity to the music even as it hints at darker truths below the surface, questions about inherent worth. What value and meaning do we assign ourselves, our time, and how do we spend it? With Plum, the songwriting partnership rooted in the creative rapport between Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak’s sound, though perennial points of reference remain the same: 90’s dream pop, 60’s psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. ) 24.00
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ADAGIO830
Ce n'est pas qu'j'aime pas me mélanger mais disons Simplement qu'les aigles ne volent pas avec les pigeons
 
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