Bis Aufs Messer June news

[ADAGIO830]

hi. Welcome to another newsletter in those weird times. This year has been crazy so far. We got a couple new records like the HARALD GROSSKOPF - Synthesist (40th Anniversary Edition) DLP re issue, new CHOIR BOY - Gathering Swans LP, the new ROLLING BLACKOUTS COASTAL FEVER - Sideways to New Italy LP, the new SUNWATCHERS - Oh Yeah? LP, DAITRO - y LP restock, some WRWTFWW RECORDS - It's a JAZZ sweatshirt! CREWNECKs back in stock, MOTOHIKO HAMASE - Technodrome LP, MOTOHIKO HAMASE - Anecdote DLP and the notes for forestry LP

We also have bunch of stuff on its way like the new CORIKY LP and a bunch of dischord restock, Mount Eerie restocks, new FUNERAL PARTY releases and a bunch 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

mailorder@bisaufsmesser.com
www.bisaufsmesser.com
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
https://adagio830-records.bandcamp.com/
http://soundcloud.com/adagio830




LP

CALEB LANDRY JONES - The Mother Stone DLP (sacred bones - “I think most of it takes place in dreams,” Caleb Landry Jones says of his debut solo album, The Mother Stone. “I’m talking more about dreams than I am about what’s happened in the physical realm. Or I’m talking about both, and you’re not sure what’s what.” This is the kind of conversation you end up having about a record like this one, a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you’re squarely in the realm of biographical fact and a moment later you’re having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that’s just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. ) 29.00

CHOIR BOY - Gathering Swans LP (dais - Salt Lake City’s indie pop favorites Choir Boy return after four years with the release of their new cosmic album, Gathering Swans. An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected.Since the release of their well-received 2016 debut Passive With Desire, of which Slug Magazine’s Erin Moore declares to be “...packed with songs that are infectious by way of their sound, as well as their emotion...”, and their 2018 single “Sunday Light”, the band evolved from singer Adam Klopp’s project accompanied by a rotating cast of players into a solidified, permanent lineup featuring long-time collaborator and bassist Chaz Costello, saxophonist and keyboardist Jeff Kleinman, and guitarist Michael Paulsen. Following a series of tours with such notable acts as Cold Cave, Snail Mail, and Ceremony, Choir Boy began writing their new album. Proving to be a worthy successor, Gathering Swans builds upon Choir Boy’s infectiousness with unique pop sensibilities and impeccable polish.) 24.00

DAITRO - y LP (echo canyon - beautiful repress of the last Daïtro LP from 2009, housed in a gatefold jacket. Including a booklet, reproduction flyers and a small tour poster) 16.00

EINSTÜRZENDE NEUBAUTEN - Alles In Allem LP (potomak - back in stock - Blixa Bargeld’s band of merry men, Einstürzende Neubauten, return with their new album Alles in Allem, which translates to All in All. It’s the experimental German band’s 12th album in a career that’s lasted 40 years. It’s also the band’s first proper studio album in 12 years.) 25.00

HARALD GROSSKOPF - Synthesist (40th Anniversary Edition) DLP (buerau b - For the 40th anniversary this classic of german electronic music is released as 2-vinyl with new interpretations by Steve Baltes, Thorsten Quaeschning, Paul Frick, Keidler, Pyrolator, Love-Songs, Stefan Lewin, Camera and Tellavision.  "Harald Grosskopf was in his early twenties when LSD 'blew [his] reality away,' as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label-boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his 'cosmic couriers' with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: 'There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating other drummers. Suddenly a voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.' Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: 'I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.' Grosskopf consequently left Wallenstein. 'I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.' A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin's electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Gottsching, Lutz Ulbrich alias Luul) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. Synthesist comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those 'cosmic' sessions of the early 1970s -- yet each melody retains a unique timbre. Synthesist is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today." --Christoph Dallach) 32.00

MAXX MANN - s/t LP (dark entries - back in stock - Maxx Mann were the gay New Wave duo of Frank Oldham Jr (vocals, lyrics) and Paul Hamman (music) from New York City formed in 1981. Frank studied voice and acting at the Herbert Bergdorf School idolizing Eartha Kitt, Nancy Wilson, Johnny Mathis and Shirley Bassey. Paul was playing piano for a cabaret singer at a bar in Greenwich Village where Frank met him and their friendship began. Paul and Frank worked together 3 to 4 times a week recording their debut self-titled album released in 1982, limited to 500 copies. Songs provide interesting insights into the homosexual experience before the AIDS crisis: cruising backroom bars, BDSM and one-night stands. The music is "Neo-realistic rock" heavily influenced by punk, titillating, synthesized body and soul with Frank’s dramatized vocal stylings. The original press release sent to radio stations stated, "Because this is a completely innovative sound, we hope you will give it several listenings. It is adventurous, daring, and certain to cause reactions from your listeners.” For this first time vinyl/CD reissue we’ve added two bonus instrumental tracks, so the album now contains all four original vocal cuts and their corresponding instrumental versions. Paul sadly passed away in 1986 aged 33 from AIDS-related illness and we dedicate this reissue to him. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in an exact replica of the 1982 jacket and includes a fold-post poster with photos, lyrics and notes by Frank Oldham Jr.) 24.00

MOTOHIKO HAMASE - Technodrome LP (wrwtfw - WRWTFWW Records is very happy to announce the official reissue of Motohiko Hamase’s astounding ambient house album Technodrome (1993). The album is sourced from original masters and available on vinyl for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the fourth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano.) 24.00

MOTOHIKO HAMASE - #Notes of Forestry LP (wrwtfw - One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3).Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom) 24.00

MOTOHIKO HAMASE - Anecdote DLP (wrwtfww - Anecdote was recorded live June 12th 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase’s unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence, Intaglio, and #Notes of Forestry.) 28.00

ROLLING BLACKOUTS COASTAL FEVER - Sideways to New Italy LP (sub pop - On their second record, Sideways to New Italy, Rolling Blackouts Coastal Fever have turned their gaze inward, to their individual pasts and the places that inform them. From a town in regional Australia that serves as a living relic to how immigrants brought a sense of home to an alien place, to the familiar Mediterranean statues that dot the front lawns of the Melbourne suburbs where the band members live, the inspiration for the record came from the attempts people make at crafting utopia in their backyard (while knowing there is no such thing as a clean slate). In searching for something to hold onto in the turbulence, the guitar-pop five-piece has channelled their own sense of dislocation into an album that serves as a totem of home to take with them to stages all over the world.) 22.00

SONIC BOOM - All Things Being Equal LP (car park - restock on the way - It’s auspicious that Sonic Boom—the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)—returns in 2020 with its first new LP in three decades. Kember’s drawn to the year’s numerological potency, and this intentionality shines into every corner of All Things Being Equal. It’s a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness—everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom’s second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab’s Tim Gane encouraged Kember to release them instrumentally. “I nearly did,” confesses Kember, “but the vibe in them was so strong that I couldn't resist trying to ice the cake.” Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits “don’t go far from the turntable pile”), as well as speculative, ominous spoken word segments. His new home Sintra’s parks and gardens provided a different visual context for Kember’s thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. “Music made in sterility sounds sterile,” he says, “And that is my idea of hell.” Over the vivid, calculating arps of opener “Just Imagine,” Kember nudges listeners to do as the title suggests. It’s based on a story he read about a boy who healed his cancer by picturing himself as a storm cloud, raining out his illness. “The Way That You Live,” a rollicking drone powered by drum machine rattles and bright chord beds, morphs political distrust into a revolutionary mantra about ethical living. “I try and live my life by voting every day with what I do and how I do it, who I do it with and the love that I can give them along the way,” offers Kember. An unusually curated gear list accompanies each song, unexpected layers reinforcing the monophonic skeletons. Mystery soundscapes and grinding sweeps were teased from EMS synths, synonymous with and evocative of ‘60s BBC scoring and ‘70s Eno. Pacing basslines oscillating into warbling heartbeats came from a cheap ‘80s Yamaha. A modern OP-1 generated subtle kicks and eerie theremins, while his toy Music Modem—an unused holdover from sessions Kember produced for Beach House and MGMT—finally found its recorded home. t’s rare to see liner notes where synthesizers rather than humans are credited (other than guest vocal stints from “co-conspirators” Panda Bear and Britta Phillips), but Kember is masterful at finding the unique personality in his machines. “I tried to find the deepest essence of the instruments & let them play,” he offers. What emerges from these considerations on technology and humanity is a honed collection both philosophical and grooving, spacious even as it fills to its brim. It’s distinctly Kember—more than that, it’s distinctly Sonic Boom. ) 24.00

SUNWATCHERS - Oh Yeah? LP (trouble in mind - Despite (perhaps) being the band’s most accessible & melodic work to date, New York quartet Sunwatchers‘ fourth album "Oh Yeah?" arrives in a flurry of notes with the buzzing hum of “Sunwatchers vs. Tooth Decay”; the title referencing a 1976 album featuring athlete and activist Muhammad Ali. A cheeky nod to be sure, but laced with the utmost reverence. This attitude sums up Sunwatchers’ aesthetic in a nutshell; the acknowledgement (typically via the band’s irreverent song titles or album art) that the things in life we should take seriously are better faced and understood when disarmed by a wink or nudge. The band may cloak their fiery activism in a jester’s outfit, but it does nothing to dull the force of their attack. The one-two punch of “Love Paste” & “Brown Ice” hits next, with the former’s tender opening melody punctuated by exuberant “WOO!”s while the latter launches into an urgent, stuttering march that utilizes an effective musical wind-up and release, ratcheting up a ferocious intensity across its near six minute runtime. “Thee Worm Store” closes out the first side, beginning with a lumbering synth growl, until it picks up speed and ends as a frantic noisy free-for-all. Side two strides forth with“The Conch”, an obvious ‘Lord of The Flies’ reference, and a delicious subversion of the idea of a “hero’s anthem” weighted down by the trappings of tribalism. The album’s showstopper however is “The Earthsized Thumb”, the near twenty-minute closing track. Guitarist Jim McHugh lays down a hypnotic Saharan guitar melody as the rest of the band ushers themselves in one by one over the tune’s distinct musical movements, a “Quick One” for all the heads perhaps? The album’s title “Oh Yeah?” is at once an homage to Mingus, Thee Oh Sees’ album “Help” (whose Brigid Dawson hand-sewed the tapestry adorning the album’s front cover) and (naturally) the rallying cry of KoolBrave himself - the Kool-Aid Man-as-Braveheart avatar the band adopted as their symbol. The three years since the band’s second album (and TiM debut) “II” was released, has seen the band grace stages across the USA and Europe, enlisting more comrades in their mission of solidarity (sonically speaking) with every show.) 23.00


MERCH

WRWTFWW RECORDS - It's a JAZZ sweatshirt! CREWNECK (Official WE RELEASE JAZZ crewneck sweatshirt (Forest Green). Silk-screened on GD56 Gildan Heavy Blend™ Sweatshirt in M & L) 40.00

[ADAGIO830]

hi. Welcome to another newsletter for June. First of all we wanted to thank you for all your support in those difficult times. We have the store now open from 11 - 18 from Monday til Saturday and still ship orders for free in Germany if they are over 50 euros and in in between Europe if they are over 100 euros.

A bunch of great records arrived like a lot CARLA DAL FORNO restocks, KALI MALONE - The Sacrificial Code DLP restock, the fantastic DANNY CLAY - Ocean Park LP, new MUNSTER re issues like the ATTRIX - Lost Lenoré 7“, new stuff and restocks from RECITAL records, FATAL MORGANA - The Final Destruction DLP, ENNIO MORRICONE - Uccidete il vitello grasso e arrostitelo LP re issue, new MASERATI - enter the mirror LP, a bunch of OSCARSON restocks titles, THE STROPPIES - look alive LP, EGISTO MACCHI - Sud E Magia LP & the ENNIO MORRICONE & LUIS BACALOV - Pitturamusica LP on SOAVE records, TAPHOS - Come Ethereal Somberness LP, the killer DAILY FAULI - Fauli Til Dauli LP re issue, the SARAH DAVACHI - Paper BOOK, the new WIRE magazine and moreee.

Also lots of things are on its way like the new CORIKY LP, new stuff from FUNERAL PARTY, PAGE99 - doc7 LP, RAGANA restocks, MOUNT EERIE restocks etc etc tec.

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

mailorder@bisaufsmesser.com
www.bisaufsmesser.com
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
https://adagio830-records.bandcamp.com/
http://soundcloud.com/adagio830


7“

ARSE - Safe Word 7“ (erste Theke - Hailing from dystopian Sydney, the punk rock trio known as ARSE arrived at the end of 2017 with their acerbic debut Primitive Species on a cassette tape, sounding like the bastard lineage of Feedtime and Black Flag with an uber-modern spin. Equal parts dumb, terrifying and fitting for the times, Species copped the full vinyl treatment six months later courtesy of German punk label Erste Theke Tontraeger. By years end it had crash-landed on The Quietus’ best of 2018 punk round-up alongside Hank Wood and The Hammerheads, Geld and Amyl and The Sniffers. Never content, as their music attests, ARSE have since opened for Cosmic Psychos (AU), No Age (US) and released a split seven-inch record with Sydney noise-assassins Party Dozen. ) 6.00

ATTRIX - Lost Lenoré 7“ (munster - Reminiscent of early Velvet Underground, Attrix were one of Brighton's most active groups in the vibrant local scene during the early days of punk. Originally released on the band's leader own label in 1978, this single is the only record they ever put out. Both tracks are no short of raw vocals and fierce guitars but the band shows also had pop hooks to spare. First ever reissue.) 11.00

CARLA DAL FORNO - So Much Better 7“ (The widespread success of her debut album ‘You Know What It’s Like’ (2016) and ‘The Garden EP’ (2017) has seen dal Forno spearhead the latter years of the Blackest Ever Black vanguard. Now the London-based Australian artist turns her attention to releasing original work on her own label, Kallista Records. This two-track 7-inch record begins a bold year for dal Forno, who takes her lone kosmische misanthropy onto fertile new ground. The a-side single, ‘So Much Better,’ sees dal Forno step out from the shadows of emotional ambiguity into the vulnerable territory of anecdotal song-writing. Lyrics that echo the irrational passions of love scorned, in truth reveal a self-assured artist confessing to resentment which propels her. Here is dal Forno chiding herself in the mirror while excoriating an old infatuate with a vocal timbre that sits among the giants: the lilting power of Alison Statton, the mystic shamanism of Una Baines and the post-punk cabaret of Vivien Goldman. The sparse production on both sides springs from the soft-pedalled cassette of covers, ‘Top of the Pops,’ which dal Forno self-released last year. Though the raw, dubbed out vision takes a back seat on ‘So Much Better,’ overshadowed by dal Forno’s fork-tongued lyrics, it is heightened on ‘Fever Walk’ with acoustic drum racks ricocheting off fizzing drones, pastoral synth textures and meandering melody in the way of Broadcast, Flying Lizards and Portishead. But the illusion of wide-open spaces belies an oppressive, hysteria-inducing humidity swelling from the studio vision of her past instrumentals like ‘Dragon’s Breath’ and ‘Italian Cinema.’ And with a nod to her old band, F ingers, dal Forno’s voice-as-instrument hacks like a machete through her endless jungle of anxiety. This two track 7-inch, the object of a new existence, reflects dal Forno’s life in London working at Low Company recordstore and her monthly radio show on NTS. All in with the history and tradition of British post-punk and independent music, she strides boldly into the abyss. ) 10.00

THE DAMNED - Smash It Up 7“ (40th anniversary re-issue of the classic 1979 single, taken from the masterpiece "Machine Gun Etiquette". Stymied by the BBC, who refused to play this punk rock call to arms, it nevertheless made #35 in the UK charts. To this day it is a hit in the hearts of Damned fans worldwide, with its glorious melody and rousing chorus. Backed by the amusing Rat Scabies-vocalled „Burglar“.) 10.00

THE GAY INTRUDERS - In The Race / It's Not Today 7“ (munster - A savage slice of primitive Bo Diddleyfied punk by Marc Jonson’s teenage garage band, The Gay Intruders, recorded in 1966 and recently rescued from the original tapes. On the flip, ‘It’s not Today’, a R&B number from the same period. Both tracks were previously unreleased.) 11.00

ROPES OF NIGHT - s/t 7“ (golden antenna - ROPES OF NIGHT was found 2019 in Cologne, Germany, by Ralph Schmidt, the creative mind behind renown acts ULTHA and our own PLANKS. Whereas his old bands can be found on the heavier side of the musical spectrum, ROPES OF NIGHT finally sees a departure from the paths of metal and going into the area of 80ies inspired Post Punk / Dark Wave / Shoegaze. The band consists of five individuals that have been active in the musical underground for a long time in bands such as ATKA, VEAGAS, MINUSMAN, BLACK WANDA etc, among them also ULTHA drummer Manuel Schaub. If you are into bands like THE MISSION, THE CHAMELEONS, JOY DIVISION, NEW MODEL ARMY, SOFT KILL and TEMPLE OF ANGELS, this band might be something for you.) 12.00


LP

AKI ONDA - Nam June’s Spirit Was Speaking To Me LP (recital - Limited Edition of 250 copies, incl. 20-page art booklet - A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project: “Nam June’s Spirit Was Speaking to Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander. The building was packed with Paik’s artwork and related material. I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera. It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul. It was literally out of the blue. Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me. The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering. Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated “In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.” Paik himself was a master shaman and vividly used shaman rituals and symbols for staging his performances and installations. These recordings also became a way for me to explore the mythic form of radio—a medium which is full of mysteries. The transmissions captured may be “secret broadcasts” on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels. Some of these stations were likely for military use or espionage or relics of the Cold War. But many others continue without apparent explanation. These are just some of the questions that remain unanswered.” Commissioned in 2017 by documenta 14's radio program “Every Time A Ear di Soun,” these recordings were continually broadcast on eight radios stations around the world that year. Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air. The LP comes replete with a booklet of photographs of Paik on the set of Michael Snow’s unreleased film Rameau’s Nephew (1974). ) 27.00

ALVIN LUCIER - Vespers LP (blumne - "This is the fulfillment of a dream for a new kind of music. There is nothing like "Vespers" in the literature of music. It is a completely new way of defining what music is, and the definition is given to us in a purely realized form." - Robert Ashley Since its advent within the broader of movement of modernism during the early years of the 20th century, avant-garde music has almost always struggled to reach the audience for which it was conceived. It is a diverse creative territory, forward thinking and radical by nature, that pursues the unknown, attempting to create new forms of organized sound that are more democratic, accessible, and open than those of the past. Emerging during the late 1950s and across the 1960s, the second generation of the post-war avant-garde can be regarded as a representational return to the ideologies that define the practice. As a result, they collectively created what is arguably the most revolutionary body of thought and action within 20th century music. Despite the persistence of the definitions and perceptions cemented by their predecessors, these artists and their work —Éliane Radigue, Pauline Oliveros, Alvin Curran, Takehisa Kosugi, Frederic Rzewski, David Behrman, Terry Riley, Robert Ashley, Steve Reich, La Monte Young, Tony Conrad, Gordon Mumma, and countless others have yielded unparalleled influence. Among the most important, influential, and radical of this generation is Alvin Lucier, a towering figure in the field. Already active on the scene for a number of years, Lucier’s entrance into the public and creative consciousness occurred in 1966 at the now legendary ONCE Festival, in Ann Arbor, Michigan, where, as a member of the newly formed Sonic Arts Union, a collective founded with fellow composers, David Behrman, Gordon Mumma, and Robert Ashley, he performed his groundbreaking work, Music for a Solo Performer, composed the year before.) 25.00

ANTHONY BADEN SAGGERS - Sketches From A Minor Tragedy LP (oscarsson - his album is dedicated to, and written for, my partner Ilayda Gonultas; without whom it would not exist. Meeting her not only changed my life in one reality bending heartbeat, but also reignited my desire to express myself through music after not having touched the piano keys with any meaning for what seemed like an eternity. Her beautiful, complicated and glowing spirit inspired me to create what I consider to be the most moving and honest work of my entire life, and this album holds a very special place in both of our hearts. The sketches were originally written as gifts for Ilayda, one given every few weeks or so as I wrote them. It was only after some time that I sat back and listened to everything which I had made that I realised it would be a shame to keep such honest and (hopefully) moving music to ourselves. When I listen to the album now, it transports me back to a time in my life which was equal parts tragedy and fairytale. A place in time I wish I could revisit, could live in again just for a day. Thankfully, the music remains as a time capsule, a way to revisit moments past but not forgotten.  If anything stands as a testament to the influence of this special person on my life, to the rewards of not giving in when life gets tough, and to the power of love in the face of adversity this album is it.Rather than re-record the Sketches, I present the best of them here in their original unpolished form, as any re-recordings would be imitations of the pieces rather than the true and honest snapshots of memories which they are.  Dedicated with love, to the Lady who made the World bend around her head, without even a word. If I could walk down that street again, I would do it everytime. Thank you for listening. ) 25.00

DAILY FAULI - Fauli Til Dauli LP (minimal wave - Daily Fauli was the rare minimal synth project of Danish artist Søren Fauli. In 1983, he released one album entitled Fauli Til Daulion a small label called Gry Records. Søren was nineteen when he recorded this masterpiece and had no prior musical training. He had been playing in punk bands as a teenager and decided to break off to make a solo record. With access to stolen equipment, mainly synthesizers, he wrote these songs very spontaneously and recorded them in a period of one week. He designed the artwork using portraits his friend shot of him in his bedroom with his Casio VL-1 tone in hand, and mocked up the cover and inner sleeve himself in total D.I.Y. fashion. In 1983, the record was released in an edition of 500 transparent green vinyl LPs with a black and white inner sleeve with his song lyrics. It is a true work of art and has become a cult classic over the years. MW re-release the album, remastered and pressed as a limited edition of 999 copies. The record is pressed on 180-gram transparent green vinyl presented in a heavyweight sleeve featuring the original album artwork accompanied by an inner sleeve with an unpublished photo of Søren and inner sleeve artwork.) 28.00

DANNY CLAY - Ocean Park LP (laaps - Danny Clay is a composer / general noise maker from Ohio, now living in San Francisco. Chamber music, open forms, found objects, analog media, digital errata, toy instruments, and everything in between are his artistic guidance. Whose work is deeply rooted in curiosity, collaboration, and the sheer joy of making things with people of all ages and levels of artistic experience. He builds worlds of inquiry, play, and perpetual discovery that integrate elements of sound, movement, theater, and visual design. Children's games, speculative systems, cognitive puzzles, invented notation, found objects, imaginary archives, repurposed media, micro-improvisations, and happy accidents all make frequent appearances in his projects. Recent collaborators include Kronos Quartet, Eighth Blackbird, Third Coast Percussion, Volti, the San Francisco Girls Chorus, Wu Man, Sarah Cahill, Phyllis Chen, and printmaker Jon Fischer. His work has been performed by the International Contemporary Ensemble (ICE), the San Francisco Contemporary Music Players (SFCMP), Ensemble Dal Niente, and has been presented in a bunch of various Museums, Foundations and Art Centers. throughout US. After 2 years since his last solo release he comes back with "Ocean Park", a masterpiece evolving between ambient, chamber music and contemporary music.) 25.00

DINOSAUR JR. - Hand It Over DLP (Deluxe Expanded Edition) (cherry red - "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band's final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I'm Insane 7" single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever.“) 38.00

DINOSAUR JR. - Green Mind DLP (Deluxe Expanded Edition) (cherry red - "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level, aided by the singles 'The Wagon' and 'Whatever's Cool With Me', a non-album EP of new material and live recordings, all of which are included here. Critically lauded on release, Green Mind remains one of the band's strongest collections, and a firm fan favorite.“) 38.00

DINOSAUR JR. - Hand It Over DLP (Deluxe Expanded Edition) (cherry red - "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band's final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I'm Insane 7" single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever.“) 38.00

EGISTO MACCHI - Sud E Magia LP (Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.) 28.00

ENNIO MORRICONE - Uccidete il vitello grasso e arrostitelo LP (transversales - For the first time on LP, Maestro Morricone's full score for "Uccidete il vitello grasso e arrostitelo". A 1969 giallo-noir, full of cruel twists, directed by Salvatore Samperi, .This almost unknown soundtrack wasn't released at the time and the original master tapes were carefully archived in the vault of legendary C.A.M. label. Conducted by Bruno Nicolai and featuring voices by Edda Dell'Orso.The maestro delivers one his best scores from the late 60's. A psych-baroque journey with typical beat arrangements, crazy organs solos, wah-wah guitars and tense harpsichord phrases. Including the previously unreleased "Shake introspettivo“. REMASTERED FROM THE ORIGINAL MASTER TAPES LIMITED EDITION) 26.00

FATAL MORGANA - The Final Destruction DLP (mecanica - Fatal Morgana was formed in the ghetto’s of Amsterdam at the end of 1988 when Mr. Fact and E. Smidt started to experiment with their equipment and get released their first single “I Believe” on the Belgium label Antler-Subway (home of Klinik, Poesie Noire, A Split Second, The Overlords…). From that point things started to take off very fast. Their mutual ideas ended up in a new maxi “Attention” (club-charting in several countries) and the debut album “The Destructive Solution” in 1990. This album was composed in their own FM-Studio and showed another side of the band. Darker than before. You can find danceable EBM stuff together with some atmospheric and orchestral tracks. All songs contained their view on matters like politics, environment, oppression, etc. “The problems of nowadays are solved with solutions which will lead to the total destruction of mankind. Most people think that these solutions will solve the world problems but… this is just a Fatal Morgana!”. This was written in 1990 as a prediction of what is a happening now… 30 years later. “The Final Destruction” bring together all songs from their album plus some tracks from the singles and compilations. Everything has been remastered and enriched with an extended artwork based on the original design. Limited edition of 600 copies.) 27.00

GREY WALLS - asche LP (kink - Nichtmal ein Jahr ist vergangen seit der Debüt 7" von GREY WALLS aus Landau und schon kommt die Band mit dem Debüt-Album um die Ecke. Auf der Platte gibts 11x schnellen Powerviolence/Hardcore Punk mit Sludge-Kante. Mal schleppend, mal Vollgas und immer schön dreckig und angepisst, vorgetragen vom hasserfüllten, krächzenden Gebrüll des Sängers. Die Platte kommt im schicken 350g Cover, bedruckten und gestanzten Innenhüllen, Downloadcode und 100x auf rotem Vinyl + 400x auf weiß-schwarz mamoriertem Vinyl.) 13.00

KALI MALONE - The Sacrificial Code DLP (ideal - Finally repressed. Kali Malone presents a quietly subversive new album featuring almost two hours of concentrated, creeping organ pieces governed by a strict acoustic and compositional code. It’s a major new work with ultimately profound emotional resonance.‘The Sacrificial Code’ takes a more detailed approach to ideas first sketched out on last year’s ‘Organ Dirges’, which featured canon exercises spontaneously captured without much prior technical planning. By contrast, the recording of ‘The Sacrificial Code’ involved the more careful micing up of several organs in such a way as to eliminate acoustic impurities as far as possible - essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then performed free of gestural adornments and without expressive impulse - an approach that flows against the grain of the prevailing musical hegemony, where sound is so often manipulated, and composition often steeped in self indulgence. The question posed; can this strict methodology still speak to the listener in meaningful terms?) 35.00

LUCY ROLEFF - Left Open in a Room LP (oscarson - With an eye on the contemporary but an affinity for the traditional, Melbourne folk artist Lucy Roleff returns with Left Open in a Room- a chamber-folk inflected expansion on the fingerpicked purity of her 2016 debut, This Paradise. Autobiographical in essence but vast in theming, Left Open in a Roomreminds of both the simple, vignette songwriting of Sibylle Baier, and the intricate stylings and blunt tongue of Bridget St John and Nick Drake. Lucy’s vocals are truly the centrepiece, imbued with a precise, classical enunciation and soft duskiness. The peaks and valleys of her voice allowed to shine, as her rare contralto register shows all shades of its deep colour. We also welcome a new addition since This Paradise, Lucy’s 36-string celtic harp, alternating beautifully with her fingerpicked classical guitar.) 18.00

MASERATI - enter the mirror LP (temporary - Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer, John Congleton (Explosions In The Sky, Swans, Angel Olsen), Enter The Mirror is Maserati’s most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on Enter The Mirror, paired to magnificent effect with the increasingly dystopian lyrical themes (which, ironically, were also massive influences on popular music in the 1980s, and feel ever more relevant now). In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. Self-reflection and loss of control as both a positive and negative aspect of modern existence is at the heart of Enter The Mirror. It is Maserati’s most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades – and found the will to not just keep moving, but to move with style and chase.) 25.00

MAYHEM - De Mysteriis Dom Sathanas - 25th Anniversary BOX SET (5LP + BOOK (massive) Deathlike Silence, «De Mysteriis Dom Sathanas» is often considered to be the most important Black Metal album of all time. The legendary Pytten can be quoted on saying ?it was the next big thing after Grieg?, and we couldn?t agree more. The album was released on Euronymous label ?Deathlike Silence Productions? May 24th 1994, marked as Anti-Mosh 006. We are proud to honour this timeless album with the release of the 25th Anniversary Box Set with the help and support by long time Mayhem friend Finn Håkon Rødland. The Iconic Album has been remastered for vinyl from the original DAT tapes by Solslottet Studio, with guidance from Pytten himself and approved by Hellhammer. The cover art and packaging will for the first time be presented as Hellhammer originally envisioned it back in 93/94, including also the lyric scroll booklet. Also included are four additional vinyls with stunning artwork consisting of two different rehearsal sessions in Oslo from February and May 1992, taken directly from tapes Euronymous made, the instrumental rough mix from Grieghallen June 1992, and the rough mix with vocals from the tape Attila got after the vocal recordings in April/May 1993. The Box Set will include a 96 page book with a series of in depth interviews casting Light and Darkness on the recording process and the glory days of Mayhem making history in the early 90?s, such as Pytten, Hellhammer, Attila, Necrobutcher, Nocturno Culto of Darkthrone, Bård `Faust? Eithun of Emperor, Shagrath of Dimmu Borgir, Dr. Best of Mysticum, Steinar ?Sverd? Johnsen of Mortem/Arcturus, Erik Danielsson of Watain, Tore Bratseth of Old Funeral, Ivar and Grutle of Enslaved, HBM Majesty of Mare/Vemod/Dark Sonority, Nergal of Behemoth, Silenoz of Dimmu Borgir and Jørgen Lid Widing (lyric scrolls). Liner notes by Finn Håkon Rødland, Metalion, Iver Sandøy of Solslottet studio, and Maniac. The Book will include the original handwritten lyrics by Dead and Snorre, plus never before seen photos from the DMDS photo session, presented here for the very first time. The book will also give detailed insight into the classic cover art of Nidarosdomen. THE PAST IS ALIVE) 150.00

MCCOY TYNER - Nights Of Ballads & Blues LP (doy - Nights of Ballads & Blues is the third album by the jazz pianist McCoy Tyner, released on the Impulse! label in 1963. It features performances by Tyner with Steve Davis and Lex Humphries.) 18.00

PHILLIP SOLLMANN - Monophonie DLP (a ton - Following 2019’s New Atlantis LP under his experimental techno alias Efdemin, Phillip Sollmann’s Monophonie is a project dedicated to uniting different strands of utopian music. His approach: combining and recontextualizing rare historical instruments of sonic research of Hermann von Helmholtz (19th century) with the self-designed, microtonal instruments of Harry Partch and metal sound sculptures of Harry Bertoia. The result is a psychedelic investigation into just intonation – alternative tuning systems that create unique sets of harmonics not found in conventional scales. Monophonie recasts these sounds into new rhythmic environments where epic kosmische, polyrhythms, acoustic techno and microtonal glow are interwoven into a rare music. Over nine tracks, the album explores multiple forms of minimalism, from unwavering repetition to paired-down chords and sparse sonic environments. But it also seeks to expand the sound spectrum of Partch’s custom built organs and melodic percussion instruments as well as Bertoia’s sonambient singing metal rods into a atmospheric otherworldliness. Monophonie was first composed in 2016 and premiered at Berlin’s Volksbühne theatre in 2017, before it went on to the renowned Ruhrtriennale and Kampnagel in Hamburg. It was performed by one of Germany’s premier neue musik collectives Ensemble Musikfabrik together with Sollmann himself on von Helmholtz’s original double siren, with set design by Michael Kleine and wardrobe by Peter Kisur of Honeysuckle Company.) 26.00

REGIS - Hidden In This Is The Light That You Miss DLP (downards - Finally, Regis lets his rhythmic noise opus out into the world, a bruising and hauntingly absorbing album - his first since 2001 - dispatched on his pivotal label: Downwards. On a masterful twenty-year followup to ‘Penetration’, Karl O’Connor yields a definitive solo LP that distills his passions for sonic brutalism and bastardised Chicago tracks with syncopated UK swagger and reverberating warehouse ballistics. Its lip-bitingly gripping effect is testament to a resounding reputation as one of Industrial music’s most influential producers, and sees the artist bring his own influences - from Test Department to Jeff Mills - into line with his potent palette of narcotised tones. Recorded in Berlin with Einstürzende Neubauten’s producer/engineer Boris Wilsdorf, the album’s supple, spartan, and rhythmic gymnastics notably benefit from acres of icy room to roll around and lash out. Snagged around muscular bassline revs, and caressed with keys and vocals by post- punk catalyst Annie Hogan (whose recent turn for Downwards was a total revelation), the 9 tracks portray Regis at his leanest and most mesmerising, which is all the more impressive coming from an artist who’s deliberately held his line through club music’s mutations for more than 30 years.) 30.00

ROLY PORTER - Kistvaen DLP (subtext - Roly Porter returns to Subtext with 'Kistvaen'. The LP takes its name from a type of granite tomb found pre-dominantly in Dartmoor, an area in southwestern England. Scattered across the moorlands, the kistvaens were often found covered in a mound of earth and stone. They housed dead bodies, allowing them to lie facing the sun. With 'Kistvaen', Porter speculates on the burial site as a mirror, or a gate in time. Excavating stories and images of ancient burial rituals, the record teases out similarities in emotional and social rituals between the Neolithic period and today. While a myriad of social, cultural and technological factors drastically differentiate our contemporary period and the end of the Stone Age, certain affinities may still be found in experiences of death across eras.) 24.00

RUTGER ZUYDERVELT & BILL SEAMAN - movements of dust LP (oscarson - Beautiful abstract experimental drone ) 18.00

SEAN McCANN /MATTHEW SULLIVAN/ ALEX TWOMEY - Saturday Night LP (recital - Limited Edition of 250 copies, incl. 20-page booklet - Saturday Night is the debut LP by old friends and collaborators Alex Twomey, Matthew Sullivan, and Sean McCann. Recorded over numerous evenings at the artists’ homes, and completed just before the birth of Matthew’s daughter, Flora. The album became an excuse to spend time with one another as well as perform. As the trio ordered take-out, drank scotch, smoked on patios, laughing off the weight of reality–they stumbled into moments of musical focus. This album has a prism of fidelities. High and low resolutions press together as the environment blows through the instruments. The woozy, side-long titular track of hesitant cello and pianos opens the record. Quiet music with blemishes and inebriated pauses, breathing an alleviated air. Phrases with failing propellers, teetering between melodic and apathetic. The true speed of their Saturday nights. Side two opens with “London On My Mind.”  Reflecting the other pole, manic cassette treatments duel over Twomey’s placid keyboard, ultimately breaking into a little joke on the piano. “Collection” features guitar by Sullivan, remembered for his thick fog of work under the alias Earn. With Sullivan’s return to the instrument, he is joined by Twomey on upright piano and McCann processing the room in real-time. The brief final work, “Bird,” recalls the style of the group's private press cassettes, The Bird and Charlotte’s Office: poorly-played pleasant-hearted music. Each edition of the record includes a 20-page photo booklet of stills documenting the recording process.) 27.00

SLOWLY - reveal LP (oscarson - This album was written and recorded during a transitional time in my life and the process of its creation acted as a cathartic outlet. Produced over a particularly difficult summer, this album provided me with an escape into walls of lush reverb and delay. Getting lost in the sound uplifted me during a very difficult period. Hopefully this music can do the same for others. RIYL: shoegaze, The Daysleepers, Slowdive, Blind Mr. Jones, Flying Saucer Attack.) 18.00

STIFF RICHARDS - dig LP (erste Theke - STIFF RICHARDS are 5 blokes from Melbourne playing tunes "straight from the shed straight to your head...". Those blokes are called Lochie, Mawson, Raf, Gaz and Wolfie and they're just the latest in a growing number of Aussie punk bands to feature on here. If you're a fan of balls out rock n roll then Oz is where you should cast your gaze.
) 14.00

THE STROPPIES - look alive LP (tough love .- Originally starting as The DIY home recording project of Angus Lord and Claudia Serfaty, The Stroppies have now evolved into what some might call a "proper band". Following on from their 2017 demo cassette and a sling of singles, 2019 saw the release of their debut LP Whoosh!, a studio-based affair that evolved The Stroppies sound, underpinned with a newly discovered melodic classicism. Look Alive!, their latest effort which was recorded only months after the bands return to Australia after their second European tour of 2019, represents a marriage of the two different styles of Stroppies recordings and rounds out an incredibly productive twelve months for the group. Look Alive! Is the sound of The Stroppies honing their craft under new and unfamiliar conditions. Written mainly on the road then finished and recorded at home with whatever was on hand with only three of the four members present, it is according to the band’s singer/guitarist Angus Lord, "an EP forged in circumstance. A sum total of fleeting vignettes on scraps of paper, voice memos and iPhone notepads all collated between soundchecks and long stretches in a tour van rolled pieced together over weekly jams. We didn't want to waste much time when we got home so we opted to record it ourselves". For a band who began with the initial idea to create what the band called “open-ended music, collaged quickly and pieced haphazardly together”, it is in some sense a return to their true self. If Whoosh! glimmered and sparkled with tight production and succinct pop songwriting, Look Alive! is a somewhat darker shade, employing a more diffuse, impressionistic sonic palette and a more obvious penchant for experimentation. Tracked by the band and long time friend/collaborator Alex Macfarlane (Twerps, The Stevens, Hobbies Galore) at home and then mixed and mastered direct off the tape at Phaedra studios in Coburg by John Lee, it’s also a somewhat collaborative project, drawing in influence and inspiration from myriad sources.) 25.00

TAPHOS - Come Ethereal Somberness LP (blood harvest - Hailing from the same Danish scene as Undergang and Phrenelith, TAPHOS create a classic - and classically gutted - style of Metal of Death. Their first recording, Demo MMXVI, possessed a darkly thrashing sound highly reminiscent of turn-of-the-'90s death metal on both sides of the Atlantic, as resolutely Scandinavian as it was American, its filthy propulsion as palatably fresh as it was authentically ancient. On the subsequent two-song EP, TAPHOS' sound becomes more world-eating, their songwriting aims more epic whilst not losing the raw fury of their beginnings. Now, with Come Ethereal Somberness, they synthesize the two stylistic shifts into something both berzerker and epic, manic and finessed in equal measures. Indeed, TAPHOS are firing on all songwriting cylinders here, as the energy literally bursts off the charts but retains a sense of composure and daresay class rarely scene in full-blooded death metal. Hammering and hideous yet nevertheless invoking a clarity that never castrates their attack, the quartet render each of these seven central compositions (bookended by moody instrumentals) a story unto itself. Hell, the titles themselves tell that story - "Ocular Blackness," "Insidious Gyres," and the equally telltale "Thrive in Upheaval" and "Impending Peril" among them - and that story is horrific.) 22.00

TOM JAMES SCOTT - mine is the heron LP (students of decay - Edition of 300 copies “Mine is the Heron” is the new Tom James Scott record, the first document of his solo work since 2017. Over the past decade, the UK-based composer has released a diverse body of recordings via labels such as Bo’Weavil, Carnivals, Where To Now?, and his own impeccably curated Skire imprint. This album finds Scott in half-remembered, sanguine moods, some of which are likely to remind listeners of his collaborative work with Andrew Chalk. Fragile acoustic piano runs are meted out with painterly finger strokes, buoyed by subtle, idiosyncratic FM sound design, chimes, and guitar. Culled from recordings composed and put to tape over the past several years, the collection has the feel of a poet's selected works, or perhaps more appropriately, a compendium of letters - exquisite vignettes that feel simultaneously private and important to disseminate into world. The hermetic nature of this quietly stunning music is evocative of abandoned shingle beaches and misty marshes, and of the Virginia Woolfe novel from which the album takes its title: “Mine is the heron that stretches its vast wings lazily; and the cow that creaks as it pushes one foot before another munching; and the wild, swooping swallow; and the faint red in the sky, and the green when the red fades; the silence and the bell; the call of the man fetching cart-horses from the fields - all are mine.” Recorded by Tom James Scott on Walney Island, 2016 - 2019 Mastered by Kassian Troyer at Dubplates & Mastering) 20.00

WITH HIDDEN NOISE - beside the sea LP (oscarson - Written and recorded in my home during a series of cold Canadian winter nights, the music and overall sound of this album are meant to evoke the feeling of a lonely night drive through the countryside. Lyrical themes of love, longing and loss. As a long-time fan of music with minimal arrangements that create a sense of space, this album draws on many influences, including Low, Codeine and Red House Painters.)18.00


BOOKS / MAGAZINES

SARAH DAVACHI - Paper BOOK (recital - First Edition of 200 copies, 204 pages, perfect-bound - In addition to the musical objects she creates, Sarah Davachi is also immersed in the theoretical issues that surround her practice. This twin engagement began in her youth in Canada, studying philosophy and music, and working at a specialized musical instrument museum. Her compositional ambitions led to the doorstep of Mills College, fertile with history. Accompanied by a thesis for pipe organ and electronics, she also wrote a tangential document that ties experimentalism and phenomenology and the concept of the “irreal.” A few years passed as Davachi continued to research and write with an extensive content development project for the museum in Canada. Since 2017, she has been working toward her PhD in musicology at UCLA, with a dissertation on critical organology (the study of musical instruments) and texture in early music, popular music, and experimental music. Papers positions historical and technological conclusions to face their philosophical underpinnings. Illuminating the mysteries of temperament and character in harmony, placing medievalism into the present, giving a narrative of studio recording as world making, and musing on her revered theories about art. Two of the essays dissect sympathetic compositions: Natura Morta by Walter Marchetti and In A Large, Open Space by James Tenney. Fingerprints bordering pathos. The book concludes with six artifact studies: an Italian virginal, a Bösendorfer piano, the Novachord, the Mellotron, the modern harp, and the OSCar synthesizer. Comprehensive details of their development, mechanisms, and cultural significance are laid to bare. I walked downstairs a few weeks ago and Sarah was tuning her harpsichord with a hammer given to us by our friend James Rushford, who had accidentally bought the wrong type a few years back. I sat on the chair beside her; she was setting the instrument to a quarter-comma meantone temperament (from roughly the late 1400s). With only a laymen’s understanding of tuning, Sarah demonstrated for me an explanation so simple and beautiful that it made me smile continually. The unique identity of each triad, in this early form, became tangible that afternoon. I could hear how one interval sounded apart from the same in another key. The book elucidates similar experiences. When I read Papers, I admire Sarah’s ability to frame the tableau of history with an elegant open end. Sean McCann, April 2020) 22.00

THE WIRE - #437 JULY 2020 MAGAZINE ("A Tangerine Dream special: A major multipart feature that delves into the past, present and future of the kosmiche overlords, soundtrack auteurs and electronic music dynasty, with interviews, essays and guides to the music. Armand Hammer: New York avant hiphop crew Billy Woods and Elucid break down their new album Shrines and making moves with their independent Backwoodz Studioz. Mopomoso: Philip Clark talks to improvising guitarist John Russell about the life and legacy of his London free music institution Mopomoso.“) 8.00


TAPES

BORE - seelenlose kommerzkacke TAPE (kink - BORE kommen aus Mannheim und sind einigen von euch vielleicht noch als BLACK TEETH bekannt. Mittlerweile nur noch als Duo, gibts hier 6 weitere Songs, irgendwo zwischen flottem, meldodischem Punk-Rock und Garage-Punk mal auf Deutsch, mal auf Englisch. Und weil die 6 Songs so gut sind, könnt ihr einfach das Tape umdrehen und die 6 Songs auf der B-Seite nochmal anhören. Das Ganze gibts auf roten Tapes im farbigen Pappschieber inkl. Textblatt.) 6.00


CARLA DAL FORNO - Top of the Pops TAPE ("Full release, this time with download code, for what was originally a v ltd tour-exclusive from our very own Carla-of-the-oven, pieced together for her 2018 US tour (aka her “HOLIDAY”). Consisting entirely of covers (The Kiwi Animal, Liliput ++), it’s a self-evidently playful entry in the dal Forno discography but hardly ephemeral either, showcasing, as it is does, her panache as an arranger, her versatility as a vocalist, and of course her impeccable TASTE. As interpretations, they range from the disarmingly faithful to the quietly radical; but all are purifications, rather than elaborations, of their source material. With the deftest of touches, and minimum fuss, she makes them her own. Classic CDF songs-in-space - whether essaying crisp, bass-driven pop propulsion (‘Lay You Down’), more painterly/pastoral folk-hypnosis (‘Blue Morning’), or the kind of ultra-sparse, turn-the-heater-on post-punk blooz (Manchester, so much to answer for>>>) that characterised her first LP. No showboating, then, but small, meaningful acts of devotion, dare we say not just celebrations of the songs themselves but of SONG ITSELF: exulting and invigorating the originals and compelling you to seek them out.“) 12.00

[ADAGIO830]

Hi. Welcome to another newsletter for June. The BAM shirt is back in stock - also in two new color combinations, also new Tote bags. Check them out. Besides that we got a bunch of restocks like DAILY FAULI - Fauli Til Dauli LP, Schnitzler, Cluster, Roly Porter, Pharao Sanders etc … also the new FREDERIC D. OBERLAND & IRENA Z. TOMAZIN - arba dak, arba LP arrived, OKKYUNG LEE - Yeo-Neun LP restock, AUS II LP restock, new PHOEBE BRIDGERS - Punisher LP, ANGEL BAT DAWID - The Oracle LP restock, JIM WHITE & MARISA ANDERSON - the quickening LP, GOLDEN RETRIEVER & CHUCK JOHNSON - rain shadow LP and more —-

We also got two more color combinations of the Bis Aufs Messer T-shirt (also the old ones are in stock) and some new Tote Bags.

Also lots of things are on its way like the new CORIKY LP, new stuff from FUNERAL PARTY, PAGE99 - doc7 LP, RAGANA restocks, MOUNT EERIE restocks etc etc tec.

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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http://soundcloud.com/adagio830



7“

DAVID LYNCH & JACK CRUZ - The Flame of Love 7“ (sacred bones - January 20, 2020 saw the surprise release of David Lynch's short What Did Jack Do? on Netflix. If you watched the grainy, police procedural over the last few days, you most likely found yourself saying aloud `who is Jack Cruz and how can I get more of his music?' Sacred Bones is announcing the release of the short's featured original song "True Love's Flame" by the primate star crooner of yesteryear; Jack Cruz. Not much is known about Cruz's career prior to his involvement with Lynch, but fortunately, we have not just one song, but two: 'Dancin' in the World of Love' is the B-side to the short's single_uncovered recently and an excellent example of Cruz's emotional prowess and magical, gold-dipped vocal cords. Both songs were written by Lynch and Dean Hurley with artwork carefully crafted by Lynch himself.) 10.00

HAMMERED HULLS - s/t 7“ (dischord - back in stock - HAMMERED HULLS are a brand new band from Washington D.C. made up of some very old connections. MARY TIMONY (bass) and ALEC MACKAYE (vocals) grew up in the same Washington neighborhood and have spent the better part of their lives in each other’s somewhat distant orbit. Always aware of each other, but never able to play together. MARK CISNEROS (guitar) has been in D.C. for more than a decade. He cut his teeth in Los Angeles listening to both Mary and Alec’s bands, but also a healthy dose of free jazz and garage. He is the man who plays everything with everyone, but this is his band. Hammered Hulls are rounded out by CHRIS WILSON (drums), a monstrous drummer with no shortage of love for all three of his bandmates. Every person in this band is a fan of every other person in this band. Mutual respect drives this train. But to say they are an odd collection of influences is to understate the point. If you tried you couldn’t imagine what this band might sound like. This single was recorded and mixed in a single day at Inner Ear studios, appropriate home to everyone in the DC scene.) 7.00


LP

ANGEL BAT DAWID - The Oracle LP (interational anthem - Composer, clarinetist, singer & spiritual jazz soothsayer Angel Bat Dawid descended on Chicago's jazz & improvised music scene just a few years ago. In very short time, the potency, prowess, spirit & charisma of her cosmic musical proselytizing has taken her from relatively unknown improviser to borderline ubiquitous performer in Chicago's avant-garde. On any given night you can find Angel adding aura to ensembles led by Ben LaMar Gay, or Damon Locks, or Jaimie Branch, or Matthew Lux, or even, on a Summer night in 2018, onstage doing a woodwind duo with Roscoe Mitchell. For her recorded debut on International Anthem, The Oracle, we've chosen to release a batch of tracks that Angel created entirely alone – performing, overdubbing & mixing all instruments & voices by her self – recorded using only her cell phone in various locations, from London UK to Cape Town RSA, but primarily from her residency in the attic of the historic Radcliffe Hunter mansion in Bronzeville, Southside, Chicago.) 26.00

DIE ATLANTIKSCHWIMMER - Demo 83 LP (static age - Kulmbach in Bavaria, Germany is most famous for the impressive castle Plassenburg, which houses the largest tin soldier museum in the world and for its Bratwürste. Their punk scene in the early 80s is only known to a few insiders. The tape label Kassetto Fix and the tape magazine Band-It featured mainly Punk / NDW bands from that area during that time. In 1983, Die Atlantikschwimmer released their demo tape on Kassetto Fix (run by their singer Horst Toe). Named after an Avantgarde movie by Herbert Achternbusch, the trio played a melancholic but very danceable version of New Wave and Postpunk. It‘s a homogeneous liaison of unbelievable great melodies, driving rhythms and razor sharp guitars and most suitable for fans of The Sound, Wire or The Chameleons. Songs like Ich Zeige Dir are a precursor of their underrated debut album on ZickZack, but this is a completely different story. An early review of the demo tape by Die Atlantikschwimmer ended with this line “If you buy tapes and not this one, it's your own fault!”. Buy this LP. ( Norman Dietze, Bis Aufs Messer Record Store )) 16.00

CHRSTOPH BABALON & MARK - split LP (Christoph de Babalon and Mark join forces for A Colourful Storm and contend for the collaboration of the year. Seductively rugged and ruffneck breaks by two of Berlin’s most unique, complete with an out-of-nowhere moment of isolationist woodwind introspection. Darkside elegance from the underworld of Berlin. Skittering breakbeat-wreckers with a glimpse of redemption; beautifully poised yet viciously urgent. Impulsive delinquency meets sullen romanticism, sealing fate and fury for those condemned.) 17.00

DAILY FAULI - Fauli Til Dauli LP (minimal wave - back in stock - Daily Fauli was the rare minimal synth project of Danish artist Søren Fauli. In 1983, he released one album entitled Fauli Til Daulion a small label called Gry Records. Søren was nineteen when he recorded this masterpiece and had no prior musical training. He had been playing in punk bands as a teenager and decided to break off to make a solo record. With access to stolen equipment, mainly synthesizers, he wrote these songs very spontaneously and recorded them in a period of one week. He designed the artwork using portraits his friend shot of him in his bedroom with his Casio VL-1 tone in hand, and mocked up the cover and inner sleeve himself in total D.I.Y. fashion. In 1983, the record was released in an edition of 500 transparent green vinyl LPs with a black and white inner sleeve with his song lyrics. It is a true work of art and has become a cult classic over the years. MW re-release the album, remastered and pressed as a limited edition of 999 copies. The record is pressed on 180-gram transparent green vinyl presented in a heavyweight sleeve featuring the original album artwork accompanied by an inner sleeve with an unpublished photo of Søren and inner sleeve artwork.) 28.00

FREDERIC D. OBERLAND & IRENA Z. TOMAZIN - arba dak, arba LP (hallow ground - Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« was conceived as the soundtrack for the eponymous installation piece by the French artist Fanny Béguély. First presented as part of the group exhibition »Panorama 21 - ›Les Revenants‹« at Tourcoing’s Le Fresnoy Studio National des Arts Contemporains in December 2019, Béguély’s chemically painted photographs focused on humankind’s propensity for self-examination and its attempts to probe the mysteries of the past, present and future. Oberland’s heavily processed electric hurdy-gurdy, the »boîte à bourdons,« provides the foundation upon which the Borghesia member Tomažin unfolds her gripping vocal magic(k). Their dense mesh of soundscapes and singing mediate between the mystic and the modern, the natural and the all-too-unreal to further examine our persistent desire to decipher the signs we find in nature. As the first collaboration between these prolific experimental artists, »ARBA, DÂK ARBA« is as evocative and thought-provoking as the art that has inspired it. It’s easy to see why a curious instrument like Oberland’s electric hurdy-gurdy would be well suited for the duo’s ends, and within its first few minutes the opening track »Grotta« makes it clear that the Oiseaux-Tempête co-founder is more than capable of weaving dark psychedelic sound tapestries with only limited means. The ritualistic energy that Béguély’s »ARBA, DÂK ARBA« draws on is channeled through abstract drones that mirror the aesthetics of the eight suspended paper rolls the artist’s audience were faced with. When the music becomes denser and Tomažin finally enters the picture with her signature glossolalic vocal performance, it seems as if the drones emanating from her musical partner’s curious instrument bleed right into her voice. Even as the sound of the boîte à bourdons becomes more visceral and Tomažin’s voice more discernible, »Grotta« remains as intangible as the mythological oracles that had informed the work of Béguély. Shorter pieces like »Amena« or the closing track »Hereafter,« though condensed, offer just as much to decipher - a whole musical world to get lost in, full of riddles and uncertainties. »Fumes« and »Hieromancy« in the second half of the LP are the best examples of how much creative friction lies at the heart of the French experimentalist and the Slovenian singer’s collaboration. While in the former song, Tomažin first takes the lead singing uncanny, circular motives before stepping aside so Oberland can let the processed sounds of his hurdy-gurdy evolve into chilling crescendi, the latter sees both of them take turns in channeling the pervasive mysticism around them. Blurring the lines between the physical and psychic as well as the real and the hallucionary with their music, Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« is one of the most radical albums in recent years. An unsettling dialogue between two kindred, yet freely wandering spirits.) 26.00

GOLDEN RETRIEVER & CHUCK JOHNSON - rain shadow LP (thrill jockey - Golden Retriever and Chuck Johnson are artists unified by their ability to build entire ecosystems of sound. As Golden Retriever, bass clarinetist Jonathan Sielaff and synthesist Matt Carlson erase the boundaries between their respective instruments using carefully selected effects and masterful intuitions as improvisors. Chuck Johnson is a guitarist lauded for his expertise in crafting a diversity of atmospheres, be it through fingerstyle acoustic or droning pedal steel. The combined powers of the trio is intoxicating. On their debut album, Rain Shadow, Golden Retriever and Chuck Johnson combine slowly shifting instrumental layers with clouds of melody and texture, punctuated by vivid emotional peaks. By compounding minimalist approaches into maximalist compositions, the trio evoke images of a vast open desert and a cloudless sky, the zen of a simple, clear horizon coupled with the power of the infinite. Rain Shadow’s title is taken from the natural phenomenon which leaves plains and shallow land just beyond mountain ranges desolate and dry. Each piece moves with the ease and progression of a cloud formation. Looming towers of density slowly drift from one direction to another without a predictable destination. Inside the wash of ever-building layers of harmony, subtle hints of movement propel them forward. The album’s A side evokes the beauty and solace of open spaces with lush beds of pedal steel chords and deliberate melodies traded between synthesizer and bass clarinet. “Lupine” twirls baroque motifs into elastic rounds. Sielaff’s increasingly distorted winds on “Sage Thrasher” gradually guide the ensemble towards the overcast deluge of the album’s second half. With each passage the trio utilize steady, imperceptible motion akin to a desert’s wind eroding stones into new configurations. The four longform pieces that comprise Rain Shadow were devised entirely remotely. In contrast to the album’s harmonious sound, each member of the trio tracked their performance separately from one another - Johnson from his home studio in Oakland, CA, and Sielaff and Carlson each in their Portland, OR homes. Previous Golden Retriever albums used their live performances as a reference point for arranging ideas. Rain Shadow’s collaboration instead grew from members introducing a simple idea, as if posing a musical question which the others would respond to with recordings of their musical reactions. Johnson’s extended tape loops which gently degrade with each repetition into resonant tones served as the basis for the album’s two longer pieces. The modal woodwinds of “Lupine” took shape through Sielaff’s barest playing on the album. “Creosote Ring” sprung from Carlson’s Linnstrument controlled synthesizer mimicking vocal glissandi like an estranged cousin to Johnson’s pedal steel. After compiling the musical dialogue for each piece, Golden Retriever and Chuck Johnson selected two songs each to arrange and mix. Through the trio’s meticulously detailed methods, openness as players and shared vision, this seemingly disjointed process instead gave rise to invigorating new avenues of creativity.) 21.00

JIM WHITE & MARISA ANDERSON - the quickening LP (thrill jockey - Jim White and Marisa Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others. Anderson’s prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade. White and Anderson’s considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo's friendship and shared explorative nature inform these warm and daring improvisations. The Quickening’s remarkable performances take the listener on a journey of exuberant discovery. White and Anderson are instrumentalists whose voices are unmistakable and spellbindingly lyrical. Anderson unravels guitar traditions from across the globe into atmospheres all their own through improvisations and melodic lines that transform with each iteration. White implements an array of sticks, brushes, and techniques that imbue each rhythmic passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought. Ecstatic pieces like “Gathering” and “The Other Christmas Song” harken back to Anderson’s playing with the improv-heavy Evolutionary Jass Band and carry with them a sense of perpetual motion. That feeling of urgency and maximalism is in turn contrasted by the open spaces and quiet subtleties of “Unwritten” and “Diver”. The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris White. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70’s that had been largely closed before some young engineers took it over. The “slight disorientation” of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of “The Lucky” and “The Quickening”. The duo did not rehearse or perform together prior to the recording sessions; as White puts it, “it’s good to suspend disbelief at this stage of playing.”) 21.00

OKKYUNG LEE - Yeo-Neun LP (back in stock - Springing from a decades deep body of work, defined by a rigorously singular and adventurous approach to sound, cellist, composer, and improvisor, Okkyung Lee, returns with Yeo-Neun, her first outing with Shelter Press, and arguably her most groundbreaking and unexpected album to date. A vital, present force in the contemporary global landscape of experimental music, Okkyung Lee is widely regarded for her solo and collaborative improvisations and compositions, weaving a continuously evolving network of sonority and event, notable for its profound depth of instrumental sensitivity, exacting intellect, and visceral emotiveness. Yeo-Neun, recorded by Yeo-Neun Quartet - an experimental chamber music ensemble founded in 2016 and led by Lee on cello, featuring harpist Maeve Gilchrist, pianist Jacob Sacks, and bassist Eivind Opsvik - represents the culmination of one of longest and most intimate arcs in her remarkable career. A radical departure from much of the experimental language for which she has become widely known, it is equally a fearless return. Yeo-Neun loosely translates to the gesture of an opening in Korean, presenting window into the poetic multiplicity that rests at the album’s core. Balanced at the outer reaches of Lee’s radically forward thinking creative process, its 10 discrete works are born of the ambient displacement of musician’s life; intimate melodic constructions and deconstructions that traces their roots across the last 30 years, from her early days spent away from home studying the cello in Seoul and Boston, to her subsequent move to New York and the nomadism of a near endless routine of tours. At its foundation, lay glimpses of a once melancholic teen, traces of the sentimentality and sensitivity (감성 / Gahmsung) that underpins the Korean popular music of Lee’s youth, and an artist for whom the notions of time, place, and home have become increasingly complex. Elegantly binding modern classical composition and freely improvised music with the emotive drama of Korean traditional music and popular ballads, the expanse of Yeo-Neun pushes toward the palpably unknown, as radical for what it is and does, as it for its approachability. In Lee’s hands, carried by a body of composition that rests beyond the prescriptive boundaries of culture, genre, geography, and time, a vision of the experimental avant-garde emerges as a music of experience, humanity, and life. Meandering melodies, from the deceptively simple to the tonally and structurally complex, slowly evolve and fall from view, the harp, piano, and bass forming an airy, liminal non-place, through which Lee’s cello and unplaceable memories freely drift. Remarkably honest, unflinchingly beautiful, and creatively challenging, Shelter Press is proud to present Yeo-Neun, an album that takes one the most important voices in contemporary experimental music, Okkyung Lee, far afield into an unknown future, bound to her past. Mastered and cut by Rashad Becker, housed in reversed-board printed inner and outer sleeve with artwork by American photographer Ron Jude. ) 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

ROLY PORTER - Kistvaen DLP (subtext - back in sock - Roly Porter returns to Subtext with 'Kistvaen'. The LP takes its name from a type of granite tomb found pre-dominantly in Dartmoor, an area in southwestern England. Scattered across the moorlands, the kistvaens were often found covered in a mound of earth and stone. They housed dead bodies, allowing them to lie facing the sun. With 'Kistvaen', Porter speculates on the burial site as a mirror, or a gate in time. Excavating stories and images of ancient burial rituals, the record teases out similarities in emotional and social rituals between the Neolithic period and today. While a myriad of social, cultural and technological factors drastically differentiate our contemporary period and the end of the Stone Age, certain affinities may still be found in experiences of death across eras.) 25.00

TOM JAMES SCOTT - mine is the heron LP (bakc in stock - Edition of 300 copies - “Mine is the Heron” is the new Tom James Scott record, the first document of his solo work since 2017. Over the past decade, the UK-based composer has released a diverse body of recordings via labels such as Bo’Weavil, Carnivals, Where To Now?, and his own impeccably curated Skire imprint.) 20,00

THE UNION ARES - Songs from the North LP (sncl - Who was expecting this in 2020? The Union Ares previously existed as a band post the demise of Kolya, around 15 years ago. They now exist in two different forms (one in Scotland, with members of Carson Wells, and one in the Netherlands). This album is from the Scotland version of the band, and oh boy are you in for a treat. Melodic indie / emo that isn't a million miles from Kolya but still takes things in a brand new direction. You don't get many bands like this in 2020 so make the most of the ones you got.) 13.00


TAPES

GESTURE - II TAPE (static age - The final petite mort of Allee Der Kosmonauten’s freakiest child. Expanding upon an exemplary demo, GESTURE take their unique brand of anarcho-infused death rock further into the void and deeper into the dirt. No resting on chorus pedal laurels here though, friend - even the slower stuff comes hard and mean and there’s no getting off this ride early. GESTURE beat 6 tracks out like VEX played by UNITED MUTATION, capped off with a truly withering vocal delivered with discomforting restraint. A singular last gasp from one of Berlin’s finest. ( Sean Haughton )) 6.00


MERCH

BIS AUFS MESSER - Saab T-shirt (back in stock in various colors and sizes - First ever Bis Aufs Messer Shirt as a collab with Druckwelle. One colored Front print and one colored back print on GIILDAN HEAVY WEIGHT T-shirts) 16.00

[ADAGIO830]

hi. Welcome to another newsletter for June - a day earlier then usual. A bunch of kiler stuff arrived like the ltd new ANGEL BAT DAWID - Transition East 7“ along with restock of her LP on International Anthem, the long awaited CORIKY LP along with lots of DISCHORD restocks, RAGANA and THOU / RAGANA LP restocks, MOUNT EERIE / MICROPHONES restocks, new stuff from FUNERAL PARTY records (NIGHT SINS, FEARING, TRUE BODY etc), SWEAT 7“ (new band with peeps of Graf Orlock, Dangers etc), the killer BONJINTAN (SAKATA / O'ROURKE / DI DOMENICO/ YAMAMOTO) - dental Kafka DLP & the BROM LP on TROST, DIRE WOLVES - I Just Wasn't Made For These Set Times LP restock, ROBERT STILLMAN LP restocks and other ORINDAL restocks, MANTAR - Grungetown Hooligans II LP, JOANNE ROBERTSON - the lighter LP, FLETCHER TUCKER restock,
BEN SHEMIE - A Single Point Of Light LP, CARLA DAL FORNO - Top of the Pops TAPE, PAGE 99 doc#7 LP restock, MAJORITY RULE / PG99 LP restock and lots more

Also a bunch of stuff on its way like METH DRINKER restock, SANGRE DE MUERDAGO & MONARCH split LP and lots 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“

ANGEL BAT DAWID - Transition East 7“ (international anthem .- "Transition East" features two new pieces of music created by Angel Bat Dawid in response to Emma Warren's 2019 book "Make Some Space" – i.e. the book that chronicles the history of London DIY music institution Total Refreshment Centre. Angel Bat Dawid, who first met Emma Warren at Total Refreshment Centre in 2017, composed & recorded "Transition East" alone in her space on the Southside of Chicago, originally to be accompaniment for the audiobook version of "Make Some Space." Angel conceptualized & named the song in commemoration of the storied Chicago community center that was a hub for the AACM and icons from the Black Arts Movement in the 1960s, and was recently revived by one of her mentors, Eliel Sherman Storey. "No Space Fo Us" was composed & recorded at a space in Salvador, Bahia, Brazil, where Angel travelled with a crew of Chicago artists (including IARC label mates Ben LaMar Gay & Damon Locks) on a collaborative mission organzied by Comfort Station, called Close to There (Perto de Lá). The track features Angel with Ben LaMar Gay and new Brazilian friends Edbrass Brasil, Romulo Alexis, Tadeu Mascarenhas, Nancy Viégas & Germano Estacio. International Anthem is proud to present these two beautiful pieces of music on deluxe 45rpm 7" vinyl inside a picture sleeve designed by Jeremiah Chiu. Available as a standalone item or as part of the MAKE SOME SPACE FOR US bundle – alongside Emma Warren's "Make Some Space" paperback and a new "foreward" in the form of a screed written by Piotr Orlov (connecting the book & the music into the current context of our spaceless/timeless struggle) printed on a 17" x 22" broadsheet (also designed by Jeremiah Chiu). ) 12.00

LE THEATRE DU CHENE NOIR - Miss Madona 7“ (souffle - Two years after having recorded Aurora, which Gérard Terronès released on his Futura Records label in 1971, the Théâtre du Chêne Noir put on another show, Miss Madona, first at Avignon, and then at Ariane Mnouchkine’s Théâtre du Soleil. From this play, Gérard Gelas’ group took three sound extracts which they made, with no further ado, into a single. Miss Madona is thus the second recording by Théâtre du Chêne Noir. The two sides (and three tracks) offer up an unbelievable instrumental theatre with something of a white magic ritual about it. The actors, so much better for the record, were also musicians; alongside Miss Madona, ex-star of the circus and now idol, were the piano and electric organ of Daniel Dublet, the saxophones of Pierre Surtel and Jean-Louis Canaud, and the trumpet of Gilbert Say. But there are also the vocals of Beatrice Le Thierry, Bénédicte Maulet, Jean Paul Chazalon, Monik Lamy, Nicole Aubiat... which added to the mystery of what happened on stage. The sound of this particular theatre may remind us as much of John Coltrane as of Ravi Shankar, Pierre Henry or the Art Ensemble of Chicago. There are voices from beyond the grave, inspirational for future musicians: Steven Stapleton, for example who included Théâtre du Chêne Noir in his Nurse With Wound List.) 14.00

SIMON JOYNER - You Got Under My Skin 7“/CD (piaptik - Hybrid, CD-Record, Single The CD-Record series will be an ongoing series of CD singles with one song on the burned part of the CD and the same song with lathe cut grooves on the backside of the CD so it plays on your turntable and in your CD player. Each CD-Record will come with a center spindle adapter. Each disc comes in a professionally printed mini-LP sleeve.All CD-Records will be limited to only 300 copies each. 150 sold via PIAPTK, 75 given to artists, and 75 sold through distribution to select stores.) 13.00

SWEAT - s/t 7“ (vitriol - Sweat are the latest band from Graf Orlock/Ghostlimb/Dangers axe wielder Justin Smith, this time taking many cues from the school of riffing that is headed by John Reis, maintaining many of the hardcore and punk roots the members grew up with. The band is rounded out by Letlive and Dangers drummer Anthony, and vocal duties from Tuna, possibly best known for her work on the wrestling mat and TMZ. Limited edition of 497 copies.) 7.00



LP

ANGEL BAT DAWID - The Oracle LP (international - Composer, clarinetist, singer & spiritual jazz soothsayer Angel Bat Dawid descended on Chicago's jazz & improvised music scene just a few years ago. In very short time, the potency, prowess, spirit & charisma of her cosmic musical proselytizing has taken her from relatively unknown improviser to borderline ubiquitous performer in Chicago's avant-garde. On any given night you can find Angel adding aura to ensembles led by Ben LaMar Gay, or Damon Locks, or Jaimie Branch, or Matthew Lux, or even, on a Summer night in 2018, onstage doing a woodwind duo with Roscoe Mitchell. For her recorded debut on International Anthem, The Oracle, we've chosen to release a batch of tracks that Angel created entirely alone – performing, overdubbing & mixing all instruments & voices by her self – recorded using only her cell phone in various locations, from London UK to Cape Town RSA, but primarily from her residency in the attic of the historic Radcliffe Hunter mansion in Bronzeville, Southside, Chicago.) 26.00

ARIEL KALMA & JONATHAN FITOUSSI - The Encyclopedia of Civilizations Vol. 3: India LP (Third volume of "The Encyclopedia of Civilizations", a collection of split LP's where selected artists offer their own insight into fascinating ancient cultures. This time it is a cosmic and spiritual ambient journey inspired by one of the greatest ancient civilizations: India. The LP is presented in a special limited edition (500 copies) with an extensive booklet including liner notes about the origins of India to help you to immerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way, letterpressed with metal movable type as Gutenberg used to do it. “Veda” was composed & performed live on October 13, 2018 by Jonathan Fitoussi at Gesu Church, Toulouse, France using the 1864 church pipe organ and an EMS SYNTHI synthesizer. The track was inspired by readings about the ancient sacred Hindu texts known as the Vedas. A sustained, warm and deep float supported by the centennial pipe organ and the the church’s natural reverb. “Yin Yang” was conceived by Ariel Kalma in 1975 while taking music lessons in India. It brings into a lovely meditative state with those long, long ‘pranayama’ breathing notes. “Flute Meditation” is actually two Kalma pieces blended together. The first part was recorded in 2017 and played on a floating xaphoon mini sax. The second part is from 1979, recorded with an Indian bamboo flute, saz, electric piano. It was originally much longer, adapted here for one side of the LP. Wind melodies, polyphonic color, ambient space, setting modal flute melodies and nature field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization. Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms exploring a fusion of electronic and acoustic sounds with melodic textures, colors and emotions in a cinematographic aesthetic style. As a composer of electronic music, Jonathan Fitoussi is engaged in practices of analog and modular synthesis, projects supported by the pioneers of electronic music like Suzanne Ciani and Morton Subotnick. Ariel Kalma, was born in Paris and learned to play recorder and saxophone as a youth. He studied computer science in college, and while at university he met Salvatore Adamo, who soon hired Kalma into his touring band on a world tour as a saxophonist and flautist. Around this time, he made experimental tape pieces using his own recorded instruments, found sounds, church organs, and poetry. In 1974 he took a one way plane to in India, learning rudimentary classical Indian music and developing an interest in meditative and drone music. He was also influenced by American minimalist music. In 1975, he recorded and self-released an album, Le Temps des Moissons while working at the GRM studio of INA Pierre Henry in Paris. His 1978 album Osmose features Borneo rainforest nature sounds recorded by Richard Tinti. Over 4 decades, Ariel Kalma published several vinyl LP's, cassettes, and CD's. His compositions have been used for modern dance-theatre, films, musical poetry, guided meditations and transformational groups.) 26.00

ARNOLD DREYBLATT - Star Trap LP (black truffle - Stunning archival live recordings from the 90s of Arnold Dreyblatt & The Orchestra Of Excited Strings which have remained unreleased until now. Star Trap presents a selection of hitherto unreleased 1990s recordings from Arnold Dreyblatt and his Orchestra of Excited Strings. Following on from Black Truffle’s wide-ranging archival Second Selection (2015), which presented a smorgasbord of unreleased material from between 1978 and 1989, Star Trap mines Dreyblatt’s extensive archive of unheard recordings from the 1990s, uncovering six pieces performed by three different iterations of the Orchestra of Excited Strings. While Dreyblatt often performs in his ensembles on his signature Excited Strings Bass (a double bass strung with piano wire), here we find him in the composer’s chair and behind the mixing desk, leading ensembles of modified percussion, string, and wind instruments. Four of the pieces make use of Dreyblatt’s Dynamic Processing System (heard on a stunning pair of solo pieces for electric guitar featured on Second Selection), in which the opening and closing of digital noise gates are controlled by an external signal (in this case, a recording of faulty escalator). Rather than the relentless thudding rhythms of 1980s works like Nodal Excitations, the ensemble pieces here are closer to the propulsive, at times even funky rhythmic foundation of Dreyblatt’s classic Animal Magnetism (Tzadik, 1995), but further enlivened by the unpredictable accents of the Dynamic Processing System. On ‘Escalator’, a six-piece version of the Orchestra performs the notated stuttering rhythms and shifting accents of the gated escalator recordings, without the actual Dynamic Processing System being audible. On the remaining two pieces, composed for the tenth anniversary of the Orchestra of Excited Strings in Europe, Dreyblatt made use of algorithmic software to generate material. But far from austere exercises, these pieces are perhaps the most immediate of all, as the Orchestra exuberantly tears through a sequence of repeating rhythmic and melodic cells, dazzling the ear with the overtones generated by Dreyblatt’s twenty-note microtonal scale. At times recalling aspects of the work of Peter Zummo or Arthur Russell’s Instrumentals, but with a massive dose of sonic heft, this is music for both the mind and the body.) 24.00

BEN SHEMIE - A Single Point Of Light LP (hands in the dark - ‘A Single Point of Light’ is Ben Shemie’s second solo LP and the follow up to ‘A Skeleton’, which was released with Hands in the Dark in early 2019. While the frontman of Canadian band Suuns gave us a cold, experimental sort of pop with his first album, centered around the idea of a genderless, raceless character, this record focuses on the perception of light, both figuratively and literally. The way it is created, moves and breaks apart, how we can all see the same thing but perceive it differently. Overall, the new theme encourages a broader musical universe, both in the songwriting and the production. Whilst the songs are longer and warmer, the psychedelic, dreamy tunes on this album are undoubtedly still cloaked by a certain dark atmosphere. A Single Point of Light is still very much a performance oriented recording, using the same techniques as the previous opus. It was all recorded in one day, all live off the floor, with no overdubs. Shemie comes up once again with an original and personal approach to music, creating simple, uninhibited, catchy songs with only a few electronic elements and his voice. We couldn’t be happier to work with a such fresh and avant-garde vision.) 24.00

BONJINTAN (SAKATA / O'ROURKE / DI DOMENICO/ YAMAMOTO) - dental Kafka DLP (trost - Jim O'Rourke (of Gastr del Sol and Sonic Youth fame) plays a lot with Japanese Free jazz legend Akira Sakata in various formations. Together with Italian composer and pianist di Domenico and the drummer Yamamoto they form this powerful band. Their second release combines contemporary Avantgarde and Free Jazz in a beautiful way. Akira Sakata - sax, clarinet, voice Jim O'Rourke - double bass Giovanni Di Domenico - piano, hohner pianet Tatsuhisa Yamamoto - drums Recorded at Hoshi to Niji studio 30th June 2018 Recorded by Jim O'Rourke Tracklisting A-1. Ape Huci Kamuy (12:15) B-2. Dental Kafka (16:53) C-3. Koro Koro Donguri 2 (15:58) D-4. Bonjin (10:45)) 27.00

BROM - Dance with an Idiot LP (trost - Anton Ponomarev - alto sax Dmitry Lapshin - bass guitar Felix Mikensky - guitar, electronics Yaroslav Kurilo - drums A fresh new studio album by the powerful Russian Free jazz band, now with a fourth player (guitar and electronics) Press about their last album (Sunstroke, Trost): Jazzandbluesblogspot: It is a reverent and thoughtful performance, with powerhouse electric bass at its core, leading to a fast and furious conclusion. Jazzwise: Moscow based power jazz trio BROM are a group that push against musical boundaries and allow such diverse genres as rock, noise, free jazz and improvisation to leak into their ever evolving sound. Jazzword: The antithesis of polite Chamber Jazz, this fiery Sunstroke should provide pleasure for those who prefer their Jazz (Rock) blistering without succor, no matter the temperature. Tracklisting A1 Demons A2 A Simple Story A3 Dance With An Idiot A4 Goodbye, White Rhino! B1 Iron Hair B2 The Saltiest Peanuts B3 Panacea B4 This Is A Good Club Though Bad Music Is Played Here) 21.00

BUZZ KULL - new kind of cross LP (funeral party - New Kind of Cross is the sophomore LP, and follow-up to 2017’s stunning Chroma, from Sydney based synth-maestro, Buzz Kull. Traversing darkwave, EBM, and industrial with ease; New Kind of Cross is a master work of dark electronic music. US pressing is limited to 250 copies on white vinyl.)

CLAIRE CRONIN - Big Dread Moon LP (orindal - Big Dread Moon by Claire Cronin is a record of spiritual urgency. Cronin's lyrics and melodies draw on the the stranger aspects of early American musical tradition, revealing the genre’s ties to “folk horror,” wherein supernatural and mundane worlds merge. Quietly sinister ballads like "Tourniquet" and "Wolfman" arise from the weird logic of dream, myth, and half-forgotten memories. Suburban homes, TV screens, and city landscapes are haunted by saints, beasts, ghosts, seers, and a “calm and decisionless” god. Lyrics which implore or command act like prayers or spells embedded inside Cronin's fever dream stories and personal confessions.These are devastatingly spare, delicate, emotionally intense songs, arranged around electric guitar, viola, and Cronin’s singular voice.) 22.00

THE COLUMN - sparrows tongue LP (ltd to 150) (funeral party - The Column, brainchild of prolific musician & illustrator Reuben Sawyer, returns with the Sparrows Tongue EP, his first vinyl release since the 2018 LP, Oracle.  Sparrow’s Tongue finds Sawyer pondering the meaning of modern life and consumerism over pounding drums, lofi bass, and reverb washed guitars. Bedroom pop has never been so morose, yet so catchy. Sparrow’s Tongue is out March 30th, 2020.  ) 26.00

CORIKY - s/t LP (dischord - What is the spiritual opposite of a supergroup? Although the trio Coriky is composed of three formidable D.C. punk legends — Ian MacKaye, Amy Farina and Joe Lally — its guiding ethos has, from inception, been one of extreme modesty. Consider that Coriky’s first show, at St. Stephen’s Church in November 2018, was announced only a few days before it happened, as a footnote to an email sent out to the listserv of the local activist group. To even call it a “show,” actually, was too grand: Coriky billed the gig as an “open practice.” No promotional photos of Coriky exist, just a minimalist collage of three faceless, whole-moon-like construction paper cut-outs (the one representing Farina has a shaggy haircut; the MacKaye one, a construction-paper beanie). Their official bio contains not so much as a breath of filler: “Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour. (washington post)) 18.00

DEERHOOF - future teenage cave artists LP (joyful noise - Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of “The Perfect Me” from 2007’s Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on Future Teenage Cave Artists our protagonist is threatened by terror lurking around every corner. Add to that the fact that our “cast-off queen,” our “maniac,” our “terrible daughter” are watching themselves get orphaned in real time by an older generation in power that would rather see life on Earth destroyed than give up archaic systems of capital. Like a lot of the inimitable music they have released over the last quarter-century, the Deerhoof of Future Teenage Cave Artists (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of R&B and classic rock and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy—the blues riffs and slide guitars are joined by soft, rickety pianos and whispered three-part harmonies.) 26.00

DRAB MAJESTY - The Demonstration LP (dias - back in stock - BACK IN STOCK!!!  DRAB MAJESTY began as a warbled transmission received via 4-track cassette in a dim, Los Angeles bedroom in 2012. The entity known as DEB DEMURE, an interdimensional muse of sorts, lent an otherworldly vision to a human contact; one to be realized through meticulously composed lo-fi recordings. Focusing on the aesthetics of cult ritual and the devastating power of music, Deb sought an alternative way to share the cosmic agenda. Culminating in a cassette titled Unarian Dances, Drab Majesty’s manifesto to humanity was revealed: revel in the power of artistic influences that reside beyond the self. In 2015, Drab Majesty released Careless, the first LP which was received and recorded solely by Demure on living room floors and in cluttered spaces across the city. After three pressings and an imminent fourth, Careless remains a fixture in LA’s somber yet sublime nightlife and a noted contribution to the murkier subcultures abroad. Wielding a left-handed guitar, Deb employs a unique style of arpeggiated finger picking, producing vast and organic musical textures reminiscent of Vinny Reilly (Durutti Column) with the anthemic power of Sisters of Mercy and Cocteau Twins. In the past two years Deb has been invited to support bands such as Cold Cave, Psychic TV, Clan of Xymox, The Frozen Autumn, Prayers, and label mates Youth Code and King Dude. From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo, employing the keyboard accompaniment of far-out twin, MONA D—filling out frequencies and upping the spectacle of the live performance. CD and LP download include two bonus tracks, along with remixes by COLD CAVE, DREW MCDOWALL, SILENT SERVANT, and MARTIAL CANTEREL.) 24.00

DIRE WOLVES - I Just Wasn't Made For These Set Times LP (Centripetal Force is proud to announce the vinyl release of I Just Wasn't Made For These Set Times, the new album from Dire Wolves (Just Exactly Perfect Sisters Band). Recorded during the same prodigious session that produced 2018’s Paradisiacal Mind (Cardinal Fuzz / Feeding Tube) and 2019’s Grow Toward the Light (Beyond Beyond is Beyond), this most recent dive into the Dire Wolves archive continues to demonstrate the band’s propensity for improvisation, as well as the ability to transport the listener's consciousness with their meditative vibes. Previously only available on Dire Wolves’ recent Eurpoean tour as part of a 50 cassette run on the Ruralfaune label, this vinyl edition of I Just Wasn't Made For These Set Times is scheduled for release in February of 2020. It is limited to 300 copies, 100 of which will be pressed on sky blue vinyl and made available for pre-order exclusively from the Centripetal Force Bandcamp page in mid-November.) 25.00

FEARING - shadow LP (funeral party - Fearing is a dark post-punk band based out of Oakland, California who formed in 2016, when an online friendship quickly blossomed between James Rogers (bass/vocals) & Brian Vega (guitar/vocals). What started as collaborations between the two and their bedroom synth projects; Fearing was formed out of the desire to combine both of their talents and to create something new & fresh in the Bay Area. The addition of Mike Fenton (drums) & Joey Camello (guitar) helped to further expand the sound and depth of the band. After two sold out EPs & a handful of tours under their belt; their debut LP, Shadow, is scheduled for release on April 10th, 2020 dark music label, Funeral Party. Shadow finds Fearing further exploring their unique sonic territory, seamlessly blending elements of French coldwave, European post-punk, and the first wave of shoegaze to create something truly unique in today’s rising dark music scene. ) 25.00

JACASZEK - music for film LP (ghostly international - Since his earliest projects nearly two decades ago, Polish composer Michal Jacaszek has kept some proximity to film music. Initially, his output simply felt cinematic by nature; densely detailed electroacoustic textures on releases like Lo-Fi Stories (2004), Treny (2008) and Glimmer (2011) evoked dimly-lit worlds within themselves, vignettes of the imagination. Over time his interest in sound design and collaboration would manifest actual film projects and commissions, some of which have earned him awards. Jacaszek's practice - an amalgamation of ambient, classical, and musique concrete - deploys field recordings, acoustic samples, poetry, and baroque instrumentation to paint pictures, oftentimes melancholic, nostalgic, tragic. His 2020 album, Music For Film, marks the naturally-occurring intersection of his identities as a solo artist and a film score artist. The collection is now sequenced and released as a single autonomic movement. "I didn't write to particular scenes," says Jacaszek, recalling the process of envisioning music for Rainer Sarnet's 2017 black-and-white fantasy drama November. "He asked me to create a bunch of pieces for a dark fairytale-like movie about love in old Estonian pagan times - full of dark magic, strange beliefs, poverty, grit, and natural beauty." That versatile purpose from the onset affords the material particular pliability in the album format; the pieces work on their own. Two tracks originated from the 2019 documentary He Dreams of Giants; another was first used in 2008 project Golgota wroc?awska. Context removed, they fuse seamlessly; ten years time between some recordings, erased. A visceral dynamism emerges here with a relatively restricted palette of sounds. Music moves in measured steps, inconspicuous yet holding attention. Opener "The Zone" is curious and brittle, crawling on keys and a foundational bass thump as strings seep beneath in a raspy hush. Centerpiece "Dance" folds into an ominous and molasses-slow trot through minor chords, spacious percussion, and static, all under the spell of a mournful violin lead. Windswept vocals haunt "Liina" from a distance, while they sink deeply into orchestral closer "November Late." Jacaszek's work is that of an auteur; he has signatures that he uses faithfully and with much aplomb. Listeners can expect subtle gesture and baroque grandeur on Music For Films: soaring melodies cloaked in reverberation, delicate piano ruminations, and textural craftwork capable of creating and disrupting motifs, smothering and enchanting minds.) 26.00

JOANNE ROBERTSON - the lighter LP (textile - The Lighter is a collection of intimate interior portraits, reminiscent in spots of Sybille Baier, Barbara Manning, even Hope Sandoval, but all performed with an addictive off-kilter grace that suspends time in a very special way. Cunningham’s production has a luminous simplicity which allows Joanne’s voice and guitar to breath as one, emitting whiffs that seem new and old at the same time. A devotee of serious art theory, Joanne would (I’m certain) like to place all of this in a theoretical context, but it’s such a goddamn wonderful listen, I suggest we all just pull up some chairs and some fires and some drinks, and lift a toast (or a series of ‘em) to The Lighter’s magnetic magic. A dark room, and empty bed and you. That’s all it takes.) 20.00

KHRUANGBIN - Mordechai LP (dead oceans - Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. "Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home. By the summer of 2019, the Houston group—bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson—had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band’s ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin’s members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey—a moment all the more beautiful for its impermanence. And it’s a memory to revisit again and again, speaking to us now more clearly than ever.“) 25.00

MANTAR - Grungetown Hooligans II LP (In a span of just five years, Northern Germany's destructive duo MANTAR have toured all over the world and recorded three studio albums, a live record, and an EP. With no signs of calming the storm, the duo have decided to showcase their musical roots and record a DIY covers album of their biggest influences from the 90’s. While MANTAR have always been categorized in the “metal” scene, the musical socialization of both members undoubtedly took place in a completely different world in the early 1990s. The time was about noise rock, Riot Grrrl bands and what was marketed by MTV as “grunge”, or even worse as “alternative rock”. These sounds greatly appealed to two moderately cool kids in a very uncool, post-Cold War era Germany. As teenagers, the guys immediately gravitated towards the aggression, message, and uncompromising attitudes of bands like Babes In Toyland, 7 Year Bitch, L7, Sonic Youth, The Jesus Lizard, Mudhoney, Mazzy Star and others of the era that is still unmatched to this day. Even back then, the term “grunge” was as silly as the words “punk” or “heavy metal”, so the similar shitty title of Grungetown Hooligans II was quickly decided to pay tribute to the era and artists that influenced the band to become one of the heaviest and sonically destructive acts making music today. ) 21.00

NIGHT SINS - portrait in silver LP (funeral party - From the shadows of a dark sonic past emerge a bright new day for Night Sins, the Philadelphia-based project of singer-songwriter Kyle Kimball. After two years of near silence, Kimball wipes the cobwebs from his undead body of work to reveal Portrait in Silver, the fourth full-length under the Night Sins moniker.  For those who have followed Kimball from his new grave to London, the lake, and beyond, Portrait may come as a bit of a surprise. Replacing the Eldritch croons and gloomy dirges which have long defined the Night Sins sound are hushed vocals and upbeat rhythms more akin to Violator than Floodland. The transition from goth rock to full-on synth pop has been a long time coming for Kimball. While his earlier work was primarily driven by guitar and bass lines, the underlying presence of synths has gradually risen closer to the surface with each release. And with the glistening pop of Portrait in Silver, Night Sins shines in a whole new light. ) 25.00

NIGHT SINS - Dancing Chrome LP (From the shadows of a dark sonic past emerge a bright new day for Night Sins, the Philadelphia-based project of singer-songwriter Kyle Kimball. After two years of near silence, Kimball wipes the cobwebs from his undead body of work to reveal Portrait in Silver, the fourth full-length under the Night Sins moniker. For those who have followed Kimball from his new grave to London, the lake, and beyond, Portrait may come as a bit of a surprise. Replacing the Eldritch croons and gloomy dirges which have long defined the Night Sins sound are hushed vocals and upbeat rhythms more akin to Violator than Floodland. The transition from goth rock to full-on synth pop has been a long time coming for Kimball. While his earlier work was primarily driven by guitar and bass lines, the underlying presence of synths has gradually risen closer to the surface with each release. And with the glistening pop of Portrait in Silver, Night Sins shines in a whole new light. ) 25.00

PAGE 99 - document #7 LP (magic bullet - Five songs by Northern, VA hardcore band, Pg. 99. Originally release by Magic Bullet Records in 2001.) 18.00

PAGE 99 / MAJORITY RULE - split LP (back in sock - Northern Virginia's Pg. 99 and Washington DC's Majority Rule combine efforts and put forth nine brand new songs. This is a complex and rather explosive recording done under the simple premise of friends working together to create something that we can call our own.) 18.00

PHILIPPE DORAY & LES ASOCIAUX ASSOCIES - Nouveaux Modes Industriels LP (soufflee - Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés, evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush. Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen. In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects. Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing. Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.) 23.00

PRANA CRAFTER / RAGENAP - no ear to hear LP (cardinal fuzz - When Robert Hunter, the poet and writer who provided the Grateful Dead with many of their vivid and enduring lyrics, passed away on September 23rd, 2019, many took to the internet to grieve, but for William Sol (Prana Crafter) and Joel Berk (ragenap), their sorrow required a wholly different outlet. Unknown to each other, they both respectively took to the solitude of their jams to express their mourning privately. The following morning, happening to compare notes, they discovered how they had both similarly sought and drank from the same fountain waters as tributes to such a pronounced loss. Prana Crafter’s “Beggar’s Tomb” emerges from a cloaked light, with the stir of a brimming cauldron. Summoning drifting guitar textures that slowly interweave to open celestial doors, Sol quickly establishes a profound communication to channel the subconscious mechanism. With Ragenap’s “NightFall” on the flip-side, Berk initiates an opening ritual to dilate the receptors for zone glossolalia. Seared tones slowly entwine, churning hypnotically as thick devotional haze envelope the senses, which Joel builds in deliberate detail.) 22.00

RAGANA - Wash Away LP KOPIE (balc in stock - Welcome to where the stars fall out of the night sky, and to where cold winds forever blow. Welcome to a place of solitude and retreat, where the silence and vastness of the world immerses you into a strange state of peace, loss and fear all at the same time. Ragana are a duo from Olympia WA, now residing in Oakland CA, comprised of Maria and Nikole. They play music that is transcendental, mesmerizing and beautiful, while retaining a simplicity, innocence and grace that is at times hard to grasp and even believe, and which is profoundly moving and seductive. The duo is comprised of guitar and drums, with both handling vocals, and they are both known to switch instruments – something that you will notice gives the songs a different feel from one to another. Wash Away is their third release and is a huge step forward from their previous works. While their talent was apparent from their earlier releases, this overall step above shows through the production quality, provided by Greg Wilkinson at Earhammer Studios, and James Plotkin’s crisp and cutting mastering really makes this album shine, flicker and resonate through your speakers like a fire coming out of the darkness. In this record, you will hear all of Ragana’s power, vision and artistic grace ascend to a climaxing zenith. The duo has an incredible way with moods and atmospheres and is extremely agile at touching the most intimate places of your soul, weaving their sonic tapestries in and out of various genres and creating something that exists solely within their vision and nowhere else. Taking cues from melodic proto-black Cascadian acts like Agalloch and Velnias and blending it with hints of doom, anarcho crust, post-punk, sludge, Americana and folk, the duo have materialized something intimate and graceful but untamed and feral at the same time, and just like some kind of mythological animal, this album nests inside you, burrowing deep within the bowels of your most remote imagination, haunting you. The vocals can range from delicate and almost child-like chants, as if someone is reciting a fairy tale or some kind of intimate poetry, to deflagrations of feral and throat-ripping screams. In the same way, the music follows suit in this constant alternation of day and night, sun and tempest, life and disease, constantly swinging in and out of alternations of  delicate folk and Americana-derived intimate acoustic rock and minimalistic passages, and bellowing and roaring cracks of black and doom metal lightning and thunder. While they remain somewhat of a puzzling enigma, I have personally seen various common traits between Ragana and bands like US Christmas, Across Tundras, Aerial Ruin, Worm Ouroboros, Ash Borer, Hell, Iskra, Ekkaia and  Sangre De Muerdago, which all seem to be crystallized within Ragana’s sound, and of which the duo appears to be some kind of distilled and purified essence of all of them combined into one precious nectar.) 18.00

RAGANA - You Take Nothing LP (back in stock - With the tone of recent world events providing the inspiration for their new album You Take Nothing, the Oakland two-piece have returned with a feral vision of their brand of blackened crust. The album opens with a deliberate crunch before it turns toward placing more emphasis on atmosphere. Where they part ways with many American black metal bands is in the concise nature of their songwriting. It never feels like you have lost your place in a bloated drone of tremolo picking, and the blast beats always feel as if they are wisely implemented. These ladies hit you with varied colors and tempos. The anger they have put into the songs is thankfully glazed with a haze of metaphors rather than going the more punk route of shoving group-think bitching down your throat. This band once had more of a neo-folk element, but the last vestiges of that are shed. The use of clean vocals is even trimmed back, but they do surface going into the song “Winter’s Light”, though the melodic breath of fresh air is yanked away by a fiery explosion of blast beats. One of my favorite moments is the more sludged-out melancholy of “Destroyer”. The vocals are screamed with even more menace here. Her delivery on the chorus is one of the more effective uses of harsh vocals I have come across this year, as the cadence still accents everything as needed. The guitar riff to the verse of “Somewhere” is more like indie rock. The way the vocals urgently plead against the riffs makes this one of the album’s strongest songs. The album ends with the title track, which is ominous and darker than most of the previous songs, which already have a gray shroud over them. Vocally there is more of  crust calling out to the void. There is a little bit of a drone to this one, but it is effective as the song keeps moving, and the change of the vocals toward the end really makes a difference. It is more than evident that most of the growth this album displays lies in the attention to detail, balanced out by the sheer passion in their song-writing. While this album might not be as black metal as their earlier releases, it’s the quality songwriting that counts.) 18.00

RAZEN - Robot Brujo DLP (hands in the - We instantly fell in love with Razen the first time we saw them live in September 2018. It was during a unique Sunday morning mass at the Friedenskirche (which translates literally to mean ‘the church of peace’), as part of the Meakusma Festival. Slightly sleep deprived and still euphorically intoxicated from the night before, their performance in front of a full mass of devotees had a biblical aura to it from the first note they played. They delivered a stunning set which was somehow, paradoxically, both relaxing and formidably tense. Two years later and the group are now bringing their talent for restraint and slow tension-building to the fore on “Robot Brujo”. Each of the six improvisations on this double LP is made up of the barest of materials, with the three musicians relying on a limited combination of tones. They lay their focus on small variations in timbre, timing, articulation and vibration, which creates a narrowing of consciousness, and feels something a bit like staring meditatively at the minute changes of leaves blowing in the wind. Recorded over two sessions, in what Razen themselves refer to as their detached playing style, "Robot Brujo" stands as an auditory magnifying glass of concentration, in all its uncanny and minimal glory. It is yet another new step up from the deep listening ensemble from Brussels, after 10 years exploring music together.) 28.00

THOU / RAGANA - Let Our Names Be Forgotten LP (bakc in stock -"Once you think you're in, you're out". In memory of those lost in the Ghost Ship fire.) 18.00

TOO MUCH - club emotion LP (radical elite - Club Emotion is the full-length debut album by dance-floor duo, Too Much (Ian Svenonius, Rich Morel). Nine songs of pure ecstasy that are perfectly suited for the club, the car or the closet. Too Much is a new kind of group; they aren’t your typical music industry malcontents. They eschew entitlement, egomania, and expectation and replace them with:) 25.00

TRUE BODY - s/t LP (funeral party - We’re thrilled to announce the debut LP from Richmond’s best kept secret, True Body. 10 songs of uncompromising power and emotion, ebbing and flowing with beautiful highs & crushing lows. Heavenly Rhythms for the Uninitiated was recorded & mixed by Jeff Ziegler (The War on Drugs, Kurt Vile, Nothing) and mastered by Mikey Young (Total Control, Eddie Current Suppression Ring). The gestation period has ended, now comes rebirth before the eyes of the world. The nature of the work? An invitation to join them, dancing with abandon in the rapturous current of pure rhythm and sound. Will you move your feet? Will you lift your voice?) 25.00


BOOKS

CYNTHIA CONNOLLY - Banned in DC BOOk (back in stock - After nearly 10 years out of production, Banned In DC is finally back in print. It was thought that the sixth edition - which was released in 2005 - would be the final version of the book, as the many of the negatives used to make the printing plates had deteriorated beyond use. However, due to consistent demand, Connolly decided to undertake the laborious task of recreating the book, hewing as closely as possible to the original design only this time as a permanent digital negative. Assembled by Cynthia Connolly, Lelsie Clague, and Sharon Cheslow and originally released in December of 1988, Banned in DC collects hundreds of photos, flyers, and stories documenting the DC punk scene of the mid-’80s. The intention of the book – one of the first to be published on punk in the US -- was to capture the feeling and energy of the movement, using stories from the many people who were involved. Images of many of the bands of that time can be found in this book: Minor Threat, Faith, Marginal Man, Scream, Red C, Bad Brains, Nuclear Crayons, Insurrection, Hate from Ignorance, G. I., Bloody Mannequin Orchestra, Void, Second Wind, and many more. With the seventh edition of Banned in DC, publisher and founding author Cynthia Connolly has added an eight-page afterword explaining how and why the book came together. The story highlights years growing up in Los Angeles in the late ’70s and early ’80s – going to shows and discovering and documenting the punk scene in DC after her family relocated to the area in 1981.) 25.00

MARK ANDERSEN / MARK JENKINS - Dance Of Days: Two Decades Of Punk In The Nation's Capital BOOK (back in stock - The story of Washington, DC's creative, politically insurgent punk scene is brought to life by local activist Mark Andersen and arts writer Mark Jenkins in this updated and expanded fourth edition of "Dance Of Days." The nation's capital gave birth to the most fertile and influential punk underground of the '80s and '90s. "Dance Of Days" recounts the rise of trailblazing artists such as Bad Brains, Henry Rollins, Minor Threat, Rites Of Spring, Fugazi and Bikini Kill, while examining the roots of PMA, straight edge, Dischord Records, Revolution Summer, Positive Force, Riot Grrrl and emo. This book provides a window on the hidden history of a grassroots rock revolution that burst into the mainstream in the early ‚90s.) 25.00

SOUL SIDE - Soulside: Washington DC 1986-1989 BOOK (akashik - Soulside, a band from the mid-1980s Dischord Records punk rock scene in Washington, DC, grew into maturity in a few short years, going from occasional club shows to nationwide tours and a full European tour in 1989 immediately preceding the fall of the Berlin Wall and the collapse of the Soviet Union. With songs influenced by the political and social leanings of the DC punk world of the eighties, Soulside worked with a worldwide underground network to tour throughout North America and Europe. The four-year span of the band would end with a recording session of their last album, Hot Bodi- Gram, in Eindhoven, Holland, at the conclusion of their final tour. As a perennial photographer, graphic designer, and archivist, the band’s drummer, Alexis Fleisig, has kept a collection of photos and flyers from these tours and has compiled as much as he could into this volume. The book is an ode to the people who made that journey possible, and a chronicle of the great eye-opening experiences those moments brought to the band and others.) 25.00