Pop & Rock News

For the first release in Feeding Tube’s Unknown Province series — a run of records dedicated to exploring little known nooks of the Canadian underground, curated by Alex Moskos — we are delighted to bring you the first vinyl reissue of the 1968 zoner masterpiece by poet Bill Bissett and his fellow Vancouver freaks.

We have always been shocked this LP was not included on the NWW list, but Canadian releases often seem to exist in their own universe, so we suppose that’s the “explanation.” Because, in a list of any free-form freakouts, Awake in th’ Red Desert would surely have a high place. Bissett was a sound/concrete poet of high repute when this was recorded, and he was also something akin to the king of the Vancouver underground scene. The original album was issued by Jim Brown’s See/Hear label, which Brown founded as an adjunct to his Talon Books imprint.

Backed by a band of interesting musicians (a few of whom went on to straighter afterlives), Bissett created an insane mass of sound, comparable to what Mayo Thompson’s Red Crayola was doing in Texas around the same time, laced with heavy Fugs overtones. Pure freaked sonics, created while stoned, for an audience that was similarly blasted, and was willing to decode what was going on using the very best acid logic available.

Hard for me to describe how much I love this album. And I will attest that this version sounds better than any other available version ever has or could. It is jacked.

Nice detailed liner notes by Alex Moskos set the scene as well as anyone ever will, and if you don’t feel your teeth wiggling while this plays, I suggest you may never feel that particular feeling. In your life.

Bill Bissett is still going today, and we heartily suggest that anyone who digs this album runs out and tries to nail down one or another of his wonderful books before the sun sets.

–Byron Coley, 2019

Well-known bluesman and one-time Oklahoman Bill Homans, known in the blues world as “Watermelon Slim” and known by ’70s rare psychedelic vinyl collectors as “Merry Airbrakes” found work as forklift driver, funeral officiator, small-time criminal, newspaper reporter, saw miller, and truck driver for industrial waste among others. In 1979, Slim and a friend came to Oklahoma and wound up in Pushmataha County, where he bought a piece of land and took up watermelon farming. That vocation didn’t last, but the nickname he got doing it did.

It was in Vietnam, while laid up by an extended illness at a Cam Ranh Bay hospital, that Homans negotiated in French the five dollar purchase of his first guitar from a “papasan” in a tiny commissary on the hospital grounds. “It was the nastiest old guitar you ever saw, but it did have all six strings on it,” he said. There, with a Zippo lighter and a broken shard of a coffee can top, he began to teach himself to play his unique, backwards style of bottleneck slide. After returning stateside he would join the ranks of Vietnam Veterans Against the War (VVAW), and in 1973 recorded with his brother and friends an LP titled Merry Airbrakes, a protest album he categorized as “psychedelic folk.” A cut from that record eventually appeared on a Country Joe McDonald compilation of music by Vietnam veterans. However, his music career would soon tank. A brief career in petty crime ensued, which he would forsake by 1978.

What is an underground album? Some people would say that it is one which has been produced outside, or in spite, of the music industry, whether or not it has prospered. This album, Merry Airbrakes, has incontrovertible underground credentials. This may be one of the only albums one can hear by a Vietnam veteran, and aside from certain American bluesmen, John Prine, and a literal handful of others, American music has never addressed the Vietnam War and its effects. Certainly it is the only place one can ever hear a song from the Vietnamese point of view.

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

Reissue of a true avantgarde-rock classic: Skeleton Crew were the maverick duo of Ex-Henry Cow guitarist Fred Frith and the great late cellist Tom Cora. Formed during one of Frith's early American residencies, Skeleton Crew was a legendary two man crew who somehow - in real time, managed to play all their instruments, cello, bass, electric guitar, violin, vocals - as well as, drum parts dislocated between the two of them. No one sounded like Skeleton Crew, ever. An unprecedented and tight duo coalition that produced some of the best music of the decade. Originally released in 1984, Learn to Talk consists of a highly integrated mixture of art-rock, punk energy, tape manipulation and re imagined folk elements. A catalogue of invention that remains breathtaking today. Fully re-mastered and including a printed inner sleeve with previously unpublished text by Fred Frith in memory of Tom Cora on the 20th anniversary of his premature passing.

Nocebo, the first full-length by the Boston, Massachusetts five piece Elizabeth Colour Wheel, is inspired by anxiety, the fear and the desire of being constantly overwhelmed. The album came to fruition over the summer of 2018, when the band embraced a heavy “kill your idols” mindset, crafting an album that is distinctly schizophrenic yet familiar, touching on ’90s heavy rock, shoe-gaze, and black metal influences.

Mixed and mastered by Seth Manchester of Machines of Magnets (The Body, Street Sects), Nocebo is a five-walled haunted house, constructed from the wild, chantlike vocals of Lane Shi, the heavy, reverberant guitars of Emmett Palaima and Alice Jackson, the sludgy, distorted bass of Billy Cunningham, and the powerful, aggressive drumming of Connor Devito. Inside these walls frequencies of spectral anger echo and resound, gathering into thunderous waves, which crash against the borders of the room before dying out into eerie silence.

Elizabeth Colour Wheel, whose name is pinched from The Lily’s track of the same name, formed in 2014 around the Boston area. The band has shared the stage with numerous bands, mostly notably The Flenser label-mates Have A Nice Life and Planning for Burial.

I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Alvin Ranglin GG's productions reissued in finest quality by Dub Store Records.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

Das erste neue Album der Emo / Hardcore Legende
aus Kansas City nach 11 Jahren.
Nach ihrer gefeierten - Kicker EP' im Sommer 2018 (Pitchfork:
"The band's most satisfying release in nearly 20 years")
kommen The Get Up Kids mit dem Album - Problems',
produziert von Peter Katis (The National, Interpol, Gang of
Youths).
Gegründet wurde die Band 1995 von Matthew Pryor (Gitarre,
Gesang), Jim Suptic (Gitarre, Gesang), Robert Pope (Bass)
und Nathan Shay (Schlagzeug). Schwer melodisch und mehr
einbrennend als eingängig, hüpfen die Jungs aus Kansas City
mit Leichtigkeit über die Gipfel der Emo-Szene und schaffen
es dabei noch, wie so viele ihrer amerikanischen Kollegen,
nicht bei jeder Platte als Plagiat ihrer selbst zu enden,
sondern sich in kleinen, aber feinen Schritten zu veredeln.
ihrer Heimatstadt. Sänger und Mastermind Matthew Pryor
widmet sich seit dem verstärkt seinem Soloprojekt The New
Amsterdams während Keyboarder James Dewees seine
Energie in sein Projekt Reggie and the Full Effect steckt

Das erste neue Album der Emo / Hardcore Legende
aus Kansas City nach 11 Jahren.
Nach ihrer gefeierten - Kicker EP' im Sommer 2018 (Pitchfork:
"The band's most satisfying release in nearly 20 years")
kommen The Get Up Kids mit dem Album - Problems',
produziert von Peter Katis (The National, Interpol, Gang of
Youths).
Gegründet wurde die Band 1995 von Matthew Pryor (Gitarre,
Gesang), Jim Suptic (Gitarre, Gesang), Robert Pope (Bass)
und Nathan Shay (Schlagzeug). Schwer melodisch und mehr
einbrennend als eingängig, hüpfen die Jungs aus Kansas City
mit Leichtigkeit über die Gipfel der Emo-Szene und schaffen
es dabei noch, wie so viele ihrer amerikanischen Kollegen,
nicht bei jeder Platte als Plagiat ihrer selbst zu enden,
sondern sich in kleinen, aber feinen Schritten zu veredeln.
ihrer Heimatstadt. Sänger und Mastermind Matthew Pryor
widmet sich seit dem verstärkt seinem Soloprojekt The New
Amsterdams während Keyboarder James Dewees seine
Energie in sein Projekt Reggie and the Full Effect steckt

Ear-splitting hard-rock / proto-doom-metal from the early 70s!

Electric Funeral were a pioneering Swiss hard-rock band who sadly never registered any studio recordings at the time.

Formed in the late 60s by Edi Hirt (drums), Pierrot Wermeille (bass), Alain Christinaz (guitar) and Dominique Bourquin (vocals), they were influenced by bands like Deep Purple, Black Sabbath and Led Zeppelin. Famous for their loud (they played behind giant stacks of Marshall amps) and powerful shows, their sound was too heavy-sounding for a regular label to offer them a contract.

'The Wild Performance' is made of private live & rehearsal tapes recorded in 1970, very raw and lo-fi but it's the only testimony of their brutal sound. First released in 1991 as a very limited (now heavily sought after) LP, here's an expanded edition with newly remastered sound and four killer bonus tracks, taken from reels and tapes recently found in the band's archives. These tracks were also recorded in 1970 except for 'My Destiny' (1973). Sound is still lo-fi but slightly better than the original 'Wild Perfomance' tracks, especially on the killer 'You Can Help' (proto-punk á la Electric Eels!), 'My Destiny' and the alternate version of 'You Can Help'.

*2LP expanded edition including previously unreleased tracks

*Insert with rare photos and liner notes by Klemen Breznikar (It's Psychedelic Baby Magazine)

*Download card

*Poster

RIYL: BLACK SABBATH, IRON CLAW, EDGAR BROUGHTON BAND, MOSES, SAINTE ANTHONY'S FYRE...

'Electric Funeral should be mentioned right next to their country companions such as Toad, Haze, After Shave, and Pacific Sound.' - Klemen Breznikar (It's Psychedelic)

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

Melting jazz, rock and zeuhl influences, French unit POTEMKINE released its first album in 1976.

Far from their early days as a garage cover band, this masterpiece is the beginning of a singular musical odyssey lead by the Goubin brothers.

A must-have for every MAGMA or WEATHER REPORT fans out there.

The 40 Watt Banana, formed in 1968, was a unique band in New Zealand, the only group that ventured into the esoteric realm of Indo-Afro psychedelic music. 'Peeled' includes their sought-after 45 from 1971 (the sitar-psych-dancer 'Nirvana') plus previously unreleased recordings full of sitar, tabla, sarod, tanpura, trumpet, recorder, effects, tape echo...

Formed by Kevin Clark and Dave Parsons, initially as a jazz combo playing in restaurants, they soon incorporated elements of Indian and African music to their sound, after some soul searching and spiritual experiences. The result was an atmospheric, spacey, improvised sound. In 1971, they released their only 45 for the HMV label. It featured a great sitar-psych track, 'Nirvana', similar to other psychedelic jazz-pop-funk experiments from the time such as 'Mathar' by Dave Pike Set. But during the late 60s and early 70s, the band also recorded other stuff which has remained unreleased until now.

After taking a deep dive into the dusty crates with Belgian & Dutch music, Harde Smart now unearths a smooth selection of jazzy, funky & soulful gems from their collected vinyl stash. All the music you hear, was recorded and produced during the 1970's, in either Flanders (the Dutch-speaking part of Belgium) or Holland. Besides exquisite grooves and hard-pounding drums, the selected songs also have Dutch lyrics in common, making this a rather unique way to approach and compile lyric-driven Flemish and Dutch music from back in the days. Record collectors all over this language area seem to have neglected a considerable part of their own musical legacy for a few decades, while firmly searching for rare grooves and breaks in the bins with more exotic music.

Yet nothing is so certain as the unexpected. 'Flemish & Dutch grooves from the 70's' is the first 'Dutch' compilation album to uncover the genuine, Afro-American funk and soul vibe. A sound that - albeit infrequently - influenced the work of some of the popular and less popular singers and musicians in this small part of the world in the 70's. Although influences undoubtedly also derived from the French chanson and rock music from that era. This 21-track album smashes all musical predictability and takes you on a weird and nostalgic trip; offering a revised set of 'essential homegrown classics' for the local listener, yet also being very exciting to the ears of the non-Dutch speaking audience.

Minimal Wave is releasing a newly mastered compilation of 6 tracks made by Scene de la Bohème (aka Anthony Waites), 2 come off his sought-after untitled 7" from 1982 and 4 are previously unreleased. Limited to 1000 copies on 180 gram vinyl with an illustrated inner sleeve featuring Anthony Waites' personal story and illustrations.

Minimal Wave is releasing a newly mastered compilation of 6 tracks made by Scene de la Bohème (aka Anthony Waites), 2 come off his sought-after untitled 7" from 1982 and 4 are previously unreleased. Limited to 1000 copies on 180 gram vinyl with an illustrated inner sleeve featuring Anthony Waites' personal story and illustrations.

Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early '90s. It contains just two previous released tracks, the humid 'Clearance (Part 2)' and poignant 'On Endless Shores', both of which first featured on Petsetakis's cult 1991 album Missing Links.

On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer's basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of 'Pythia's Dance' and rhythmic, otherworldly escapism of 'Violated Asylum', to the gentle bliss of 'Like a Knife' and sun-bright joy of 'Nearxi (Minimal Marimba Edit)'.

Emotional Rescue starts a non-defined set of reissues where some of the label's favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today's DJs and collectors alike.

To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense.

Following the departure of Lemmy to the Motorhead hinterlands, the band's sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous. The Aubergine That Ate Rangoon - itself referencing cult psychedelic band Dr. West's Medicine Show and Junk Band's alien invasion opus The Eggplant That Ate Chicago - with it's use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind's musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.

This is backed with the album's other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons. Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.

An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.

His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes 'Head' outtake overkill. Trippin' beyond the light fantastic.

Words from Cherrystones:

"When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant. Why you ask Because that which is to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage. This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

This entire project was created using no stems, no multi tracks hence we did not use remix as a theme, these are re-works which I made via intense hacking at open sections in the songs whilst manipulating and treating those hard. The only parts added were the synth I played, added and re -chopped with a view to colour these re-imaginations. It was essentially making a new meal from the existing but adding and subtracting flavours to create a new
Essence, a new sensation and believe it, it was not easy which kept it exciting and close to me. By no means am I metaphorically adding a moustache to the Mona Lisa, I'm more to the point tickling her or poking my tongue out with a view to get a response or smile. Hurry on sundown so I can see your shadows dancing in the grassy lucid light.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Closer To You' gets its very first vinyl edition 25 years after its release. 180gr heavyweight vinyl with CD album included.

Very first vinyl - first time on vinyl - edition 23 years after its release.
To celebrate the release of the new album 'Stay Around', JJ Cale's 'Guitar Man' gets its very first vinyl edition 23 years after its release.180gr heavyweight vinyl with CD album included.

JJ Cale's 'Live' album gets its very first vinyl edition. FIRST TIME ON VINYL incl.all influencial tracks.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'Live' album gets its very first vinyl edition. Originally released in 1996, this live album features 14 classics including 'After Midnight', 'Cocaine' and 'Old Man'. All tracks were recorded across several different shows : Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993) and Park West (Chicago, 1990). Double 180gr heavyweight vinyl with CD album included.

very first vinyl - first time on vinyl - edition 15 years after its release.

To celebrate the release of the new album 'Stay Around', JJ Cale's 'To Tulsa And Back' gets its very first vinyl edition 15 years after its release. Double 180G heavyweight vinyl in gatefold sleeve with CD album included.

Since their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The essence of BIG | BRAVE's magic has always been the way they balance these dynamics, and particularly how much sheer power comes from the beautifully quiet moments. 
 
The same principles are the starting point for the new album, only the approach is different, beginning with the question "How do we take very little and make something bigger than what we actually have" vocalist and guitarist Robin Wattie explains further "the biggest challenge was to not do what is easiest. i.e. what we knew worked for the last albums or what is, for us, easy to write. With A Gaze Among Them, Mathieu and I put ourselves through the ringer - I did not want to do what seemed to me to be a 'logical next step' in what we could do musically. I wanted to go back to our original concepts and work from there - space, tension, minimalism and voice (finding melody and musicality in pieces that consist of one note for longer than ten minutes, for example) were the primary concentrations I wanted to push."

In the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic.  

A Gaze Among Them features Robin Wattie (vocals, electric guitar, guitar amp, bass amp), Mathieu Ball (electric guitar, guitar amps) and Loel Campbell (drums) with guest appearances from Thierry Amar (Godspeed You! Black Emperor, Thee Silver Mt Zion) on Contrabass and Seth Manchester's synth overdubs. The album was recorded with Seth Manchester at Machine with Magnets in Pawtucket Rhode Island.

The beautiful image adorning the cover (created by Robin Wattie) further demonstrates that BIG | BRAVE have blossomed. The trio sound rejuvenateed and confident, and A Gaze Among Them is the sound of a band truly honing their craft, and feeling totally satisfied with it.  Compelling. Necessary. Important. 
 

New York based producer, engineer and composer Marc Urselli (Nick Cave, Mike Patton, John Zorn) had the idea to bring people together who had never met before and let that meeting of minds create beautiful soundscapes. Film director and musician Jim Jarmusch, Sonic Youth co-founder and guitarist Lee Ranaldo shared space with versatile drummer Balázs Pándi (Keiji Haino, Venetian Snares, Zu, Merzbow) for a night session at Urselli's EastSide Sound studio in downtown NY. These are the unfiltered results. Absorbing instrumental patterns of cinematic sounds and improvised rhythms. No overdubs, no editing. All was recorded live and analog, produced and mixed by Marc Urselli. The front/back cover were taken by photographer William Semeraro in Norway. That is why Marc Urselli gave all the songs titles that come from Norwegian mythology.

Originally released in 1972, Vento Sul (translation 'South Wind') was a rewarding collaboration with Brazilian progressive rockers O Terço.

For those who like pop music and French music it is getting hard not to know about Olivier Marguerit aka 'Ô'. He played he countless acts from the new French pop scene, from Syd Matters to Mina Tindle, Thousand and Chelvarex. He's also highly praised by his peers and iconic French singers such as Etienne Daho and his first album 'Un Torrent La Boue' has been critically acclaimed by press, radio and web journalists upon its release. With this new album, in which is imagine himself falling down only to bounce back stronger, Olivier Marguerit's once again demonstrates his talent to craft exhilarating pop melodies, confirming his status as one the keystones of the rising scene of the genre in France.

This EP focuses on the group's prescient dance-floor DIN-sync workouts which share sensibilities with contemporaneous early Detroit experiments by Juan Atkin's Cybotron, Ron Hardy's visionary Kikrokos tape edit, Shoc Corridor's extended 808
exercises, and 90s Techno Pop by Haruomi Hosono. Rounding off the EP is the existential electronic soul ballad Words. Remastered from the original reels, 45rpm DMM pressing.

Kansas City, 1983: a band formed, wires connected and synapses fired. Three friends, tired of guitar/bass/drums rock started jamming with newly acquired synths and Roland TR 808. They called themselves Short-Term Memory. Thanks to the vanguard technology of the time, these electronic instruments spoke to each other, and Jim Skeel, John Paul & Robert Duckworth could program their instruments, riding the DIN-sync wave. Weekly jams became more ambitious, and in 1983 they released their first album Every Head Needs Cleaning on their own Silly Poodle Music label. Over the 80s members drifted in and out of the group, and they released two cassettes, an LP and a 7' EP. By the 90s Jim Skeel was at the helm, the only original member, and joined by Tim Higgins he continued to record in MIDI mode for a few years before pulling the plug, leaving recordings and memories that resisted the great fadeout of time, and today sound vibrant and more visionary than ever.

A wide selection of rare Turkish funk, jazz, beat and psychedelic music from the 1960s and 1970s.

This is the third issue of the groundbreaking Bosporus Bridges compilation series started in 2005 (Vol. 1) and continued in 2011 (Vol. 2).

Why did it take so long for the release of Vol. 3 Because deep digging, deep selecting and our wish to serve you Turkish pop music of the highest order takes its time. And it is worth doing so. According to the aspiration of the Bosporus Bridges series you will get extraordinary music, opening your mind and remapping your knowledge of Turkish music.

As Turkish pop music is a hybrid of Western and Eastern elements, it's not just funk, jazz, beat and psychedelic music but each time a specific Turkish approach to a hybrid pop music. This incorporates Turkish language, instruments, melodies etc., all mixed with electric instruments, drums and sound effects of Western pop music.

Enjoy deep Turkish funk by Seyyal Taner, Süheyl Denizci, Cengiz Coskuner and Erkut Taçkin, Turkish jazz by the Burhan Tonguç Ritm Grubu and Figen Han, Turkish beat by Lili Ivanova, Ajda Pekkan and Fatos Balkir, Turkish psychedelic by Semra Sine, Serter Bagcan and Harout Pamboukjian, and Turkish-Asian rock by Dönüsüm & Halit Kakinç.

Quality LP vinyl pressing with restored and remastered audio material of the original records. Comes in a wonderful, authentic and special seventies English-styled old-fashioned cover.

Zohar Levy is one of the most influential musicians of the Israeli Rock revolution of the late 60s - early 70s. He succeeded in combining two musical worlds, which back then were strange to each other: the "bratty" pop music of local beat bands, and the "Hebrew singing" of the military bands. Zohar's vision was to produce high quality Israeli Rock: "serious" lyrics wrapped in complex music and heavy instrumentals, lacking feelings of inferiority. Born in 1945, Zohar grew up in a transit camp near Lod, and by the age of 5, when he started drumming, he had already been exposed to multiple music genres: ethnic music, jazz, Israeli folk music, dance, etc. In 1965 Zohar first became a professional musician when he accompanied jazz singer, Larry Walker. He was first recorded in 1967 as the drummer on the "The High Windows" album and from there his popularity as a drummer soared.

In 1968 he was introduced to dramatist Hanoch Levin, who gave him song lyrics to compose for and he even thought up the band's name: "Zohar The 7th". In 1969 the band recorded two songs, which Zohar composed: "Cymbals" by Levin and "Zemer Nuge" by Rachel the poet. These songs were issued on a 7-inch record; however they failed to pick up attention on the radio. Zohar's innovative to compose music for "Zemer Nuge" provoked objection - it sounded strange, as music for the song had already previously been composed by Shmulik Kraus as well as by Yosef Mustaki. The failure of the record didn't break Zohar's spirit, rather it encouraged him to intensify his work.

By the end of 1969 Zohar had composed and arranged the music for Levin's satiric play: "Queen of a Bathtub". His music was different and innovative, like the play. In 1971 Zohar formed the band "Acharit Ha'Yamim" (Apocalypse), and composed its songs. The band's single album, released in 1972, became a milestone in the Israeli music culture, but despite its quality and novelty, the band broke up prior to the release of the album. That was a huge disappointment for Zohar. He felt his work was not appreciated and that he couldn't develop his musical style, and therefore he drastically reduced his work.

Zohar was a true rebel, constantly seeking a creative and unconventional approach, disharmonic and unusual, yet variable and evolving in accordance to text. His contribution to original Israeli creation goes far beyond the extent of his exposure today.

Compilation of work from the group, spanning 1986 to 1991.. Dub infused experimental tunes here!

Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the 'studio as instrument' mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. The Nature of Human Nature captures Guerilla Welfare's most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

An LP of tracks, taken from various cassette releases, by Belgian synthwave luminaries The Misz (Jan Van den Broeke and Dries Dekocker)! 600 copies on 180 grams vinyl.

The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records. They described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

"Keyboard player/producer Emerson Kitamura has worked with a number of artists and bands in Japan throughout the 1990s and 2000s. He began his solo project in 2014 to further understand and realize his music more clearly and personally, and released the album Ochi Kochi Ni ("In Perspective") in the same year.

Like his favorite rocksteady keyboard player Jackie Mittoo, Kitamura's organ is simple yet groovy. It is accompanied by cheap drumbox tracks which is a nod to the 1980s new wave rock and 'digital' dancehall reggae in the 1990s.

In 2017 he released Countryside is Great EP, a cover of a Thai pop song from the 1970s. The EP also contains a track named Rock Your Baby, featuring mmm (pronounced me-my-mo) on vocals, which has since been included in an UK compilation album Balearic 4 released in August 2018.

Mado Kara ('From My Window') has a melody like a West Indies' folk-song, with a lively 'montuno' part. Ame No Saka No Ashimoto ('Underneath My Feet in the Rain') is inspired by the sound of his favorite dub poet Linton Kwesi Johnson and his band from the early 1980s. An old combo organ was used on both tracks. All recording, mixing, mastering were done by Kitamura himself."

One core dynamism within the field of music is the relationship between performer and spectator. The audience listen and watch the musicians enjoying themselves and through that they get an experience of joy. This requires a system of believing where organized sound can be recognized, and is therefore music as such. Upon listening to Orchestra of Constant Distress´ third album you might want to question this meaning of tonality. Through catatonic riffs and uncanny sounds we are as listeners left with a situation where we do not know how to distinguish bad and good, pleasure from displeasure. OoCD seems to be moving beyond their decent from such bands as Brainbombs, The Skull Defekts and Union Carbide Productions towards a tension of disbelief.

Hound Gawd Records wird am 26. April 2019 die Debüt-EP «Think About It» von «Rod Hamdallah» zum ersten Mal weltweit veröffentlichen. Creative Loafing Atlanta wählte Hamdallah zum «Besten Local Blues Act» und ist der Meinung: «He's what the old heads who lurk in the shadows at the back of the bar refer to as the real deal, and they ain't lyin'.»

Der Garagen Rocker Rod Hamdallah stammt aus Atlanta, GA, und hat die südöstliche Musikszene aufgewirbelt, seit er alt genug war, seinen ersten Drink zu bestellen. Im Alter von 16 Jahren sog Rod Garagen Rock und südlichen Delta-Blues wie ein Schwamm auf und beherrschte ihn technisch in einem unerbittlichen Tempo. Später, von frühem Soul beeinflusst, brachte Hamdallah seine Musik auf eine neue Ebene. Die dunkle Seite des Storytellings und amerikanische Rootsmusik spielen auch bei seinem Songwriting eine große Rolle.
Mit 17 Jahren teilte er die Bühne mit dem Blues-Wunderkind Sean Costello, dem Jack-White-Mentor Dexter Romweber und vielen, vielen mehr.