Forced Exposure

Time 2020-07-13 11:04:23

Web Name: Forced Exposure

WebSite: http://www.forcedexposure.com

ID:24129

Keywords:

Forced,Exposure,

Description:

Sublime, unique, sexy, and peculiar unreleased scores by electronic and jazz pioneer Ron Geesin, made for the films by maverick director Stephen Dwoskin. Geesin made great music and worked with Pink Floyd. Dwoskin made odd films, most of them are in the BFI permanent collection. These superb unreleased soundtracks come from a fascinating, progressive, and important period in British film history. They represent an intriguing collaboration between the lively Ron Geesin from Scotland and the American Stephen Dwoskin, who both met in London. Musically they are minimal, charismatic, and quite groundbreaking. Ron's soundtracks for Dwoskin' films, recorded in the Geesins's flat, encompassed Ron's very eclectic range of styles -- madcap piano and fretted banjo as well as tape manipulation. Aside from Ron's soundtracks, some of which belong to films that no longer exist (including Pot-Boiler). There was no London equivalent to the underground film scene that Dwoskin had known in New York, and his films remained unseen until such a scene began to come into being, in the autumn of 1966. Some of them made their debut at the Mercury Theatre, near Notting Hill Gate, that September. Dwoskin wrote Alone, starring Zelda Nelson (from Ron Rice's Chumlum), and Chinese Checkers, with Beverly Grant and Dwoskin's friend Joan Adler. Soon both Dwoskin and Geesin became involved in the nascent London Film-Makers' Co-op, which put on screenings in Better Books on Charing Cross Road. In the same autumn, Dwoskin moved into a flat almost opposite the Geesins on Elgin Crescent. More collaborations followed, including Naissant, on which Gavin Bryars, whom Geesin had met during a stint on the northern club circuit with novelty act Dr Crock and His Crackpots, played double bass. Around the end of 1967, Geesin released his first solo LP, A Raise of Eyebrows, and Dwoskin won recognition at the Fourth Experimental Film Competition, aka EXPRMNTL 4, an occasional film festival staged at Knokke-le-Zoute in Belgium. By now the films had optical soundtracks. For Moment, a single-shot film, Geesin provided his most experimental score yet. At the time of its debut in 1970, Dwoskin and the Geesins were sharing a house in Ladbroke Grove. By then, Ron was working with Pink Floyd, and soon afterwards he and Frankie moved out to the country, to be replaced by Bryars both in the house and as Dwoskin's principal collaborator. Until now these scores have remained part of the Geesin Archive and have never been issued. Sleeve notes by Ron Geesin. Limited restock, last copies. It's little wonder that Julius Eastman (who died in 1990 under unexplained circumstances), remained the supreme underground composer. He was Afro-American and gay, a composer who rocked the cerebral world of process music with his explosions of free improvisation. Crazy Nigger is the first time any of Eastman's music has been available on vinyl, and is one of three extended pieces for four pianos, along with Gay Guerrilla and Evil Nigger, written and performed around 1980. All three works generate their epic soundscapes through adamantly restated patterns and interlocking canons, not fragmenting, but preaching urgent truths. To quote the brilliant Mary Jane Leach liners: "He wrote what can be categorized as minimal music, but also wrote 'post-minimal' music -- before minimal music was fully established." His pieces straddle both styles of minimal music; rhythmic/pulse-driven music (Steve Reich and Philip Glass) and spectral drone music (La Monte Young and Phill Niblock). There is a flexibility that lends an organic feel to his music, a muscularity missing in a lot of other music from that time; with the re-emergence of this powerful music, a missing gap in the history of contemporary music has been filled. Not released commercially upon their recording, they were instead shared on cassettes, copied and passed from one admirer to another. Unlike today's instant access to music, at that time each new copy represented a time commitment, since it took as long to copy as its playing time, while also removing itself further from the original recording with a resultant deterioration in sound quality. The three pieces occupy a high point in Eastman's oeuvre, the culmination of his mature style. Crazy Nigger is a sprawling sonic study, the last section exploring canonic form both harmonically and rhythmically, using the same process as James Tenney's Spectral Canon, but notated in a more intuitive way. Offering extensive liner notes by Leach and Bradford Bailey, this is a seminal work by one of the most important, but neglected, American composers of the 1970s and '80s, returning to the light once more. Not only is Crazy Nigger an entire rethinking of minimalism, but it ferociously blows the doors of what classical music can be seen to be. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus obi-style original insert in a fold-out outer sleeve. 180 gram, color vinyl. A classic and essential hi-life and Afro-funk album from one of the greatest Ghanaian singer and composer, reissued for the first time. The legendary K. Frimpong's fantastic rare album was recorded in 1978 at Ghana Films Studio in Accra. K. Frimpong was born on July 22nd, 1939 at Ofoase in the Ashanti-Akim district and entered right into music after elementary school by joining Star de Republic and later Oko's Band after which he left to go to K. Gyasy's band where he worked for more than six years. As a prolific songwriter and singer, this Frimpong reissue is an amazing album, a modern fusion of hi-life and soul. The excellent background is given by the famous Vis à Vis band, composed with the help of the great Collins Obiba Marfo. Originally produced on Ofo Bros, the label of the Ofori brothers in Kumasi, this four songs recording is a blend of danceable and spiritual soul and straight hi-life. A must have album of percussive Afro-funk. Remastered by Frank Merritt at The Carvery. Pressed on replika format. Double LP version. "Fairly gleams with joy... Captures the creativity and optimism of female musicians in '70s California." --The Guardian, on The Ladies of Too Slow to Disco Vol. 1 (HDYARE 003CD/LP, 2016) On Volume 2 of The Ladies Of Too Slow To Disco, DJ Supermarkt has brought together 16 compelling tunes and hidden gems from 1974-82 that tell a deeper, more political story, while taking the suave sounds you love into new territory: soul, gospel, and jazz. The songs on this compilation are from women who were taking control of their own careers, making an independent stance in the some of the most trying years for women in the history of the recording industry. In an effort to tell the often untold, yet deeply influential, stories of this delicious period of music, Volume 2 highlights songs from players who broke through the machismo that sat upon the glass ceiling before them to create classics. As with every TSTD release, you will uncover lost classics and should-have- been-hits into the overdue limelight. You'll find confessional funk and sultry disco, 5th Avenue flounce and soulful midnight aching. You will discover artists here who were movers and shakers from the 1970s Women's Music movement, artists determined to fashion a music industry that worked for them. You're in the company of musical royalty. The Ladies Of Too Slow To Disco Vol. 2 brings you the smartest writers and singers, Grammy winners and unforgettable performers, all at the peak of their powers. Features Terea, Marti Caine, Diane Tell, Lulu, Karla Bonoff, Franne Golde, Martee Lebous, Lonette McKee, Kristle Murden, Janis Siegel, Linda Tillery, Ullanda McCullough, Nicolette Larson, Valerie Carter, Elkie Brooks, and Holly Near. "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." "Albert Ayler's 1969 album New Grass has been misunderstood from the day of its release. The album finds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before -- that it is of "a different dimension of his life" -- in the album opener "Message from Albert." New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the '60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music's potential freedoms. The album has gone on to influence generations of jazz, R&B, funk, hip hop, post punk, no wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith. Third Man Records can't recommend this record highly enough. We are confident that it won't take but one listen for you to understand New Grass is an undeniable healing force." LP version. On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date. Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise" with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies. For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited throughout his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation. Frank Maston's Tulips is a sample-ready film score to the best '70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017. Be With Records were introduced to Maston by mutual friends Aquarium Drunkard and it didn't take long before the label decided this modern classic deserved a reissue. Inspired by the deep-grooving soundtracks of Italian cinema -- think Morricone, Umiliani, and Alessandroni -- Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music. There's a distinct library music feel too, with wiry organ, spacey keyboards and loping '60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener's technicolor imagination. Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank's touring duties with Jacco Gardner's band. With some very European influences in mind, Frank wanted to eschew any American influences. But you can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen. Dreamy opener "Swans" is an exquisite soul instrumental and recalls the soft-psych of Koushik. Tropicalia influences abound in the cool and breezy "New Danger" and the KPM-references are loud and proud on the lush organ pop of "Old Habits". Fast-paced "Chase Theme No. 1" manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of "Infinite Bliss" is all gauzy flutes and happy-sad vocalizing and the title is almost perfect. Side A closes with "Evening", a subtle bossa nova beat thing. Side B opens with the heat-shimmer guitars of "Rain Dance", evoking an unreleased Byrds or Buffalo Springfield backing track. "Sure Thing" is music to accompany an elevator ride you never want to end, but in a good way! The ornate "Garçon Manqué" is as beautiful as the instrumentals on Pet Sounds and the wistful "Turning In" starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo. "Chase Theme No. 2" is a briefer, more keening counterpart to what is on side A. The head-nod bass-drums-keys funk of "Hues" rounds out this staggeringly assured set. Mastered for vinyl by Simon Francis. Alternative burnt orange artwork from Maston. 140 gram vinyl; can be played at 33rpm or 45rpm. Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza) 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 experimental library music is released for the first time with audio restored from the original masters tapes. When these tracks were recorded in spring-summer 2019, when the prophetic album title was set in stone, who knew what turbulence the world would undergo, what social isolation we would endure. To face a plague alone... This release marks a change in the sound of Colossloth. Whilst still traversing landscapes sheathed in cacophony, the layers when stripped back reveal a new sound being forged and emerging forth from the fractured sonics and sepulchral bass rumblings one has come to expect from past releases. Not so much a change of direction, but a bold move forward towards the cinematic, an instinctual transcendence born from annulled ancient currents stirred up once more into frenzied and chthonic ritual. This new frontier in the Colossloth sound meets the familiar sense of pastoral disquiet and gleefully invigorating spatial havoc utilizing a canon of sound that's normally reserved for taking part in the creation of dimensions. Music for transportation and immersion, taming the wilderness of the ravaged psyche and sailing forth upon its turbulent ocean whereof whilst also a meditation on the configurations of sound and its transmutations wherein. Hammerschlag -- created by FM Einheit (member of Einstürzende Neubauten, early 1980s to mid-1990s), with Andreas Ammer -- features many percussive industrial elements and "machine music" (chains, scraping, coiled springs, objects), noise, experimental electronics, and provocative musical compositions familiar to the ears of Neubauten fans. An oratorio with prelude and two noise interludes, based on Russian futurist Aleksej Kapitonovi Gastev, the "bard of the machine age". FM Einheit is an industrial and electronic musician and actor, primarily known for his percussion work with Einstürzende Neubauten. He has also collaborated with musicians such as: Diamanda Galás, Eraldo Bernocchi, Mona Mur, KMFDM, Goethes Erben, and many more. He was also involved in the projects Stein and Gry. Andreas Ammer has been creating works with FM Einheit since the early 1990's. "Just a moment longer, and through the confused chaos of these days, the legendary realization of the future roar of events is triumphant" --A.K. Gastev (A Bundle of Orders). Hammerschlag was premiered in 2019 at the Diaghilev Festival in Perm as a live concert with Teodor Currentzis, the chief conductor of the SWR Symphony Orchestra, as Aleksej Kapitonovi Gastev. The concert served as the basis for a German-Russian radio play version. Kparr Dire: Balafon Music from Lobi Country is a single LP and includes a DVD with a full-length movie (125 minutes) of Balafon music by the Lobi people, recorded in and around Gaoua, Burkina Faso, on a two-week journey in June 2014, by Dirk Dresselhaus (alias Schneider TM), Julian Kamphausen and Arved Schultze. The Lobi are an ethnic group of about 180,000 people living in southern Burkina Faso and bordering regions. The primary instrument of their traditional music is the balafon, played solo or in a duet, usually accompanied by percussionists. Lobi balafon music serves as a complex language for communication with the audience but also with ancestors and spirits. Different kinds of music are used for different purposes and social atmospheres (birth, death, joy, hunting, war, etc.) At its core, this music is hundreds of years old and knowledge of its mastery is passed on from generation to generation, with different styles emerging in different regions and outside influences picked up on the way. The first well-known recordings of Lobi balafon music were made in 1961 and published on the Ocora LP Musiques Du Pays Lobi. While the tunes heard there clearly show their ancient roots, the music on this release is not isolated from current influences and carries traces of the modern African electronic pop music and contemporary R&B that is widespread in the region. This has led to a new minimalist, poly-rhythmic, and breakbeat-laden style prominent in Gaoua, to, recorded here for what may be the first time. Yet the pieces are the same traditional songs, played differently from generation to generation and from day to day. Musicians on the LP are Martin Kensiè (Da Toh Alain) with ensemble and Palé Goukoun. Their fathers -- Kambiré Tiaporté and Palé Tioionté, respectively -- had been recorded in the 1990s for the Ocora CDs Pays Lobi, Xylophone De Funérailles (1999) and Pays Lobi, Xylophones Du Buur (2006) that served as the starting point for this journey, The record is supplemented by numerous photos and an extensive interview with Dresselhaus. DVD features a full-length movie by Schultze, documenting the trip through various localities and villages, with numerous performances also including other musicians. Full-color gatefold sleeve with DVD tray [DVD is PAL format, region free]. LP version. Day Of Light, the first album by Chicago musician Constantine, released as a private edition in 2015, took the underground psych-folk scene by storm and it's now a cult album between psychedelic aficionados. Guerssen Records announce the release of Constantine's second effort: In Memory Of A Summer Day, another psychedelic folk-rock gem filled with pastoral tales of adventure, beauty, and sorrow. Recommended for fans of Mark Fry, Shide & Acorn, Trader Horne, Donovan. Come sit beside the riverbank and try to recall the happy summer days... Includes twelve lyric insert pages. LP version housed in a whimsical storybook-illustrated gatefold sleeve (artwork by Stephen Titra of O.W.L.). LP version. Mental Experience present the first ever reissue of Steve Piccolo's debut album from 1982, Domestic Exile. A hidden gem of minimalist beauty, mixing a post-punk/DIY/lo-fi aesthetic with art-rock and spoken poetry. Steve Piccolo has been in active since the mid-1970s in music, theater, performance art, sound installations, video and film soundtracks. In 1979, he started with the Lurie brothers the "fake jazz"/no wave band, Lounge Lizards. Domestic Exile was recorded one year after the seminal Lounge Lizards debut, at a time when Steve was living a kinda schizophrenic existence: working at Wall Street by day and going to clubs and art spaces almost every evening (he was one of the artists filmed for the no wave documentary 135 Grand Street New York 1979). Early on, he was influenced by Mose Allison, Tom Lehrer, Randy Newman, and "people who put thoughtful witty lyrics onto rather standard pop music". In just two weeks, Steve wrote the collection of songs which would form Domestic Exile. Somebody described them as "Neurotic City Folklore" as the lyrics dealt with living in NYC, urban angst, isolation, yuppies, nuclear paranoia. The recording took place at the ZBS Foundation in New York, engineered by Bob Bielecki (a collaborator of Laurie Anderson and La Monte Young). Steve sang, played electric guitar, bass/double bass and percussion. He was joined by Lounge Lizards bandmate Evan Lurie on Farfisa keyboard and G. Lindahl on synth. Although one of the tracks, the catchy "I Don't Want To Join A Cult", was an underground hit in Manhattan -- even Debbie Harry (Blondie) wanted to do a cover version -- no one expressed interest in releasing Domestic Exile. Soon after, Steve went to Italy and Domestic Exile was finally released on a local label. The result was a minimalist art-rock masterpiece which could be described as a lo-fi version of John Cale's Music For A New Society. Sadly, the quality of the original pressing was not very good and there was a mistake with a couple of song titles/running order. These issues have been fixed for this new reissue. Carefully remastered by Gak Sato. Includes insert with detailed liner notes and track-by-track comments by Steve plus lyrics."I was always fascinated by society's total dropouts, and by the idea of surviving completely outside the system, without an identity, papers, money, job, family. But not without friends... that would be unthinkable, unnecessary cruelty." --Steve Piccolo LP version. LP version includes digital download card; includes CD bonus track. Mental Experience present the first ever reissue of Bomis Prendin's Clear Memory, originally released in 1984. Formed in 1978, Bomis Prendin is a collective of experimental "noisicians" from Washington DC, pioneers within the DIY, Industrial, cassette culture, and experimental electronics scene. Using cassette recorders, mutated musical toys, electric guitars, bass, rewired circuitry, analog pedal effects, and cheap keyboards, they recorded and released in the late '70s a couple of astounding flexi-discs (Test and Phantom Limb) which led to them being included on the infamous Nurse With Wound list. Clear Memory was originally released in 1984 only on cassette (50 copies) and it's an incredible example of DIY mutant psychedelic pop and homemade electronic weirdness which sounds years ahead of its time. "Clear Memoryreveals a wonderland of sense-expanding psychedelic potentiality lurking below the surface." --Mutant Sounds "Their music features an incredible variety of sounds, images and structures that places it somewhere between slightly mutated rock and roll and pure experimental composition." --Gary Indiana (Modern World) RIYL: Residents, Chrome, Cabaret Voltaire, Faust, Throbbing Gristle, Cluster, Olivia Tremor Control... Master tape sound. Four-page insert with liner notes by Klemen Breznikar (It's Psychedelic, Baby). CD version includes one bonus track. First collaboration ever between Japanese noise legend Merzbow and visionary/provocateur Kaoru Sato of R.N.A. Organism (Vanity Records) and EP-4 (WRWTFWW). Side A: live recording of Merzbow and Kaoru Sato's first live collaboration ever. Recorded October 21st, 2018 at Metro Club in Kyoto for a three-label showcase with avant-garde imprints Slowdown, Phonon, and Kyoh Records. Side B: Solo sessions by each artist that took place after the joint performance on the same night. Edited and mixed in their respective studios. Sommor Records present the first ever official vinyl reissue of Hackensack's Up The Hardway, originally released in 1974. Classic, raw UK blues-hard-rock from 1973 featuring powerful guitar player/vocalist Nicky Moore. With a name taken from a Thelonious Monk album track, Hackensack became in the early '70s one of Britain's hardest rocking and hardest working acts and are still remembered fondly today by those who experienced their unforgettable, powerhouse live shows. Up The Hard Way was their debut album, recorded in late '73 at De Lane Lea Studios, Wembley, and released the following year on the Polydor label, housed in a fab sleeve by Jim Fitzpatrick. Musically, it's a varied album which goes from hard-rock to blues and rural rock. Includes an eight-page insert telling the comprehensive history of the group from their Gas Avenue roots in 1969 to 2019, plus many rare photos and memorabilia; extensive liner notes by Pete Sarfas. A must for all fans of a band who deserved to be as big as Free. Original artwork. Master tape sound. 8-page insert reproducing the original insert plus & rare photos / memorabilia From original masters. Insert with full band history by Pete Sarfas of Audio Archives plus rare photos and memorabilia. LP version. First vinyl reissue. Souffle Continu Records present a reissue Le Théâtre du Chêne Noir's Aurora, originally released in 1971. In 1972, Steve Lacy recorded Solo, one of the gems in his discography, in the Théâtre du Chêne Noir in Avignon. The previous year (which was also the year in which Aurora appeared), the eponymous group of actors led by Gérard Gelas, took up residence in what was a 12th century chapel. The Théâtre du Chêne Noir is therefore not just the name of a space open to all kinds of artistic audacity, but also the name of the great Theatre Group which resides there. Gérard Terronès showed some flair when he published, in 1971 on Futura, the first album by Théâtre du Chêne Noir. It has to be said that the group run by Gérard Gelas was right up his street: non-conformist, eccentric, protesting, just so alive... Singing too, as you can still hear today on Aurora, recorded at Avignon the 22nd and 23rd of June 1971. Aurora, which had been created a few weeks earlier at Ariane Mnouchkine's Théâtre du Soleil, is according to, Gelas' own words, a fantastic tale with actor musicians who play out the fabulous story of the Earth, and children who fight against terrifying bird men who fly from planet to planet to enslave the inhabitants and become the masters of the universe. It is an ambitious subject and thankfully (even more so for the album than for the play), the actors are also excellent musicians! If you can find Chêne Noir between Checkpoint Charlie and Chillum in the Nurse With Wound List created by Steven Stapleton and John Fothergill, Aurora is closer to Stances à Sophie by the Art Ensemble Of Chicago and the Divine Comédie by Bernard Parmegiani and François Bayle. So, move forward cautiously in this landscape of recitals and songs, of mysteries and cries, where saxophones and flutes, electric guitars and percussions spring up... Could the tragic climax have been possible without music? The Théâtre du Chêne Noir replies no to the question and creates a fascinating mix of text and music without one dominating the other. Enjoy the show! Remastered from the master tapes. Licensed from Futura / Marge. UK dub pioneers Alpha & Omega represent a major part of the foundation of soundsystem culture and bass music migration from Jamaica, via the UK, to the world. Formed in the 1980s and with over 30 studio albums to their name, A&O deliver their latest production. Shadrach, Meshach And Abednego is a remarkable return to the mystical UK dub sound introduced by A&O in the 1980s. A powerful album in both word and sound featuring some of the greatest conscious reggae vocalists of our time; Danny Red, Joseph Lalibela, Wellette Seyon, Ras Tinny, and Nai-Jah. First vinyl reissue of this Indian classical masterpiece recorded by Shrimati Kalyani Roy in the late 1960s. Undoubtedly one of the most talented sitar players in the history of the instrument. She is considered as one the finest female players in a field that was dominated by her male counterparts. On these recordings, a two-volume set, she is accompanied by Manick Das (tabla) and Namita Chatterjee (tambura). Recorded in Japan on September 20th, 1974. Vol. 1 and Vol. 2 (V 2011LP) come as two separate LPs. First vinyl reissue of this Indian classical masterpiece recorded by Shrimati Kalyani Roy in the late 1960s. Undoubtedly one of the most talented sitar players in the history of the instrument. She is considered as one the finest female players in a field that was dominated by her male counterparts. On these recordings, a two-volume set, she is accompanied by Manick Das (tabla) and Namita Chatterjee (tambura). Recorded in Japan on September 20th, 1974. Vol. 1 (V 2010LP) and Vol. 2 come as two separate LPs. Marine weather reports recorded from radio broadcasts by Sven-Åke Johansson in 1970 at the Kollektiv für Kommunikative und Ästhetische Forschung in Mariental, Lower Saxony, Germany. Printed inner sleeve containing liner notes by Thomas Millroth about forms of artistic appropriation in Johansson's work; Edition of 300. "During my communal life at the former Mariental monastery in Lower Saxony, in the late hours behind thick monastic walls -- there was no village pub -- I played with my radio in my chamber. Often we would sit together and listen to the late-night marine weather forecasts (Seewetterbericht), broadcasted alternately via shortwave and FM. Particularly we liked the navigational warnings (Seewarnnachrichten). In the announcers' way of speaking -- very slowly --, we found a new type of poetry; realism. I recorded many hours with my Uher Report tape recorder and a Sennheiser microphone placed in front of the loudspeaker. A small selection is presented on this LP." --Sven-Åke Johansson"In the unknown and confusing names of this boundless poetry, it's impossible to see your own reflection; your face is not visible here. You have to disrupt your patterns. Find yourself in this psycho-geographic map of storms and winds. Sven-Åke Johansson does not use appropriation as cultural recycling, he creates culture by simply giving the objects new paradigms." --Thomas Millroth February Montaine's "Mount Nod" is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated "I'm on the bottom line but I'm doing fine" changing meaning as the song goes on, plotting the course of Mr. Montaine's sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side, Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine's worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. Be With Records thank Sam Potter of '00s band Late of the Pier for sharing the story of February Montaine back in the spring of 2017. When the label first heard "Mount Nod" their jaws dropped. Be With immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it's perfect, addictive pop which generously gifts the listener eternal goosebumps. Three years later, Be With Records bring this out as the second release in our Be Pop series of 12"s. White vinyl; picture sleeve; limited edition of 500. LP version. Digitmovies releases the originally soundtrack by Luciano Michelini for the film Silent Action (aka Chopper Squad, original title La Polizia Accusa: Il Servizio Segreto Uccide). Luciano Michelini created symphonic background music that alternates romanticism with drama and mystery. The album opens with the theme of the opening credits, a dark motif produced by strings, percussion and piano which is reprised later in the film. A second recurring motif is a love theme that is introduced in a slow, romantic version with a modern arrangement that alternates with a fast, extravagant march. Initially only the mono mixed tapes were found, but further research into the RCA archives brought to light the stereophonic tape of a previously unreleased LP montage. Directed in 1975 by Sergio Martino, La Polizia Accusa: Il Servizio Segreto Uccide) starred: Luc Merenda, Mel Ferrer, Tomas Milian, Delia Boccardo, Michele Gammino, Paola Tedesco, Gianfranco Barra, Carlo Alighiero, Antonio Casale, Gianni Di Benedetto, Claudio Gora, Giancarlo Badessi, Clara Colosimo, Arturo Dominici, Carlo Gaddi, Claudio Nicastro. In July, 1974, the Italian news reports the tragic deaths of a major, a colonel and a general. Commissioner Solmi investigates the apparently random accidents but focuses on the subsequent assassination of an electrical engineer who he finds out is actually a private investigator. While Judge Mannino reprimands Solmi for his methods, his journalist friend Maria helps him. He comes into contact with Captain Mario Sperlì, a secret political agent working at the Special Information Office, who shows interest in the case and admits to the existence of a failed coup against government security. The investigations, however, are stalled when the accumulation of both crimes and clues forces Mannino to side with the commissioner. Solmi discovers a map and follows his intuition which leads to the identification of a clandestine training camp and the arrest of the guilty party. The Kollektiv für Kommunikative und Ästhetische Forschung was an artist commune that existed for about two years around 1970 in a former monastery in Mariental (Lower Saxony), West Germany, close to the then inner-German border. It was founded by members of the West Berlin free art and music scene, many of them having been part of the scene based around the short-lived Zodiak Free Arts Lab. Among the residents were drummer Sven-Åke Johansson, guitarist Norbert Eisbrenner and bassist Werner Götz who had formed the experimental trio MND (Moderne Nordeuropäische Dorfmusik, Modern North European Village Music) in West Berlin in 1968. One of the communal activities was to jointly make music, thereby including both the trained musicians as well as the inexperienced players and non-musicians. This led to the formation of a larger communal group around the MND core, named Schlangenfeuer (Snake Fire) by Eisbrenner; other names like Norddeutsche Dorfmusik Mariental appeared on concert posters, too. The concept of bringing together players from different backgrounds in order to improvise was followed elsewhere at that time, too, though many of such enterprises evolved around one or more leaders who clearly left their mark on the resulting sounds. Unlike such groups, the Mariental undertaking was distinctly egalitarian, with the experienced players giving leeway to the others to express themselves, while never overreaching with disproportionate virtuosity or soloing. For these reasons, their music sounded different from many jazz-based free improvisations, rather closer to early Faust or, more specifically, Kluster, Eruption, and Human Being, similar endeavors from the West Berlin underground music scene. "... The more complex and in a different way expressive free jazz which we were pursuing at the same time was somewhat put aside in favor of a joint performance of the 'commune'. The result was a new kind of monastery music, nourishing the youth in their longing for community." --Sven-Åke Johansson Double-LP containing a full concert recording from the festival "Art Information 71" in Kiel in June 1971, one of three public performances of the Schlangenfeuer group. Players: Norbert Eisbrenner (el. guitar), Peter Dyck (cello), Rita Eisbrenner (vocals), Elke Lixfeld (vocals), Boris Schaak (vocals, bassdrum, bell), Werner Götz (double bass, viola), Sven-Åke Johansson (drums, oboe d'amore). Gatefold sleeve with photos and extensive liner notes by David Toop; Includes a reprint of the festival poster; Edition of 300. Double LP version. Raise The Ark, the new album from Alpha Steppa, marks ten years of Steppas Records. This vocal-dub album defies convention and introduces the listener to a new world of soundsystem music. Raise The Ark evolves and expands the distinct avant-guard dub style of Alpha Steppa, exploring the realms of hip hop, trap, trad, folk, and bass music. True to the Steppas Records ethos, the music carries a deep and crucial message, covering current and timeless topics; from the climate crisis, sociopolitical issues, to roots, culture and spirituality. Working closely with known artists from the Steppas imprint and as we have come to expect, introducing us to new and emerging talent from across the globe. Raise The Ark features include; Pupa Jim of Stand High Patrol (France), Sista Awa (Italy/Senegal), Cian Finn (Ireland), Ras Tinny (Suriname), Nai-Jah (Nigeria), Tenor Youthman (Russia), Eva Keyes (Ireland), and Block Mameli (Italy/Ghana). The collection features evocative and provocative vocal tracks and thundering instrumental/dub mixes. Raise The Ark is a truly eclectic, profound and exciting album not to be missed. In partnership with onetreeplanted.org we will plant a tree in Ethiopia for every record sold. "One of the most prolific and inventive dub producers around" --Wire. "A serious player in the soundsystem world" --Mixmag. 2020 repress. Echoes is the ethno-wave love child of collaborators Frank Harris and Maria Marquez. A collection of sublime songs dating back to '85, avant-pop flourishes are married here to the heart strings of a synthetic Amazon -- think Music From Memory's Outro Tempo (MFM 016CD/LP, 2017) meets a tropical Sade. With much contemporary interest in South American electronic music, Echoes is a window into two musicians prescient dreamings of tradition, melody, and technology. Reveling in the embrace of Maria's Venezuelan roots amd folklore visions, combined with Frank's custom Synclavier synth station, songs such as "Canto Del Pílon" and "Tonada de Ordeño" resonate with a charged future/primitive electricity; Maria's song-to-a-siren vocals mainline with Frank's lush sonic alchemy. Mastered for vinyl by George Horn at Fantasy. A portion of Echoes profits will go to Venezuelan charity. 180 gram vinyl with printed deluxe sleeve; Full size graphic insert; Includes two-sided, full-size insert. LP version. 180 gram color vinyl; printed inner sleeve. Lo Chiamavano Bulldozer is a movie that was directed by Michele Lupo in 1978 that tells the story of an ex-football player (Bud Spencer) turned sailor, who after some misadventures ends up training a team of ragtag young players, far from real sportsmen. The match against Sergeant Kempfer's team, from a nearby military base, is approaching soon, and Bulldozer will have to give his all to win it. Lo Chiamavano Bulldozer is one of the most beloved scores by Guido & Maurizio De Angelis fans, dominated by the iconic theme dedicated to great Bud Spencer. This edition marks the collaboration between the two composers' label, Cabum and Beat Records, continuing a series that aims to shed new light upon the two maestros' catalog. It's a release that can't be missed by lovers of film music and all fans of this soundtrack who have been waiting years for this release. Part of the DDJ DLX series. Iconic poster art by Renato Casaro on the cover, graphic layout and liner notes by Daniele De Gemini and English edit by Josh Mitchell. Mastering by Enrico De Gemini. Restocked; 2017 repress; originally released in 1966. Featured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry (trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd (trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. "This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout." --Scott Yanow, AllMusic First appearance on 7" for The Vaselines' classic debut single that was originally released on 53rd & 3rd Records in 1987. Two of the three tracks that were on the 12" are included in this version. Color vinyl ; includes postcard and poster. Throughout his career, Roger Semsroth has followed a deep intuition for experimentation in sound, wrapping club music around eerie microtonal motifs and industrial sensibilities. This new work for Tresor takes a step forward, as the first true techno album from Sleeparchive, where his previous LPs have exhibited themselves more conceptually, or under different names and his Nord Vest label. Semsroth has been active in electronic music since the late '90s. He received initial attention first for his electro productions under the alias Skanfrom and the '80s minimal synth inspired Television Set. These projects echoed his love for these sounds, which the East Berliner had steadily immersed himself with after the end of the GDR. Upon hearing the bleeps of Mika Vainio and Plastikman, he began to engage with his strain of techno. Over the last decade, he has focused on his Sleeparchive alias, which dates back to 2004. Alongside close friend DJ Pete, he performs live techno as TR-101. His relationship with Tresor began in 2011, first releasing the Ronan Point EP (TRESOR 243EP) and following up with the crucial A Man Dies In The Street series in 2013 (TRESOR 260EP, TRESOR 264EP). With this new album, Sleeparchive's impact on the techno sound is ever more relevant. Awaking in constant locomotion, locked-in, unrelenting, and dry. Sleeparchive's churning loops etch visions of tight minimalism at times densely frenetic and others serenely galactic. This predilection continues throughout the four sides on the album, eschewing conventional arrangement styles with gradual probabilistic change. Tracks such as "Needle" and "Peccant" offer up precise, sinewy techno. "Leave" recalls the Detroit sound of Terrence Dixon, with its cascading synth tones and droning atmospheres. The album closes with a different version of "Trust" to that found on 2019's Revised Recordings EP released on Tresor (TRESOR 309EP), with its now-familiar nerve-inducing pizzicato strings even more at the fore with its mechanic delivery. 180 gram vinyl; includes download code. Double LP version. 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 Giovanni di Domenico and the drummer Tatsuhisa Yamamoto they form this powerful band. Their second release combines contemporary avantgarde and free jazz in a beautiful way. Personnel: 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 June 30th, 2018; Recorded by Jim O'Rourke. LP version. Kanaan from Oslo, Norway is back with their second album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February (EPR 057LP, 2020), Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne (EPR 050CD/LP, 2018), Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic color as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track "Worlds Together", to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions, and synthesizers embrace and enhance the Norwegian modern-day version of a power-trio. LP version. Includes download card. Lascelle "Lascelles" Gordon -- the driving force behind Vibration Black Finger -- astonishes yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form. Having earned his chops as founding member of the Brand New Heavies, Campag Velocet, and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité, and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future. "Can You See What I'm Trying to Say" is a quote from Marion Brown, the great alto saxophonist's explains Gordon. "The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen and Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on 'Law Of The Universe') were recorded 25 years ago. 'Only In A Dream' and 'Empty Streets' are the only songs that were recorded live in the studio. "Empty Streets"opens the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. Following "Empty Streets", some instrumental interludes segue into a dimensional drift of beats, space synths, horns, and electronics; there's a vocal reprise of "Acting For Liberation", sung with gusto by Maggie Nichols, and then there's the album's momentous finale, "Only In A Dream", which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world. In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator, or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital, and contemporary as anything he's done before. On her sixth album, the French electroacoustic composer Bérangère Maximin explores the idea of a kaleidoscopic world -- a sonic aggregation of living creatures, plants, minerals, nature, and buildings, using various sound objects, small percussions, synths, electric guitar, voice, and electronics. Working out of her private studio since 2008, Bérangère Maximin has developed her own approach to sound art and electronic music, composing dense, immersive pieces with immediate impact. On five albums -- released to critical acclaim on Tzadik, Sub Rosa, Crammed Discs, and Craig Leon's Atlas Realisations label -- she has revealed a taste for mixing disparate sounds together with a sense of detail, effusive, lyrical playings with the digital material and tight nuanced writing. Bérangère Maximin's music engages the listener in consideration of space and textures, the sound ambivalence and its independence from its original source being at the center of her work. During her career, the French composer has obtained commissions and residencies in National Music Research Centres such as Paris's Ina-GRM, Stockholm's EMS and received a grant from the "Villa Medicis Hors Les Murs" program in New York City (Cultures France). She has performed in notable festivals, venues and concert halls from Paris's Présences Electronique festival, London's Hayward gallery, NYC's Roulette, Hamburg's Elbphilharmonie's e-Phil series to major international festivals in Eastern Europe. Beside her solo performances, she also regularly shares the stage in duo with Fred Frith. Land of Waves: three words evoking territories of plains and curves connected with each other by canals, footpaths, tunnels. The four parts of the album lead the listener into a hybrid land where the jungle meets the city -- a succession of reliefs, surfaces, textures, layers create a large mosaic as if on a concrete wall which seems solid and definitive but is in fact penetrable, alterable. For Land of Waves, Bérangère Maximin took inspiration from recordings she did in various city parks, abandoned properties and limits with the suburbs during her travels in Europe, the diversity of sources, the variations of events and the contrasts between day and night they offered, and reinterpreted them in the studio. 180 gram vinyl, double LP; includes download code.

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