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For their thirtieth anniversary, Ultra-Red, the international sound art and popular education collective is releasing the first volume of Ulta-red: A Journal of Militant Sound Inquiry, investigating movement-based listening practices that take the forms of militant inquiry and political education. In the words of Ultra-red, "No movement without listening!"The initial issue of Ulta-red examines "conjunctural analysis," or "naming the moment," as a practice of collective inquiry. The issue begins …
In Straight Up, Without Wings, Joe McPhee surveys sixty years in creative music. Starting with his trumpeter-father's influence and formative years in the U.S. Army, McPhee recounts experiences as a Black-hippy-cum-budding-musician based in upstate New York, perched at an ideal distance from Manhattan’s free jazz demimonde of the 1960s and its loft scene of the 1970s. A natural storyteller, revealing never-told tales and reveling in the joys of noise, McPhee puts the influence of – and encounter…
"On the cover: Grace Jones by Tamara Palmer: Palmer delves into the entire history of this remarkable artist, who will naturally deliver us a stunning cover image. Jones is even more of a one-of-a-kind musician and persona than most of us realize, so we're extra excited to feature her on the cover of this issue. Deep Archival Dives With Living Luminaries -- PULP: Peeling back the onion of time, we are graced with a fine selection of ephemera and rare images from the forthcoming Hat + Beard book …
Alabaster DePlume’s debut poetry collection, Looking For My Value: Prologue To A Blade, offers readers a deeper exploration of the themes of dignity, sovereignty, and the work of healing that are present in his music. Arriving as a limited gatefold custom A6 pocket book featuring cover art by British illustrator Ian Wright and design by London-based Jamie Coull, this collection features raw and vulnerable prose that reflects DePlume’s journey toward finding and taking responsibility for his own …
After the high times and critical-mass arrangements of the previous two records, Snowbug exuded a breezy, spare, morning-after vibe. Edified by all manner of world-folk, classic Brazilian pop and the first volumes of the Ethiopiques comp, the Llamas recorded in London with Fulton Dingley and in Chicago with Bundy Brown and Jim O’Rourke engineering at Electrical Audio and John McEntire mixing at Soma. Snowbug is an understated, underrated gem.
The remix album, with marvelously creative EDM remakes from some of the best powerbook players of the day: Mouse On Mars, Jim O’Rourke, Kid Loco, Schneider TM, Stock, Hausen & Walkman, Cornelius and The High Llamas themselves. In addition to showcasing this emerging new generation of digital masters, the treatments here also highlight an oft-undersung aspect of The High Llamas’ sound – the influence of Krautrock.
Having passed – at least figuratively – through hundreds of years over the course of their previous two albums, the good ship High Llamas docked, fully loaded, into a congenial present moment for once in its life. O’Hagan’s continued work with Tim Gane and Stereolab caused a healthy dose of electronica to spike the Llamas’ already heady brew, creating an apex of late 90s-style neo-exotica. RIYL: Mouse On Mars, Oval, Grand Royal, Dots and Loops.
The High Llamas discover America – yes, it had been done before, but not via their envisaged pilgrims’ passage. Energized by the breakthroughs of Gideon Gaye, they went all-in, producing a wide-screen epic further exploring their unique agenda. The reference points multiplied, stretching through realms of classic pop and jazz, soundtrack music, exotica and neo-Americana, while charting a journey through musical landscapes of abiding lightness.
This brave foray into conceptual art music produced a jaw-dropping reset on the 20th century pop perspective. The High Llamas engaged songwriting and production with an eye toward filmmaking. Digging through ephemera of choice vintages with post-modern zest, they struck a rich vein they could call their own – a kind of gothic Americana, formal aspects pushed to extremes. The spirit of discovery here can be vibrantly felt over 30 years later.
*1st ever LP pressing!* For The Llamas’ 1992 debut, Sean O’Hagan, working the sextant to navigate a post-Microdisney course in the musical world, posted them up as a guitar pop band (RIYL: NRBQ, Big Star, Steely Dan), with nine exquisitely crafted examples of the oft out-of-step sound. Had there been no more after this, Santa Barbara would still be sought-after buried treasure by the perennial waves of voyagers seeking these sweet, jangling spices to this very day.
** Collector's edition of 35 copies, each accompanied by a foulard-kite designed by the artist **
Xing presents the new LP I-A-K Interplanetary-Abyssal-Kite by Francesco Cavaliere, fifteenth release of XONG collection - artist records. I-A-K Interplanetary-Abyssal-Kite is a composition by Francesco Cavaliere, part of his Abyssal Creatures project based on an ensemble of concave blown glass sculptures that recall transparent creatures far from human representation: beings that inhale sound and …
112 pages. Italian language.Popoli di Vetro (Peoples of Glass) is a new publication by Francesco Cavaliere published by Viaindustriae and produced by Xing, in the frame of the project Abyssal Creatures supported by Italian Council.Popoli di Vetro is an artist’s book in the form of a fantastical novella. Here, the writing generates an imaginative world in which glass is the pervasive element the protagonist must deal with.
Tan – also known as Metastasio – moves freely in an abyssal setting, searc…
300 copies only! First-ever vinyl pressing of the band's inaugural EP, 'Sleepy Jazz for Tired Cats', featuring new artwork and mastering by Marta Salogni.
Established in 2013 by Valentina Magaletti and Tom Relleen, the duo operated until 2020 as a creative laboratory for the London-based musicians to explore beyond their traditional musical endeavours. They sought to deconstruct their usual sonic frameworks, venturing into a novel and unfamiliar auditory landscape. Their work seamlessly integrat…
Robert Rental takes up residence with Dark Entries again for a reissue of Mental Detentions. Robert Rental was a Scottish pioneer of DIY electronic music. Along with his illustrious collaborators like Thomas Leer and Daniel Miller, Rental helped shape the countercultural sound of the UK with his timely melding of Krautrock, dub, and punk. Originally from Port Glasgow, he moved to the south of England with Thomas Leer in the late 1970s, and became involved with the local music scene. Robert Renta…
Terry Riley’s Shri Camel is a meditative masterwork blending the feeling of eastern music with repetitive electronic patterns, obtained using a modified Yamaha YC-45D combo organ tuned in just intonation and augmented with digital delay. In C and Rainbow in Curved Air get all the ink (inc?), but its own somewhat subtle way, 1980’s Shri Camel, the last of the three brilliant albums Terry Riley recorded for CBS, is every bit as groundbreaking as its hallowed predecessors. Not content to rest on hi…
The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence…
In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typ…
The Bill Evans Trio's 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy-nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding "T.T.T.T. (Twelve Tone Tune Two)”. The Tokyo concert reveals the trio functioning at a high level, with each member by this time able to anticipate whatever direction the …
OEC is proudly going "again" for the re-edition of that SPK masterpiece first out in 1982.
More than 40 years are gone but the energy of Leichenscrei by "Socialistisches Patienten Kollektiv / << S.P.K. >>" is still very H.I.G.H.! A reference and absolute highlight in Industrial culture and muzak!
300 copies limited edition First Zero Kama come-back concert after a long hiatus, live in New York City on July 22 2022. All tracks written and performed by Zoe Dewitt. Based on samples from Zero Kama’s 1984 recording "The Secret Eye of L.A.Y.L.A.H." processed by modular synthesis. Cover artwork: Zero Kama video stills, concert photo by Petra Sperlhofer.