{"title":"LP","description":"","products":[{"product_id":"simon-joyner-songs-from-a-stolen-guitar-lp","title":"Simon Joyner - Songs From A Stolen Guitar LP","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eArtists are not athletes. The career of the athlete is, by mortal necessity, compressed and brief. No one expects to see a professional slugger in their sixties out on the diamond, much less see them vying for a pennant. Artists, on the other hand, tend to age like wine—think Dylan, Cohen, and Cash—with the most rarefied among them capable of swinging for the fences with every at bat. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOmaha singer-songwriter Simon Joyner, who recently turned fifty, is such an artist, and while I’d certainly enjoy seeing his face grinning at me from a box of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWheaties\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, I’d rather he continue making albums like \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJoyner, who’s been making records since 1990, has been on a roll since his mid-career magnum opus, 2012’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGhosts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, one of the great double albums of the past 25 years. On \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, he is abetted by collaborators new and old, but the social distancing required by the pandemic of 2020 imbues the album with a distinct and poignant tenor.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe remoteness of the individual players on \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e while necessarily eliminating some of the ragged spontaneity of much of Joyner’s previous work, yields a sort of silver-lining effect: Joyner’s songs, produced more meticulously and perhaps more intentionally here than on any of his previous albums, cut through that much cleaner, foregrounding both his dazzling wordplay and his clarity of vision. If \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGhosts \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ewas his \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTonight’s the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e—clamorous, naked, and unmoored—\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e may just turn out to be his \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eHarvest\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e was recorded across several different cities. Joyner recorded his vocals and guitar live in Omaha; bassist Wil Hendrix added his parts at home in San Francisco, Michael Krassner recorded his guitar and piano overdubs at home in Phoenix, and drummer \/ percussionist Ryan Jewell recorded in Colorado. This musical chain letter then made its way back to Omaha where David Nance (guitars and backing vocals), Ben Brodin (organ and vibraphone), and Megan Siebe (viola and backing vocals) overdubbed—separately—their respective contributions.  \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs with any album recorded and \/ or released in the midst of wide scale upheaval, it is easy to read into these songs, and the performances of them, a thread of alienation, loneliness, and loss.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“The album wrestles with themes of isolation, so it was fitting that the musicians were alone to figure out their parts,” says Joyner, “and the overall atmosphere of the record is stark, and reflects that kind of isolation and first person point of view.” Joyner even asked drummer Ryan Jewell to avoid using a traditional drum kit, and to eschew cymbals entirely, to draw attention \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eto\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e rather than \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eaway from\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e the isolated, unnatural nature of the recording. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe gambit pays off. The “virtual” band plays a supporting but complementary role throughout, always generating the appropriate amount of tension to accompany and swaddle these quixotic and emotionally charged stories populated by broken sunsets, haiku dreams, and chandelier spiderwebs. Indeed, the interplay is sensitive and cohesive, albeit mediated by geographical distance, often sounding like music filtered through the mist of an autumn morning. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eStill, when it comes to Simon Joyner records, you pay your ticket to hear great songs, and in this category, too, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e does not disappoint. The stirring “Tekamah,” boasting a strong and scene-stealing harmony vocal by Nance, is road trip sing along-worthy; the tender and beguiling “Caroline’s Got A Secret” reimagines the twilight elegance of the third Velvets album as a melancholy mystery; the introspective and sublime “The Actor” introduces us to a damaged yet imperishable character who coughs up blood and confronts ghosts reflected in the mirror; “Live In The Moment”—in which Joyner mischievously teases us with a bit of autobiography—wrings from its title’s platitude a panorama of vivid characters and situations via lyrics that are pure poetry (“I was hiding like the pulse on a newborn’s wrist”).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIt turns out that the limitations imposed on the creation of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSongs From A Stolen Guitar\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e are, ultimately, serendipitous. The result is the rare album that \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003esounds\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e like what it’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eabout\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e: the chasm that separates loneliness from aloneness, the lines between love and surrender, the distinction between the tornado and what it leaves behind. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e-James Jackson Toth\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGrapefruit, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Grapefruit","offers":[{"title":"Default Title","offer_id":42475279810745,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/simonjoynerstolen.jpg?v=1656010318"},{"product_id":"home-front-think-of-the-lie-12","title":"Home Front - Think Of The Lie 12\"","description":"\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCreated on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta’s HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, “Second Empire Justice” era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the “death” of punk and the “birth” of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\" data-mce-fragment=\"1\"\u003eRecorded by HOME FRONT in an unheated plywood box in some semblance of fading daylight.\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProduced and mixed in the darkest depths of lockdown by Jonah Falco on a boat moored outside an isolated estate along the A40 in between sets of “The Evil Russian Pushup Challenge” and icy walks to Lidl.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLa Vida Es Un Mus, 2021\u003c\/p\u003e\n\u003c\/div\u003e","brand":"La Vida Es Un Mus","offers":[{"title":"Default Title","offer_id":42475299012793,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/homefront12.jpg?v=1656010580"},{"product_id":"straw-man-army-sos-lp","title":"Straw Man Army - SOS LP","description":"\u003cp\u003eNew York’s Straw Man Army return with ‘SOS’, the follow-up to their 2020 debut LP, ‘Age of Exile’. Emerging from the D4MT Labs group that also includes Kaleidoscope and Tower 7, Straw Man Army’s delicate musical touch, embrace of melody, and rapid-fire, clearly articulated vocals separate them from the louder and noisier end of New York’s fertile punk scene. While ‘Age of Exile’ examined the legacy of colonialism through the musical milieu of melodic anarcho-punk, ‘SOS’ turns its attention to the increasingly bleak prospects for the human race and planet earth. While Straw Man Army’s lyrical approach remains dense and thought provoking on ‘SOS’, their musical scope grows wider, encompassing ‘Age of Exile’s’ melodic take on anarcho, bleak and brooding post-punk, psychedelic instrumental excursions, and even the wistful pop of album highlight ‘Beware’. ‘SOS’ is everything Straw Man Army’s fans could have hoped for in a follow-up and so much more, cementing the band’s status as one of the most original, exciting, and important groups in the contemporary punk underground (Daniel Lupton)\u003c\/p\u003e\n\u003cp\u003eLa Vida Es Un Mus, 2022\u003c\/p\u003e","brand":"La Vida Es Un Mus","offers":[{"title":"Default Title","offer_id":42475311464633,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/strawmansos.jpg?v=1656010765"},{"product_id":"blod-leendet-fran-helvetet-lp","title":"Blod - Leendet Från Helvetet LP","description":"\u003cdiv class=\"\" data-mce-fragment=\"1\"\u003eEdition of 500. Includes insert.\u003c\/div\u003e\n\u003cbr class=\"\" data-mce-fragment=\"1\"\u003eIt's been a true pleasure but also a rather chaotic experience to follow the progress of Blod from a close distance since the beginning. I have fond memories of receiving the odd cassettes from the early days, like the severely fucked up Unga Röster (later issued as an LP on Förlag För Fri Musik) and the awfully mesmerising Prat Om Depression recording. Returning to Leendet Från Helvetet for the first time for long a while, it's quite evident that the album marked a new phase in the troubled Blod universe. There's few traces left of the found tapes\/audial voyeurism and brutish stop\/rec editing that made up the first few releases, instead we are served with what is pretty much a proper album in a, sort of, traditional sense. \u003cbr class=\"\" data-mce-fragment=\"1\"\u003e\u003cbr class=\"\" data-mce-fragment=\"1\"\u003eThe record opens with a sole beat from a hand drum soon accompanied by a beautiful and very Blod-ish subtle melody from a glockenspiel but it only takes a few minutes before Gustaf's past as a free jazz aficionado is noticeable with the rather rough saxophone burst of 'Natten'. It's not until the title track that things kicks off for real though, most likely the first example of the sound and, maybe more so, very special feeling that I would say most people associate Blod with nowadays. To me, it's the sound of growing up in Sweden in the 80's; having two channels on the TV, eating brown food, rainy summers, taping commercial stuff on the radio, playing D\u0026amp;D in a purple tent in the garden. Memories of that certain bright light that can occur during the Scandinavian summers, those warm days when the skies are foggy. Long windswept grass and a very peculiar feeling of utter boredom. Arguably, Blod has never sounded more Blod than on this track, this is the very essence of the man's work right here. The progamm continues on side B with the solemn piano piece 'Lust', another saxophone rager and then the flipside's centrepiece 'Tro, Hopp \u0026amp; Kärlek' which pretty much mirrors the title track in it's larger-than-life scope and pure beauty. \u003cbr class=\"\" data-mce-fragment=\"1\"\u003e\u003cbr class=\"\" data-mce-fragment=\"1\"\u003eA couple of years has passed since it's initial release back in 2017 and I think it's safe to say that Leendet Från Helvetet is by far the most overlooked album in the Blod discography (well, if you can say that about a record that was only pressed in a mere 100 copies to begin with!). The blueprint to what would later evolve into the bombastic Knuta Nävar, the intimate Tusen Bitar, the highly confusing medieval masterpiece Missväxt, not to mention all the self-released cassettes and CD-rs.  \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eText by Matthias Andersson","brand":"Aguirre Records","offers":[{"title":"Default Title","offer_id":42475346297017,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/blodleendet.jpg?v=1656011267"},{"product_id":"the-stroppies-levity-lp-7","title":"The Stroppies - Levity LP + 7\"","description":"\u003cp data-mce-fragment=\"1\"\u003eLimited LP + 7\" set.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe title of The Stroppies' newest LP, Levity, serves as a creative statement of intent and an acknowledgment of the dichotomy between the music they have made and the conditions in which they were produced. For a group that started over an initial idea to \"create open ended music, quickly and haphazardly”, the logistical challenges of creating their second album in the midst of a pandemic, in a city that endured the longest lockdown in the world, created a need to redefine process.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLevity, The Stroppies strongest creative statement to date, is the result of this new approach to creative process. Playful yet focused, but broader in scope and experimentation than previous efforts, the ten songs that comprise Levity continue the band's exploration of the pop song as both foil for experimentation and conduit for personal reflection. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Whereas the group's debut LP Whoosh! demonstrated their ability to craft clean, concise jangle pop, Levity takes a different route by utilizing a darker pallet of sounds to create its impressionistic whole. Fuzz and distortion are employed to add weight to songs built on tape loops and Motorik drum patterns. Warbling synthesisers and modulated keys add new moods and dimensions to The Stroppies unique brand of pop classicism. Thematically, the band continues their exploration of the personal refracted through the lens of the absurd, though this time around the music feels a few shades darker, a somewhat inevitable consequence of the collective trauma of the past 24 months. The songs still hit with the immediacy that made their debut so engaging, but there’s a creeping cynicism and wistfulness that now permeates The Stroppies sound. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e While the narrative around the 'lockdown record' is increasingly commonplace, there are unavoidable realities involved in making creative decisions under such circumstances that can't be overlooked, especially for a band that thrives on collaboration.  \"The restrictions around COVID really informed the way we made the record', says Angus Lord, the band's co-founder and guitarist. \"There was a lot less opportunity to meet and build ideas collaboratively, which is how we’ve worked in the past. Instead, ideas were developed in isolation, then shared digitally, developing slowly over correspondence and only bearing fruit when we were able to be in a room together. I think this had a big effect on the songwriting and execution.” adds drummer Rory Heane . This process even extended to the studio, where The Stroppies found a kindred spirit in John Lee of Phaedra Studios, who mixed the record in isolation, somehow managing to synthesise the band's pop sensibilities with their penchant for studio experimentation. Furthermore, the addition of new member Zoe Monk to the , known for playing in a diverse array of Melbourne acts (Eggy, Thibault, The Opals) contributed both synthesiser experimentation and a rock solid rhythm guitar style, a huge addition to the band's developing sound, an infectious combination of the off-kilter 90s US underground, British artpunk ala Wire and a more than generous love of classic Pop songwriting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReflecting on the making of the record, bassist and co-vocalist Claudia Serfaty understands their shift in approach, noting that, “the world feels strange and in turn making pop music feels even stranger. A healthy dose of levity had to be employed in order to find meaning in the process.”  In spite of this light hearted attitude, The Stroppies have managed to craft a record of weight and substance.Through Levity the Stroppies have, at least temporarily, found their feet amongst the chaos.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTough Love, 2022\u003c\/p\u003e","brand":"Tough Love","offers":[{"title":"Default Title","offer_id":42475398889657,"sku":"","price":31.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/stroppieslevity.jpg?v=1656012055"},{"product_id":"henning-christiansen-op-163-penthesilea-2lp","title":"Henning Christiansen – OP.163 PENTHESILEA 2LP","description":"\u003cp data-mce-fragment=\"1\"\u003eBeautiful, haunting and sombre, this 2LP presents the entire recording from Henning Christiansen’s Heinrich von Kleist tribute at Rene Block’s Rosenfest festival, Berlin, 1984.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTHE REALITY IS A GHOST IN MY MIND (LP1) is a work that unfolds patiently with a mix of field recordings; wind, bird song and the sound of snow being crushed underfoot all unite in a foreboding atmosphere. IN PENTHESILEAS HÖHLE (LP2) features electronic treatments to the original field recordings found on THE REALITY IS A GHOST IN MY MIND, a representation of psychological reorientation perhaps? A deep ground tone (or ROOT as Henning calls it) leads the listener through a variety of realistic and unrealistic environments. As Henning says in his essay reprinted on the back sleeve:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Then comes a section where the field recordings of the sea, the storm, birds, cars and other things, are built together so that the realism of these sounds become unreal. For example the cars drive into the sea and the birds are singing within the storm. When you hear footsteps in the show, it’s Kleist sneaking past Deutsche Schauspielhaus. When you hear a deep, human sleeping noise, it’s Achilles sleeping. When you hear hammering it’s the weapon smith working. When you hear a stone being thrown\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e it means the unanswered question: “Who threw the first stone?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThese recordings lead to the finale where Carla Tatò’s haunted vocals into her singing mournfully along with Jan Tilman Schade’s violoncello and tuba, then a chainsaw appears.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePresented in a deluxe di-cut sleeve with writings by Ursula Reuter Christiansen and Henning Christiansen and adorned with an artwork, Penthesilea by Ursula Reuter Christiansen, 1983\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e* Small excerpts of these works previously appeared on one of the 7”s in the Rosenfest Berlin 1984 catalogue (Berliner Künstlerprogramm des DAAD ) and the compilation CD Ghosts And Monsters: Technology And Personality In Contemporary Music (Leonardo Music Journal \/ Electronic Music Foundation 1999).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e—\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA previously unreleased project of Henning Christiansen, monumental in scope, traversing years, countries and now, formats. The Henning Christiansen Archive is proud to finally present one of the crown jewels of the archive, the masterpiece ‘Penthesilea’ as a 2LP and 5CD set.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePentheseila is one of the most ambitious works in the entire Henning Christiansen oeuvre. A large-scale work from the mid eighties based on the play of the same name by Heinrich von Kleist (1808). Both Henning and his widow, Ursula Reuter Christiansen, were enthusiastic about Kleist’s text, both making works around the themes within this portent text.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHenning Christiansen first developed a work around this text for the Rosenfest festival performed in Berlin in 1984. Rosenfest was curated by René Block and featured a variety of composers presenting works in response to Kleist’s work including Robert Ashley, “Blue” Gene Tyranny etc. Henning formulated a composition utilising tape, field recordings, voice, soprano, and violoncello alongside the home made instruments of Werner Durand.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe live presentation was then expanded upon and first performed two years later at Teatro Olímpico, Rome on the 8th November 1986 as \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003edirected by Carlo Quartucci.\u003c\/span\u003e The two releases presented here include a 2 x vinyl LP of the Rosenfest recordings in 1984 and a 5CD set sharing the four and a half hour backing track prepared for the Teatro Olímpico performance in Rome in 1986. Together these two releases make up a substantial overview of one of the most significant works in the entire Christiansen canon.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eCredits:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCarla Tatò: voice\u003cbr data-mce-fragment=\"1\"\u003e Jan Tilman Schade: violoncello\u003cbr data-mce-fragment=\"1\"\u003e Werner Durand: homemade winds and tárogató\u003cbr data-mce-fragment=\"1\"\u003e Patrizia Nasini: soprano\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRecorded live at Rosenfest. Hebbel-Theater West-Berlin, 16 December 1984\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFront cover Penthesilea by Ursula Reuter Christiansen, 1983\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArchivist: Thorbjørn Reuter Christiansen\u003cbr data-mce-fragment=\"1\"\u003e Producer: Mark Harwood\u003cbr data-mce-fragment=\"1\"\u003e Executive Producer: Thorbjørn Reuter Christiansen\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDesigned by Maja Larsson\u003cbr data-mce-fragment=\"1\"\u003e Mastered by Guiseppe Ielasi\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAll material from The Henning Christiansen Archive\u003cbr data-mce-fragment=\"1\"\u003e All rights reserved The Henning Christiansen Archive\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdition of 300 copies\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHenning Christiansen Archive, 2022\u003c\/p\u003e","brand":"Henning Christiansen Archive","offers":[{"title":"Default Title","offer_id":42475596873913,"sku":"","price":42.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/hc2lppp.jpg?v=1656013614"},{"product_id":"yuko-yuko-s-t-demos-lp","title":"Yuko Yuko - S\/T Demos LP","description":"\u003cp\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eBergpolder #03 is the vinyl debut of demo's of the Dutch band Yuko Yuko. \u003c\/span\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eNotorious for their ever changing repertoire but constant quality; after the web 2.0 rock and post punk era they entered a more romantic chapter. After a handful of legendary shows the quintet, which consists members of the Homesick, Korfbal, Venus Tropicaux and Lyckle de Jong (of De Witte Kunst), entered the studio to record demos for a record never developed. The songs are clean (in a lo-fi way), poppy and inspired by the Beach Boys, the Beatles and Van Dyke Parks but with an Ariel Pink vibe. The legendary shows are in the memories of the attendencies, but this record is here to stay for all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eEdition of 200, paste on covers, two inserts with liner notes in Dutch by Arie van Vliet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eBergpolder, 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e","brand":"Bergpolder","offers":[{"title":"Default Title","offer_id":42475612930233,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/bergyukoyuko.jpg?v=1656013726"},{"product_id":"kalahari-super-voodoo-the-arabian-dream-ost-lp","title":"Kalahari Super Voodoo - The Arabian Dream OST LP","description":"\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eBergpolder #05 is a special one. A soundtrack for a movie, seen only by the happy few. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eThe film is made by Maher Al Sabbagh, who is a great cook and an even better lover of life.He asked Rotterdam based musicians Rufus Ketting (the Solo Men Only, de Vogels) and Jeroen Rozendaal (Room 101, de Vogels, the New Earth Group) to make a soundtrack for his personal documentary which had one foot on western ground and the other on arabian. The result is a crazy diverse trip, musically but also spiritually. Totally fitting with the film but also with life at that time in Rotterdam, thanks to the addition of some leftover tracks from that era. Field recordings, found footage, a sitar solo, cool beats: everything fits like a puzzle on this enigmatic record.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003e Edition of 200, paste on riso printed covers, one insert with too good to be true liner notes in Dutch by Pieter Vos\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\" data-mce-fragment=\"1\"\u003eBergpolder, 2022\u003c\/span\u003e\u003c\/div\u003e","brand":"Bergpolder","offers":[{"title":"Default Title","offer_id":42475621908665,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/bergkalahari.jpg?v=1656013797"},{"product_id":"the-garbage-the-flowers-cinnamon-sea-lp","title":"The Garbage \u0026 the Flowers - Cinnamon Sea LP","description":"\u003cdiv class=\"release-summary\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘\u003cem data-mce-fragment=\"1\"\u003eCinnamon Sea\u003c\/em\u003e’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997’s cult dreampop gem ‘\u003cem data-mce-fragment=\"1\"\u003eEyes Rind As If Beggars\u003c\/em\u003e‘. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“\u003cem data-mce-fragment=\"1\"\u003eBy some measure Wellington’s most brilliant pop band, The Garbage \u0026amp; The Flowers are classic underground rock’n’roll with a hazy ramshackle sound pockmarked by bursts of genius.” \u003c\/em\u003eForced Exposure\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFire Records, 2022\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Fire","offers":[{"title":"Default Title","offer_id":42492275687609,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/garbagecinnamon.jpg?v=1656335124"},{"product_id":"avvitagalli-none-corsa-lp","title":"Avvitagalli - None Corsa LP","description":"\u003cp\u003eDebut vinyl outing for Valentina Magaletti and Pino Montecalvo’s Avvitagalli project. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Variegated percussion + WTF jams inspired by a visit to an abandoned, torched palazzo somewhere in southern Europe. Its charred, decaying splendour casts a fitting backdrop to the surreal push-pull of Valentina \u0026amp; Pino’s aural capers. None Corsa explores presence and absence, purpose and chance, and the tension between serenity and disquiet. Composing and decomposing, grabbing at modern composition, jazz, dub and post punk along the way. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e None Corsa comes on black vinyl with a full colour cover and a striking 24 page zine with photography by Adele Di Nunzio.\u003c\/p\u003e\n\u003cp\u003eHorn Of Plenty, 2022\u003c\/p\u003e","brand":"Horn Of Plenty","offers":[{"title":"Default Title","offer_id":42492286140601,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/valentinacorsa.jpg?v=1656335383"},{"product_id":"ignatz-i-live-in-a-utopia-2lp","title":"Ignatz - I Live In A Utopia 2LP","description":"\u003cp\u003eDouble album in gatefold sleeve with artwork by Zully Adler. In co-production with House Rules \u0026amp; released in an edition of 500. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis sprawling collection by Belgian loner blues savant Bram Devens aka Ignatz encapsulates the mystery, murk, and melancholy of his uncanny craft at its most windswept and wayward. Originally issued via Goaty Tapes in September of 2015, this long-anticipated vinyl edition expands the saga with an additional 17 minutes of archival material. Deven’s palette remains constant throughout: feathery fingerpicking, modal loops, and intuitive six-string navigations interspersed with candlelit passages of mournful voice, alternately whispered, mumbled, moaned. His is an aesthetic of embers and resin, cracked masks and distant lights, of what’s left behind and what lingers on.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI Live In A Utopia was recorded following a relocation from his longtime base of Brussels to Landen, with a second child due soon: “I remember the weather being nice and having just bought a hammock.” The change of scenery seeded a promise of slower days and lighter times – no utopia perhaps, but a sense of faint hope glowing on the horizon. The songs slide between loose acoustic spirituals and smoky basement ragas, late afternoon haze and midnight moons, a seesawing restlessness reflected in the titles (“I Have Found True Love,” “Time Does Not Bring Relief,” “We Used To Smoke Inside”). The fidelity is grainy but vivid, refracted by tape warp and Flemish dust.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs always, Deven’s playing is deceptively elegant, raw but precise, attuned to resonance, radiance, and negative space. Echoes of Fahey and Jandek reverberate in certain moments but ultimately the world Ignatz maps is one incomparably his own. A landscape both doomed and dawning, weary but undefeated, tracing outlines of lengthening shadows. “I walk in the sunshine,” he sings, uneasily. This is music of a rare inner wilderness, poised at cryptic crossroads, devoted to its ghosts. I Live In A Utopia stands as an apex work by one of the underground’s most veiled and visionary talents. \u003c\/p\u003e\n\u003cp\u003eAguirre Records, 2022\u003c\/p\u003e","brand":"Aguirre Records","offers":[{"title":"Default Title","offer_id":42492289089721,"sku":"","price":32.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/ignatzutopia.jpg?v=1656335516"},{"product_id":"xv-the-basement-tapes-lp","title":"XV - The Basement Tapes LP","description":"\u003cp\u003eRecorded in the basement in 2018-2019 and originally released on cassette in 2020. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e \"Free punk\" that's by turns playful, absurd, weirdly funny, oblique, and catchy as hell. Always on the verge of falling apart, or actually doing so, though these recordings are imbued with a certain warped vision and propulsion that holds up the Shaggs-ish disorder. We're mega psyched to be releasing one of our favorite current bands.\u003c\/p\u003e\n\u003cp\u003eHalf A Million, 2022\u003c\/p\u003e","brand":"Half A Million","offers":[{"title":"Default Title","offer_id":42492328247481,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/xvbasement.jpg?v=1656336147"},{"product_id":"ki-tearful-face-of-my-cute-love-is-begging-to-me-lp","title":"Ki - Tearful Face Of My Cute Love (Is Begging To Me) LP","description":"\u003cp\u003eKi is a trio that pits long-time collaborators Tamio Shiraishi (saxophone, voice) and Takahashi Michiko aka Mico (drums, voice, vocoder, melodica, piano, percussion) against drummer, percussionist and vocalist Fritz Welch. They each bring a wealth of experience, from Shiraishi’s early moves in the Japanese underground of the late ‘70s and early ‘80s – he was a founding member of Fushitsusha, and played with Taco and Machinegun Tango – to his legendary, late-night solo New York subway performances; he and Mico also spent some time playing with No Neck Blues Band, while Welch, currently based in Glasgow, has a long history taking in stints with Peeesseye, Lambs Gamble and FvRTvR. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Tearful Face Of My Cute Love (Is Begging To Me), named after a yakuza song, is Ki’s first LP, after CD-Rs on Chocolate Monk (Ki No Sei, 2009) and Unverified (Stops Dropping, 2010). Documenting two live performances from 2008, it’s a startling, wild freedom chase, each piece stretching languorously across one side of the vinyl, giving the trio maximum space to thunder their way through space and time. Their West Nile 2008 show, on side one, opens with a battery of drums, fierce and livid, before Shiraishi’s\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e unmistakable and remarkable whinnying, high-zone tone slithers into earshot. The stage is set, the battle moves forward, yet there’s remarkable simpatico between the three players, with Mico and Welch volleying guttural vocal exhortations at each other. When it does offer respite – see the sudden swoop into near-silence at around 12:30– everything’s still tense; who knows what’s around the corner? \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e For all its fury, though, Tearful Face Of My Cute Love… is full of oddly lyrical moments, too – see the sweet melody that winds out, with gentle melancholy, near the very end of the West Nile performance. This lyricism also haunts the second side of the album, a performance from Glassland, Brooklyn, which seems more focused on the intersection of incidents, from clattering cymbals to ghostly swarms of sax scream, to dive-bombing spirals of vocoder. There’s an appealing sense of audio verité here, as though you’re in the room with the performers, shaken and stirred by every movement, lost in the interlocking maze they’re weaving in real time. It’s a bracing, thrilling document of very immediate, human music – of three bodies moving through the world, sounding their environment.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eAn'archives, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"An'archives","offers":[{"title":"Default Title","offer_id":42492344729785,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/archiveski.jpg?v=1656336523"},{"product_id":"lewsberg-in-your-hands-lp","title":"Lewsberg - In Your Hands LP","description":"\u003cp\u003eSometimes change comes with big shocks, sometimes it comes with small steps. On ‘In Your Hands’, Lewsberg’s new album, a bit of both seems to be happening. Take the second song, ‘The Corner’. A remarkably discreet song: a violin plays a simple melody; a gentle drum loop keeps its finger on the pulse. “This brick is a brick to build”, it sounds, though a little later: “This brick is a brick to throw”. A brick offers many possibilities, for those who want to see it. One time as a part of something bigger to come, the next time just as a simple stone, left on the ground. After all, most things are relative. Sometimes one can achieve more by breaking something than by building something. If you think you can determine which of the two is needed, you’d be fooling yourself. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e ‘In Your Hands’ embodies the moment when all the bricks are there, but the wall has yet to be built. It’s a moment with perspective, a moment where everything still seems possible, but caution is advised. The album sounds both smaller and more spacious than the previous albums. Guitar chords are plucked instead of fiercely struck, the bass guitar is given more room for melodic explorations, the drum kit is dismantled to just a tom and a tambourine. There is doubt in the lyrics, but it’s a strong kind of doubt. A doubt\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e that can stand in the way of a wrong decision but also invite for a good conversation. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e The old Lewsberg has been professionally demolished and the building blocks are on display. Ready for future applications and already finished at the same time. ‘In Your Hands’ is therefore an ode to the potential and a call to carefully give way to it. Just what we need right now. But if I were to claim this so boldly, I wouldn't have learned much from Lewsberg. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e(Self-released) 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Discreet Music","offers":[{"title":"Default Title","offer_id":42492518596793,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/lewsberginyourhands.jpg?v=1656337470"},{"product_id":"chronophage-lp","title":"Chronophage LP","description":"\u003cp\u003eChronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough, tender, precise and unconstrained, it concentrates the tragic ingredients of the past two years into ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envision a midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiant rejections of the civil structure? Chronophage’s unconstrained melodies and gleefully imaginative structures enact such original, liberatory music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eChronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIY punk community patchworked throughout the world, the band have released two LPs and a handful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire. It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense that their existence depends on this daring.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDefying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, most compelling, most vulnerable qualities of their music. It’s a product of their unhurried approach to recording this album, a six-week process of tinkering and clarifying. It’s also a product of the material conditions of their songwriting phase—”the pandemic making it where we just saw each other all the time and were less influenced by scenes,” as explained by guitarist\/singer Parker Allen. Undoubtedly their most immediate record, but without sacrificing the mortal consequences or thrills of their past. The danger and vigor remains, the spring is wound even tighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength of the songs. Producer Craig Ross articulated this strength through his own experience of working on ‘Chronophage’: “When I would run into a block, in terms of arrangement, the narrative of the record told me exactly what to do. I realized I just had to stick to the record, it has all the answers.”\u003c\/p\u003e\n\u003cp\u003eBruit Direct Disques, 2022\u003c\/p\u003e","brand":"Bruit Direct Disques","offers":[{"title":"Default Title","offer_id":42517219639481,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/chronophage.jpg?v=1657043240"},{"product_id":"zusammen-clark-earlier-lp","title":"Zusammen Clark – Earlier LP","description":"\u003cp data-mce-fragment=\"1\"\u003eGenteel, springlike sounds emanate once more from Paris. Those who live there or have visited will know a joy in this that non-residents or travelers can only imagine, but one senses that there’s a texture to it all that bakes into the human experience when winter finally lifts and trees blossom, warm breezes blow. After being stuck at home for two years, once the weather picks up and the world hopes to shift back in gear without millions of deaths, one’s imagination begins to run.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParisian duo Zusammen Clark have codified this sound of openness and warmth using known goalposts of sound – the subtle drag of these sturdy, easygoing songs, a direct path from Jean-Charles Delarue’s previous outing in Bruit Direct outfit City Band; the descent of chord structures, a deep voice going high and staying louche. Maybe a bit of Felt’s cherry red pastoral, shades of that time in speculative fiction where Pavement signed to Postcard (remember? it was the same year that Dandelion and Les Temps Heureux got out of bed and toured coffeehouses together), the Go-Betweens just before the wheels fell off, or NYC underdogs Plates of Cake. Horns swoop in at the right moments and don’t linger. Hooks lock in and down, lead guitar casually doubles itself. Hair gets done, stubble let fashionably go.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlong with bandmate and cousin Jerome Lemee, Delarue constructs a frame, pencils in the outline and begins decorating these songs with all the right touches and a confidence that knows where to place them, not just the value of the objects. This is a world of sound where everything has a story and a place, every room can provide a closet mix. It’s a world that opens into a larger world, a human world, maybe a world these two knew from childhood, maybe one they’ve built for themselves. \u003cem data-mce-fragment=\"1\"\u003eEarlier\u003c\/em\u003e is too well-assembled to not have a foundation in profoundly comfortable moments in life, and the knowledge of how to get there, even if one knows they can never stay. It’s a catalogue of delight, impossible to oversell. – Doug Mosurock\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBruit Direct Disques, 2022\u003c\/p\u003e","brand":"Bruit Direct Disques","offers":[{"title":"Default Title","offer_id":42517222195385,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/zusammen.jpg?v=1657043327"},{"product_id":"delia-meshlir-calling-the-unknown-lp","title":"Delia Meshlir - Calling The Unknown LP","description":"\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSwiss musician Delia Meshlir didn’t realize what her voice could do when she started out playing music. Through such groups as the drudge-rock Cheyenne and experimental Primitive Trails, Delia let the music lead her singing along. It wasn’t until she began writing the songs for \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCalling the Unknown \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ethat she started allowing her vocals to preside. Unbounded by structure, Delia Meshlir’s first full-length under her name brings layers of beauty, intensity and strength, all coming to a head with her striking vocal delivery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHaving acquired a stocking job at Irascible, a label based in Lausanne, Switzerland, dedicated to promoting local talent, Delia had the ideal launching point for her music. Now, in coordination with Irascible, Ba Da Bing will be releasing \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCalling the Unknown\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in North America.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDelia lost her grandmother while preparing the album, and many of the tracks reflect seeking a path through grief with love. On “A River”, she explores where feelings can exist when they are for someone who has passed. She sings: “I’m calling the unknown\/but no one remains.” As the first song on the album, it serves as a perfect introduction to the album, with refined drumming, reverb-wrapped guitars and tasteful saxophone lines. At command of a full band, Delia never abuses the opportunity, often having members hold back in restraint and add mere touches of color to her songs. However, when more urgency is required, Delia adapts beautifully, as on the raw and driven track “Dirty Colors”. Ultimately, the album is an invitation to peace after suffering. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDelia Meshlir is a trained visual artist who is creating her own videos and doing her own artwork for \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCalling the Unknown\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. It is a singular artistic work with stunning breadth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBa Da Bing!, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Ba Da Bing!","offers":[{"title":"Default Title","offer_id":42521262719161,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/deliameslir.jpg?v=1657117701"},{"product_id":"caroline-no-lp","title":"Caroline No LP","description":"\u003cp data-mce-fragment=\"1\"\u003eCaroline No’s 3rd album was built around a set of songs I was writing in the summer of 2019. I built the songs around real events but looped these narratives into stories from song histories. The result is like an intersection of Brill building characters such as Carole King and Neil Sedaka with the bedroom fanaticism of historical music projects like Virgin Insanity. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAfter a year of playing the songs live in various formations, we aimed to record in the Australian summer. We knew Jim was going to be in Melbourne, and soon after he arrived in Australia, we met at Mick’s studio. Nick and Mick engineered, with Ian on bass, Jim on drums, Mick, Dee and me on guitars, and Dee and me singing. The sense of intuitive knowledge and performance was exhilarating as we played. We spent two days in the studio, and when we listened back later, it seemed a compelling representation of what had happened, captured live.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe band on this album are artists I grew up with. We were friends first, and engaging with the material, there was no formal structure to follow. Our interpretive approach meant the songs grew from simple structural frames and narrative poetics into full sonic landscapes, engaging across pop, folk, psychedelia and improvisation. Caroline No became - for this iteration - a shifting sonic space tied to intimacy, musical conversation and relationship, expressed in an open improvisatory way. The sound of the record is the result of trust, responsiveness and mutual knowledge. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe name Caroline No was an imaginary character through much of the work, arising from the Beach Boys’ melancholic paen to encountering a past lover who has cut her hair off. My idea was for Caroline No to become the locus for an ongoing composition project where I would write back into songs' history the perspective of patriarchal song’s subjects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThis is a recuperative project of easeful making; attempting reclamations of lost narratives, exploring love, loss and the psychedelic of the everyday.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGrapefruit, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Grapefruit","offers":[{"title":"Default Title","offer_id":42521265471673,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/carolineno.jpg?v=1657117767"},{"product_id":"camp-one-revengeful-is-the-mask-of-darkness-lp","title":"Camp One - Revengeful Is The Mask Of Darkness LP","description":"\u003cp\u003eSome 40 years after it’s release, Camp One’s sole album from ’81 remains as mysterious as ever, the quartet of D Jones, I Good, L Williams \u0026amp; P Sage still hiding in plain sight. Ask any deep digger you might know, it seems none of them can shed any light on this stunning, enigmatic lp. There are those who’ve never seen a copy, let alone heard it. Speculation here, an educated guess there, not exactly Captain Kidd's treasure map. ‘Revengeful' doesn’t fit neatly into any niched genre; its almost a Baroque-like, outsider take on Prog Rock \u0026amp; Postpunk at once, eccentricity crackling off it’s grooves. Imagine if you will, the fattier bits of A Moore’s oeuvre, the suet of L Voag + the gristle of Mark Perry, all baked into a most succulent Yorkshire pudding for the ears. Leave it to Zaius Tapes to bring it (back) into the world. Bravo. Edition of 250 copies. RIYL; the Canterbury scene, Murphy Federation, Fuck Off Records.\u003c\/p\u003e\n\u003cp\u003eZaius Tapes, 2022\u003c\/p\u003e","brand":"Zaius Tapes","offers":[{"title":"Default Title","offer_id":42530306752697,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/campone.jpg?v=1657373315"},{"product_id":"monopoly-child-star-searchers-prince-of-parrot-shooters-aqueducts-of-channel-island-lp","title":"Monopoly Child Star Searchers – Prince of Parrot Shooters\/Aqueducts of Channel Island LP","description":"\u003cp\u003eIn an interview for The Wire magazine back in January 2012, Spencer Clark claimed that one the most important “lesson” learned while performing with The Skaters was “stay true to your imagination”. Taking this life motto at heart, Clark’s world today is still a place of wonder and myth, conveyed through a myriad of aliases and invocations like Vodka Soap, Fourth World Magazine or Typhonian Highlife. Always the wide-eyed mystic and searcher of the netherworld, Clark surfaces again on Discrepant sister label Pacific City Discs, straight from the Canary Islands with this not quite but somewhat reissue under his celebrated and celebratory Monopoly Child Star Searchers alias.\u003c\/p\u003e\n\u003cp\u003eDiscrepant, 2022\u003c\/p\u003e","brand":"Discrepant","offers":[{"title":"Default Title","offer_id":42530320646329,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/monopolychannel.jpg?v=1657373862"},{"product_id":"makthaverskan-for-allting-lp","title":"Makthaverskan - För Allting LP","description":"\u003cp data-mce-fragment=\"1\"\u003eMakthaverskan defies traditional genre definition. Their latest album, För Allting, flitters between blissful pop and angst-ridden punk, but it’s never content to land on any one set identity for long. As Pitchfork writes of the band, the Sweden-based outfit of five former schoolmates makes “music for the margins,” and here in the spaces of För Allting is a restless, unwavering need to explore.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFör Allting signals a new beginning: it’s the first of the band’s recordings to have a producer (Hannes Ferm of HOLY). Propelling further into an identity that one will never fully grasp, each second of För Allting comes with something once unheard of from the group. There’s drum machines, synthesizers, and a blissful, shimmering self-awareness that what they’re ultimately creating is dream-pop for realists. Makthaverskan is unafraid to face the contradictions between beauty and rage; instead, they turn them into something completely new.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou’re free to explore this uncharted Makthaverskan territory, to attempt your own understanding of a band that feels larger than themselves, but the mystery, the unwillingness to ever fully reveal every trick is what makes the band so inherently special.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOpening the record with an untitled track that includes a simmering synth drone, Makthaverskan quickly engulfs you in its magic with the sweeping, dreaminess and Johnny Marr-like guitar work featured on “This Time.” Vocalist Maja Milner is a constant guiding force, a narrator that’s a mix of soft and tenacious, her gentle self-assurance most apparent on “Tomorrow.” Here, brisk instrumentals act as a sharp, but still twinkling backdrop for Milner’s lofty vocals to reach the fullest of heights. Milner later acts as a haunting vocal specter, as a regret-tinged mantra of “you used to be mine” is nearly engulfed in the thickness of dark drums and bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBlur genres, find your own moments of meaning, and familiarize yourself with Makthaverskan all over again with the release of För Allting, out November 12 self released in Europe and in the United States on Run for Cover Records.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Discreet Music","offers":[{"title":"Default Title","offer_id":42530327363769,"sku":"","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/maktny.jpg?v=1657374306"},{"product_id":"tecwaa-elysian-on-moon-lake-lp","title":"Tecwaa - Elysian On Moon Lake LP","description":"\u003cp\u003eElysian On Moon Lake is a new album from TECWAA that takes a differs path than its predecessor. Where that one was full of air and sparkle, this one is more claustrophobic and dusty. It is tight and dark an involving with plenty of weird electronics obscuring the beauty of the pianos on opener 'Never, There. Was.' 'Tropic Notations' is a cosmic workout with electro drums and aline synth sounds, while things get leggy and zoned out on 'No Lies To Her Fire.' Highlights on the second side include 'Welcome Dystopia' with its visceral techno stomp.\u003c\/p\u003e\n\u003cp\u003eHöga Nord, 2022\u003c\/p\u003e","brand":"Höga Nord","offers":[{"title":"Default Title","offer_id":42534391840953,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/tecwaamoon.jpg?v=1657533088"},{"product_id":"timothy-j-fairplay-free-andromeda-lp","title":"Timothy J Fairplay - Free Andromeda LP","description":"\u003cp\u003eOver the last decade, sometime Andrew Weatherall collaborator Timothy J Fairplay has turned his hand to many musical sub-genres while simultaneously developing a trademark sonic style that tends towards the psychedelic, moody and far-sighted. Free Andromeda, his latest album, continues in this vein, wrapping sharp modular sounds, hallucinatory synths, trippy lead lines, warped electronics and fuzzy, lo-fi analogue bass around a variety of techno and house tempo drum machine rhythms. There are naturally a few slo-mo freak-outs and chunks of chugging electronic psychedelia amongst the more up-tempo offerings, making Free Andromeda a well-rounded album from the talented and prolific producer.\u003c\/p\u003e\n\u003cp\u003eHöga Nord, 2022\u003c\/p\u003e","brand":"Höga Nord","offers":[{"title":"Default Title","offer_id":42534392135865,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/freeandromeda.jpg?v=1657533203"},{"product_id":"bromp-treb-bald-eagle-over-food-city","title":"Bromp Treb - Bald Eagle Over Food City","description":"\u003cp\u003eBald Eagle Over Food City is a blurry zoomed-in photograph of a national bird soaring over a grocery store parking lot. It is an album of thirteen failed portraits attempting to distill the impossible essence of a place that is repeatedly deformed by displacement and extraction, quietly made invisible by milltown charm. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Bromp Treb is the solo project of noisemaker and filmmaker Neil ‘Cloaca’ Young, who has been performing and producing small-run releases under this moniker for some 20 years. For almost as long he’s been the percussionist for weirdo noise collective Fat Worm of Error, and collaborating in other units such as Carbus, Gloyd and Playbackers. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Young co-directed Milford Graves Full Mantis with Jake Meginsky, as well as making many other obscure personal experimental films. He has lived in the village described in Bald Eagle Over Food City for the past 16 years and between the Connecticut and Hudson River Valleys his whole life.\u003c\/p\u003e\n\u003cp\u003eArtsy Records, 2022\u003c\/p\u003e","brand":"Discreet Music","offers":[{"title":"Default Title","offer_id":42538671669433,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/artsybromp.jpg?v=1657625909"},{"product_id":"airaksinen-pekkola-tanner-uudet-jes-opot-lp","title":"Airaksinen Pekkola Tanner - Uudet Jes Opot LP","description":"\u003cp\u003ePekka Airaksinen (1945–2019) was a pioneering composer of electronic and experimental music. Despite his undisputed position as one of the most significant factors in Finnish experimental music, he rarely performed live since the early days of Finnish underground in the 60’s and 70’s. He composed and developed his unique, gentle and enthusiastic approach to music at his private meditation center, far from the pulse and demands of life in the city. Luckily some exceptions did occur, like this live set with saxophonist Sami Pekkola and electronic musician Samuli Tanner. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e The trio was formed around 2015 for private sessions and occasional live performances. The music varied from dreamy electroacoustic improvisations to blasting blowout sessions where Tanner switched to drums. In February 2017, they performed in Tampere and Helsinki, opening for Rashad Becker. The latter concert can be heard almost entirely on this record. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eArtsy Records, 2022\u003c\/p\u003e","brand":"Artsy","offers":[{"title":"Default Title","offer_id":42538673275065,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/artsyuudet.jpg?v=1657626081"},{"product_id":"interactive-music-12","title":"Interactive Music 12\"","description":"\u003cp\u003e\"Manchester record store \/ label All Night Flight delves into the labyrinthine back-catalogue of respected producer Uwe Schmidt’s private label Rather Interesting with a vinyl sampler of the 1995 self-titled album Interactive Music. Previously released on CD only, Interactive Music came during a time of explosive creativity for Schmidt (also known as Atom™, Atom Heart, or Señor Coconut), where the German artist sought to release a new, individual album each month, each backed by their own design and conceptual structure with the goal of expanding the boundaries of technology, sound and electronic music as a whole.\"\u003c\/p\u003e\n\u003cp\u003eAll Night Flight, 2022\u003c\/p\u003e","brand":"All Night Flight","offers":[{"title":"Default Title","offer_id":42538674487481,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/interactivemusic.jpg?v=1657626255"},{"product_id":"jacques-charlier-art-in-another-way-2lp","title":"Jacques Charlier - Art In Another Way 2LP","description":"\u003cp\u003eMusique Plastique and Séance Centre are proud to present Jacques Charlier’s “Art In Another Way”, a 45RPM double \u003cbr data-mce-fragment=\"1\"\u003e LP compilation of the Belgian multi-disciplinary artist’s inimitable chanson regressive recordings from the 1980s. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Throughout a long career in the visual arts, Jacques Charlier has maintained a multi-disciplinary approach that includes forays in poetry, underground comics, acting, filmmaking and music. Besides performing with his punk group Terril (sadly, never recorded), Charlier took inspiration from the minimalist sounds of Philip Glass, Steve Reich, La MonteYoung, John Cage, and Meredith Monk.Throughout the 1970s he performed psychoacoustic pieces in Liège, Antwerp, Eindhoven, Rotterdam, Milan and Düsseldorf, and in the astounding performance art video Desperados Music, filmed by Paul Paquay for Belgian television. Charlier hit a creative stride in the 1980s — armed only with a synth, drum machine, fuzz box, and his custom guitar, with occasional duets with vocalist Martine Doutreleau. He recorded a trove of proto-pop tunes which he self-released on three cassettes (Musique Regressive, Chansons Idiotes and Chansons Tristes) between 1984–1987. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e “Art In Another Way” collects selections from these\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e tapes, in addition to an ample supply of previously unreleased material, all mixed and mastered from Charlier’s original 4-track recordings for a wide angle view of his creative range. From the proto-house rhythm of “Jingle – Crepuscule”, to the minimal EBM experiment “Top” and Art Of Noise- inspired “PassingTime”. There are certain resonances within the catalogs of Belgian labels Crammed Discs and Les Disques Du Crépuscule, yet even with these genre-bending precedents, Charlier’s music is idiosyncratic and visionary to the extreme. Accompanying the release is a postcard featuring a behind-the-scenes performance photo and visual score by Charlier. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e RIYL: Flying Lizards, Y Records, Young Marble Giants, Ashra, Naffi, Tuxedomoon, Aksak Maboul\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSeance Centre, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Seance Centre","offers":[{"title":"Default Title","offer_id":42538676846777,"sku":"","price":34.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/charlier2lp.jpg?v=1657626550"},{"product_id":"archie-shepp-live-in-paris-1974-lp","title":"Archie Shepp - Live in Paris (1974)  LP","description":"\u003cp\u003eArchie Shepp - Saxophone \u003cbr data-mce-fragment=\"1\"\u003e Noël McGhie - Drums \u003cbr data-mce-fragment=\"1\"\u003e Bob Reid - Double Bass \u003cbr data-mce-fragment=\"1\"\u003e Pablo Kino - Percussions \u003cbr data-mce-fragment=\"1\"\u003e Siegfried Kessler- piano \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Recorded live on March, 23rd 1974, Grand Auditorium Studio 104 - Maison de la Radio. Excerpts from the full performance.\u003c\/p\u003e\n\u003cp\u003eTransversales Disques, 2021\u003cbr\u003e\u003c\/p\u003e","brand":"Transversales Disques","offers":[{"title":"Default Title","offer_id":42538770170041,"sku":"","price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/archie1974.jpg?v=1657629201"},{"product_id":"francois-tusques-piano-dazibao-lp","title":"François Tusques - Piano Dazibao LP","description":"\u003cp\u003eTo avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that? \u003cbr data-mce-fragment=\"1\"\u003e The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then… free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named… Free Jazz. \u003cbr data-mce-fragment=\"1\"\u003e In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Dazibao N°2. \u003cbr data-mce-fragment=\"1\"\u003e Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Le Théâtre de Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem… A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538775052473,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/dazibao1.jpg?v=1657629541"},{"product_id":"francois-tusques-dazibao-n-2-lp","title":"François Tusques - Dazibao n°2 LP","description":"\u003cp\u003eThis was of course not the first time that François Tusques was a ‘headline act’. In 1965, he recorded, with other likeminded Frenchmen (François Jeanneau, Michel Portal, Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named… Free Jazz. In 1967, Tusques again served up Le Nouveau Jazz, in the company of Barney Wilen (and Beb Guérin, Jean-François Jenny-Clark, and Aldo Romano). \u003cbr data-mce-fragment=\"1\"\u003e Three years later, between May and September 1970, the pianist recorded, at his home, Piano Dazibao, an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded Dazibao N°2, which shows him as an incisive commentator of his times  Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for “friendship between all the peoples of the world” to the sound of Universalist hymns which transported us from Africa to Asia. But it is \u003cbr data-mce-fragment=\"1\"\u003e really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering “Seize the Time” by Elaine Brown – three years after the release of Dazibao N°2, she became the first\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e (and only) woman to lead the Black Panther Party. The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with \u003cbr data-mce-fragment=\"1\"\u003e solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument!\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2022\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538777903289,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/dazibao2.jpg?v=1657629731"},{"product_id":"jacques-thollot-watch-devil-go-lp","title":"Jacques Thollot - Watch Devil Go LP","description":"\u003cp\u003eTo write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e “Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Jérôme \"Kalcha\" Simonneau\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538783146169,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/watchdevilgo.jpg?v=1657629936"},{"product_id":"sylvin-marc-del-rabenja-madagascar-now-lp","title":"Sylvin Marc\/Del Rabenja - Madagascar Now LP","description":"\u003cp\u003eWhile he was working on the repertoire for the new version of his group Malagasy, with young Malagasy musicians he had met in Paris in 1972 (and who can be heard on the album \"Malagasy At Newport-Paris\"), Jef Gilson realised that two of his new discoveries, in addition to being established polyinstrumentalists (who both had sharpened their skills in the legendary seja-jazz band from La Réunion, Le Club Rythmique), were also skilled composers. They were capable of reinventing jazz and traditional Malagasy music, adding influences from the new generation inspired by pop, rock and funk into the mix. He \u003cbr data-mce-fragment=\"1\"\u003e offered them the chance to share the two sides of an album recorded on his own label, Palm, alongside their compatriots. Ange \"Zizi\" Japhet, Gérard Rakotoarivony and Frank Raholison. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e This is how Del Rabenja and Sylvin Marc came to record this \"Madagascar Now \/ Maintenant 'Zao\". The first side really showcases the valiha (a small Malagasy harp) of Del Rabenja who uses the occasion to pay homage to the sadly missed Rakotozafy, often called the Django Reinhardt of the instrument. His three compositions are full of spirituality and\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e invite an almost trance-like state. But Rabenja is equally a very good tenor saxophonist and organist on the other tracks. The other side displays the full range of talents of the multi-instrumentalist and composer Sylvin Marc, who moves from bass to drums, from vocals to percussion and offers four compositions ranging from free jazz to cosmic groove. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e At the same period the five men could also be found amongst the cast list of the mythical albums, \"Funny Funky Rib Crib\"  by Byard Lancaster and \"Soul Of Africa\" by Hal Singer \u0026amp; Jef Gilson. Later, Sylvin Marc would play bass for Nina Simone on her album \"Fodder On My Wings\" in 1982, then join the team of violinist Didier Lockwood, while Del Rabenja would be part of Manu Dibango’s and Eddy Louiss’ orchestras for a long time and would even be at the front of the top 50 at the end of the 80s with David Koven. He would also be the special guest of the Palm Unit trio (Fred Escoffier, Lionel Martin, Philippe  \"Pipon\" Garcia) on their first album, an homage to the œuvre of Jef Gilson, in 2018\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538792157369,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/madagascar.jpg?v=1657630134"},{"product_id":"jef-gilson-le-massacre-du-printemps-lp","title":"Jef Gilson - Le Massacre Du Printemps LP","description":"\u003cp\u003eIn 1971, the day after the death of Igor Stravinsky, Jef Gilson and his Unit (Pierre Moret and Jean-Claude Pourtier) made this curious homage to classical music. It is jazz, contemporary and electroacoustic music that the trio interrogate through a wild ‘noise’ session evoking as much John Cage as Pierre Henry, John Coltrane as the Percussions de Strasbourg, the Art Ensemble of Chicago as the Tacet by Jean Guérin. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Le Massacre du Printemps, (the Massacre of Spring) is a strange kind of homage to Igor Stravinsky, who had just died when, in 1971, Jef Gilson recorded this not-to-be-missed album of French experimental jazz. “Too many pieces of music finish too long after the end” the Russian composer was quoted as saying and here is Gilson offering us… six! \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e A funny bird (of fire) was Jef Gilson. Clarinetist who came up playing in the basement clubs with Claude Luter and Boris Vian, he turned to piano and multiplied his experiences in jazz: bebop, choral, modal, free, fusion… As a free spirit, Gilson welcomed many ‘up and coming’ French musicians in his bands (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier…) as well as being associated with Woody Shaw, Nathan Davis or Byard Lancaster. Later he\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e would go on to create, Europamerica, a transatlantic formation in which Butch Morris, Frank Lowe, and Joe McPhee would play… \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e But for the time being it’s a massacre! With Pierre Moret on organ and Jean-Claude Pourtier on drums, Gilson improvises with style and gusto. On the eponymous title track of the album, he also plays tuba and invites Claude Jeanmaire to get involved on prepared piano. Spring, for the four musicians here, is windswept: billowing, rumbling, frantic, it sounds like Stravinsky played by the ‘Percussions de Strasbourg’ without a scoresheet! \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e After which, behind his electric piano, Gilson with Moret and Pourtier offers us five more “unpremeditated spontaneous expressions”, as he wrote on the back of the album sleeve. Five wily and electric expressions which are like the soundtrack to a film which could also have been played by the Art Ensemble or Jean Guérin. So, when, in the same text, Gilson expresses the hope that we will get “from this album the same pleasure that we had making it”, we can but reply: how could it be otherwise?\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2020\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538818339001,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/jefgilson.jpg?v=1657631465"},{"product_id":"malagasy-gilson-madagascar-lp","title":"Malagasy\/Gilson - Madagascar LP","description":"\u003cp\u003eParis, May 13th 1968. There was a general strike. One last plane left the runway, strewn with flaming oil drums. On board were three jazz musicians wondering whether they would be able to return home one day. But for the time being they really want to make it to Madagascar where concerts and workshops with young local musicians were waiting for them. Pianist and bandleader Jef Gilson was accompanied by his bassist Gilbert \"Bibi\" Rovère (Martial Solal Trio) and the young drummer Lionel Magal (Crium Delirium). Gilson, who already had a reputation for finding new talent (it was thanks to him that, amongst others Jean-Louis Chautemps, Henri Texier, Jean-Luc Ponty or Michel Portal first became known) was literally blown away by the standard of the young Malagasy musicians, all capable of imitating their American idols by ear. Their names were known only to jazz fans on the island; Serge, Allain and Georges Rahoerson, Arnaud Razafy, Roland de Comarmond, Joel Rakotomamonjy, Alain Razafinohatra, Samuel Ramiara... Gilson then had a vision: he wanted to encourage them to play jazz which was truly Malagasy and which would find its’ soul in the island’s culture and traditional instruments (Sodina flute, valiha, various percussion\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e instruments...). \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e He would go back to the big island three times, in March (with cellist Jean-Charles Capon), in October 1969 (alone), then in February 1970 (as a trio with guitarist Raymond Boni and drummer Bertrand Gauthier). The two trips in 1969 would lead to the sessions, recorded on a simple ReVox with two Neuman microphones, which would make up the essential part of this mythical album entitled \"Malagasy\", and first issued in 1972 on the Lumen label, and then reissued, as early as 1973, on Palm, Jef Gilson’s own label. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Apart from the last track, recorded in Paris in 1971 with Malagasy instruments brought back from trips by the trio which would play on the avant-garde \"Le Massacre du Printemps\" (Futura), all the other compositions on the album are by Jef Gilson, Jean-Charles Capon and the young saxophonist Serge Rahoerson. There is also a cover of a song issued just a few months earlier and that the Malagasy musicians had only heard through bits and pieces played by Gilson on piano: the song is \"The Creator Has A Masterplan\" by Pharoah Sanders, and it is one of the most wild and mystical versions you will ever hear. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e In May 1972, Madagascar itself would be the theatre of youth revolt. And the composition \"Avaradoha\" by Serge Rahoerson, the second track of the first side of this album, would be the anthem of the revolution on the streets. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Jérôme \"Kalcha\" Simoneau\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538821517497,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/gilsonmalagasy.jpg?v=1657631704"},{"product_id":"jef-gilson-at-newport-paris-lp","title":"Jef Gilson - At Newport-Paris LP","description":"\u003cp\u003eIn May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange \"Zizi\" Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes\/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn’t have enough money to return to the\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch ‘Malagasy’. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the 50s\/60s (\"Requiem Pour Django\", \"Dizzy 48\", \"Anamorphose\" here renamed \"Salegy Jef\" as a nod to an ancestral rhythm reworked in a contemporary style...), and also included more recent tunes (\"Newport Bounce\" which opens this current album is a  reworking of a track called \"Interlude\", recorded in 69 with the drummer from Miles Davis’ first quintet, Philly Joe Jones). The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, ‘Le Newport’, in rue Grégoire de Tours, Saint Germain des Prés, not far from the ‘Kiosque d'Orphée’ where Gilson worked at the beginning of the 60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538822238393,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/gilsonatnewport.jpg?v=1657631905"},{"product_id":"jean-charles-capon-philippe-mate-lawrence-butch-morris-serge-rahoerson-lp","title":"Jean-Charles Capon\/Philippe Maté\/Lawrence \"Butch\" Morris\/Serge Rahoerson ‎LP","description":"\u003cp\u003eIn November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days. Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer \u0026amp; Leggs”. He also played regularly on albums by Georges Moustaki. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma). \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e “I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” \u003cbr data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538825646265,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/capon.jpg?v=1657632462"},{"product_id":"ted-curson-pop-wine-lp","title":"Ted Curson - Pop Wine LP","description":"\u003cp\u003eOriginally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971… in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free… Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains! \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American \u003cbr data-mce-fragment=\"1\"\u003e musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson. Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a \u003cbr data-mce-fragment=\"1\"\u003e recording with enough fizz to make your head spin! There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally  from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close \u003cbr data-mce-fragment=\"1\"\u003e to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538826891449,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/tedcurson.jpg?v=1657632642"},{"product_id":"michel-portal-alors-lp","title":"Michel Portal - Alors!!! LP","description":"\u003cp\u003eCould the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside  François Tusques defending a free jazz “made in France”, we find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: \u003cbr data-mce-fragment=\"1\"\u003e More! \u003cbr data-mce-fragment=\"1\"\u003e Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance! After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers us the chance to listen to again. “There are periods of insolence”, the musician declared and the year 1970 was one all on its own. Heading up an impetuous \u003cbr data-mce-fragment=\"1\"\u003e international troupe, a quintet consisting of\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners. \u003cbr data-mce-fragment=\"1\"\u003e From the off, the group sparks an explosion with the sound of “OO Bam Ba Deep” battered by the horns and percussion. \u003cbr data-mce-fragment=\"1\"\u003e Next up is the fabulous free jazz of “Yes, Oh Yes, You Wonderous Sun Kissed Maiden!” and the fantastic disjointed march of “Ça Boom?” which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: “Billie the Kid” and “Undercurrent”, marvelous moments of ambient mystery. \u003cbr data-mce-fragment=\"1\"\u003e Audacious from beginning to end, including the sleeve – the bird-man and his quintet brain designed by Avoine, –, the  album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just \u003cbr data-mce-fragment=\"1\"\u003e one word to use: the French translation of the title, So!!!\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538827907257,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/alors.jpg?v=1657632809"},{"product_id":"barney-wilen-moshi-2lp-dvd","title":"Barney Wilen - Moshi 2LP + DVD","description":"\u003cp\u003eIn 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. Wilen pays little heed to conventional structure, assembling tracks like \"Afrika Freak Out\" and \"Zombizar\" from spare parts of indeterminate origins. (Jason Ankeny, AMG)\u003c\/p\u003e\n\u003cp\u003eSouffle Continu\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538831839417,"sku":"","price":34.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/barneywillen.jpg?v=1657632992"},{"product_id":"dharma-trio-snoopys-time-lp","title":"Dharma Trio - Snoopy's Time  LP","description":"\u003cp\u003eDharma as they were simply known, at the time when they were still playing, englobed all the incarnations of the group, trio, quartet (essentially as a live band) and quintet built around the stable core of pianist and bassist Patricio Villarroel and Michel Gladieux. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Snoopy's Time is their second album, concentrated on the rhythm section including the ever-faithful Jacques Mahieux on drums, and recorded three months after Mr Robinson, the first album, made as a quintet including Jef Sicard and Gérard Coppéré, both at the time saxophonists with Claude Delcloo’s Full Moon Ensemble. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e It is the most classic album in their discography, marked by the influence on Patricio Villarroel of the electric explorations of Miles Davis’ pianists from 1968, that is to say Herbie Hancock, Chick Corea, Joe Zawinul and Keith Jarrett. Indeed, the use of echo, reverb and saturation by Patricio Villarroel is similar to that of his famous counterparts. It would be a year later in France, but with a sound all his own, that Siegfried Kessler would undertake similar experiments playing with Perception, a group similar in spirit to Dharma. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Specialists may also evoke Paul Bley, notably on Scorpio and Sweet Earth Flying, or even Richard Beirach with Dave Liebman on Drum Ode, but these albums came out a few years after the\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e innovative Snoopy's Time surprisingly released in 1970. Even amongst all the instrumental funky music of the time it is rare to find such a communicative energy, magnified all the more by the subtle use of effects and an innate sense of groove.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2018\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538848780473,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/dharmatriosnoopy.jpg?v=1657633630"},{"product_id":"dharma-quintet-mr-robinson-lp","title":"Dharma Quintet - Mr Robinson LP","description":"\u003cp\u003eIn an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: “we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse”. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach… \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2018\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538850156729,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/dharmarobinson.jpg?v=1657633747"},{"product_id":"philippe-doray-les-asociaux-associes-ramasse-miettes-nucleaires-lp","title":"Philippe Doray \u0026 les Asociaux Associés - Ramasse Miettes Nucléaires LP","description":"\u003cp\u003eIn 1976, the Asociaux Associés (antisocial associates, TN) led by Philippe Doray (Rotomagus, Ruth, Crash), recorded the first of the two albums under their own name: Ramasse-Miettes Nucléaires. On synthesiser, Doray fires off his disturbing poetry over psychedelic pop, voodoo rock, off-kilter krautrock, approximate swing … But if the music is iconoclastic (bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal…), one thing is certain: Ramasse-Miettes Nucléaires is one of the best albums of obscure experimental song ever recorded. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e It is no surprise that, on the Nurse With Wound List that Steven Stapleton inserted in the first album of his legendary musical project, the name of Philippe Doray can be found between that of the Doo-Dooettes and Jean Dubuffet: his music is genuinely original and, what is more, ahead of its’ time. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e It was in 1977 that the first album by Philippe Doray, Ramasse-Miettes Nucléaires, was published on Gratte-Ciel, a label created by the journalist from Rock \u0026amp; Folk Jean-Marc Bailleux and run by Jean-Marc Patrat and José Serré. Encouraged by his wild experience in Rotomagus, a formidable rock band which swept through Rouen, for sure, but also further afield – as Julian Cope was himself\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e inspired, years later, by their explosivity – Doray brought a team to this album which was both untamed and ready to fight to defend it’s terrible (and trembling) poetry. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e Backed by his ‘Asociaux Associés’ (antisocial associates, TN), our man from Rouen let his fantasy run wild and cried out again: “sing with me, and don’t be afraid to clap your hands!” And so, much of French popular music was shaken: the ball in Doray’s pinball machine had struck Jimi Hendrix then Alain Goraguer, then Ash Ra Tempel and onto Areski, then T-Rex followed by Jac Berrocal… \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e As far as the texts are concerned, just take a listen. Doray’s poetry is schizophrenic: nurtured in the Normandy countryside, it relates paranoid tales of booby-trapped towns, Levis jeans, Prisunic supermarkets and plastic dolls… Crumbs of reality which he sucked up to create the album that Souffle Continu and Thierry Müller, mastering (with Ruth, Crash, and Illitch too) spit out again fifty years later, with many good memories.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2020\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538852516025,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/associetes.jpg?v=1657633873"},{"product_id":"jean-guerin-tacet-lp","title":"Jean Guérin – Tacet LP","description":"Souffle Continu, 2015","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538853728441,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/tacet.jpg?v=1657634013"},{"product_id":"workshop-de-lyon-la-chasse-de-shirah-sharibad-lp","title":"Workshop De Lyon – La Chasse De Shirah Sharibad LP","description":"Souffle Continu, 2017","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538858512569,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/workshopdelyon.jpg?v=1657634557"},{"product_id":"dominique-cravic-et-les-primitifs-du-futur-resume-des-episodes-precedents-2lp","title":"Dominique Cravic Et Les Primitifs Du Futur – Résumé Des Épisodes Précédents 2LP","description":"Souffle Continu, 2019","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42538859495609,"sku":"","price":29.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/lesprimitifsfutur.jpg?v=1657634714"},{"product_id":"elin-forkelid-plays-for-trane-2lp","title":"Elin Forkelid - Plays For Trane 2LP","description":"\u003cp\u003eDeluxe double vinyl version of Elin Forkelid Plays For Trane. Beautiful cover by Jonas Holmberg, pictures by Peter Gannushkin. Recorded at Atlantis Studios, Stockholm, by Mikael Herrström. Released on Sail Cabin Records 2020-09-18.\u003cbr data-mce-fragment=\"1\"\u003e Elin Forkelid saxophones, Mattias Ståhl vibraphone, David Stackenäs guitar, Vilhelm Bromander double bass, Jon Fält drums.\u003c\/p\u003e\n\u003cp\u003eSail Cabin, 2020\u003c\/p\u003e","brand":"Sail Cabin","offers":[{"title":"Default Title","offer_id":42538915561657,"sku":"","price":32.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/elinforkelid.jpg?v=1657638294"},{"product_id":"opeter-brotzmann-misha-mengelberg-han-bennink-3-points-and-a-mountain","title":"Peter Brötmann\/Misha Mengelberg\/Han Bennink ‎ – 3 Points And A Mountain LP","description":"\u003cp\u003ePeter Brötzmann: alto \u0026amp; tenor saxophone, clarinet \u0026amp; bass clarinet \u003cbr data-mce-fragment=\"1\"\u003eMisha Mengelberg: piano, voice \u003cbr data-mce-fragment=\"1\"\u003eHan Bennink-drums: viola, tenor saxophone, clarinet\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis album was originally released on FMP in 1979 \u003cbr data-mce-fragment=\"1\"\u003e Remastered by Martin Siewert in 2021.\u003c\/p\u003e\n\u003cp\u003eCien Fuegos, 2022\u003c\/p\u003e","brand":"Discreet Music","offers":[{"title":"Default Title","offer_id":42538949443769,"sku":"","price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/3points.jpg?v=1657639831"},{"product_id":"brotzmann-schlippenbach-bennink-fifty-years-after-live-at-the-lila-eule-2018-lp","title":"Brötzmann\/Schlippenbach\/Bennink – Fifty Years After... Live at the Lila Eule 2018 LP","description":"\u003cp\u003eBrötzmann - tenor saxophone, b-flat clarinet, tarogato \u003cbr data-mce-fragment=\"1\"\u003eAlexander Schlippenbach - piano\u003cbr data-mce-fragment=\"1\"\u003eHan Bennink - drums\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor the celebration of the 50\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer  Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music ,that they decided to release it and continue to play gigs as the trio.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003erecorded live at Lila Eule, Bremen on 26.5.2018\u003c\/p\u003e\n\u003cp\u003eTrost, 2019\u003c\/p\u003e","brand":"Trost","offers":[{"title":"Default Title","offer_id":42538956193977,"sku":"","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/brotzfifty.jpg?v=1657640176"},{"product_id":"joe-mcphee-lasse-marhaug-harmonia-macrocosmica-lp","title":"Joe McPhee\/Lasse Marhaug - Harmonia Macrocosmica LP","description":"\u003cp\u003e\"On Harmonia Macrocosmica, McPhee and Marhaug wrap their phrases tightly, pitting swirling saxophone licks and distorted screams against wheezing, bubbling and raspy electronic effects.\" The Wire, December 2020 \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e AFJ-Series is short for Actions For Free Jazz. This was the slogan for Smalltown Superjazzz, borrowed at the time from Don Cherry \u0026amp; Penderek's The New Eternal Rhythm Orchestra track “Actions For Free Jazz Orchestra” from the 1971 album “Actions”. AFJ-Series will be a series and a subsidiary label within the Smalltown Supersound label. The inspiration for the label is BYG Actuel, Incus, Freedom and ESP-Disk.\u003c\/p\u003e\n\u003cp\u003eSmalltown Supersound, 2020\u003c\/p\u003e","brand":"Smalltown Supersound","offers":[{"title":"Default Title","offer_id":42542182924473,"sku":"","price":24.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/mcpheemarhaug.jpg?v=1657709635"},{"product_id":"alain-bellaiche-sea-fluorescent-lp","title":"Alain Bellaïche - Sea Fluorescent LP","description":"\u003cp\u003eFirst ever reissue of highly sought after french jazz funk fusion nugget from Alain Bellaïche featuring, Jerry Goodman (Mahavishnu Orchestra), John Hicks (Strata-East) \u0026amp; Fabiano (Fabiano Orchestra). \u003cbr data-mce-fragment=\"1\"\u003eRemastered from the master tapes. \u003cbr data-mce-fragment=\"1\"\u003eRestored artwork + 12 page booklet. \u003cbr data-mce-fragment=\"1\"\u003eLicensed from Alain Bellaïche. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA Frenchman who is returning (but who we seem to discover!) from the USA is something unusual. Everything seemed to start out well for Alain Bellaïche: Born in Tunis, childhood in Cannes, studies at the Ecole des Beaux-Arts in Paris, his first folk concerts folk in youngsters’ houses and clubs where everyone was well behaved … \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThen, in 1973, he left for the States. Bellaïche would settled for around ten years, with, as a soundtrack, the two albums that he would record there. Metropolitain, which was the fruit of his collaboration with the Heldon guitarist Alain Renaud, and Sea Fluorescent. In the catalogue of Asylum, David Geffen’s first label, Bellaïche’s music was listed alongside that of the Byrds, Tom Waits, Joni Mitchell, and Bob Dylan. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn a Rock \u0026amp; Folk, interview Bellaïche expressed his regrets as to the prudence of French musicians: “I never had a group…\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e perhaps the guys here are not motivated to play this kind of music”. We should note that the influences of our expatriate were, for example, Led Zeppelin, John McLaughlin, Weather Report, Herbie Hancock, The Spencer Davis Group… \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBellaïche, a multi-faceted and iconoclastic musician, composed Sea Fluorescent just following his desires: from a cosmic ballad (St Andrea), to West Coast funk (California), dreamlike Spanish influences (Spanish Roots), optimistic blues (Foolin’ Myself), a solar track (I’m Angry, Sun Blues) … And the Frenchman was in good company: Jean-François Fabiano (from Fabiano Orchestra) on drums and percussions, Jerry Mahavishnu Goodman on violin on Got My Place In That Country, Wornell Jones on bass or John Hicks whose cascades of notes bring Reggae \u0026amp; Western closer to the ‘reassembled’ jazz that the pianist was playing at the time… \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen, finally, after the fabulous declinations of the title track of the album, we hear a bonus on which Bellaïche sings in French, it is time for a Chacha émotionnel on which offers this horrible confession: “I’m not from around here, I come from a backward country”. Thanks to Souffle Continu, France is finally catching up.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouffle Continu, 2020\u003c\/span\u003e\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"Default Title","offer_id":42542190100665,"sku":"","price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0297\/7523\/3163\/products\/alainbellaiche.jpg?v=1657709841"}],"url":"https:\/\/discreetmusic.myshopify.com\/collections\/lp.oembed?page=56","provider":"Discreet Music","version":"1.0","type":"link"}