Excursions and meditations on an eighteenth century organ tuned to pure thirds, entailing a slightly harsh intonation exploited here to evoke the hostile climate of the Potenza valley during winter and autumn.
‘The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming souls of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.’
With trombone, trumpet, saxophone, and effects.

The eagerly awaited return of Bastian Epple to Marionette, for his debut album. Fifteen richly evocative vignettes conjured up with modular synth, tape-work, synthetic sounds, percussion, guitar: captivating, scene-setting catalysts of dreams, nostalgia, and other imaginary voyages; intimate, unpredictable, and alive; full of curiosity and wonder.

His first professional studio session — in a cupboard set up to do jingles — produced many of his most famous sides and definitive versions. Stuff like Part Of The Problem, Bloody Knuckles, Teen Routines.

The CD is newly remastered, adding three out-takes and two alternate versions.

The CD is newly remastered — it sounds magnificent —  adding two out-takes and two extended versions. (The ending of Slim Slow Slider is startling.) Surely a must at the price.
Rhino vinyl.

This is terrific.
Brazilian post-punk, art rock and DIY from 1988, released here for the first time, by the duo Celso Alves and Kodiak Bachine (whose records with the band Agentss are desperately sought-after nowadays).
Dubwise and rhythmic, percussive and synthy, with tangy Brazilian roots, and a droll humour to its reflections on embalming, LSD and zombies, the music freewheels roughly and vividly from the truffling, chattering, tropical atmospherics of the opener, through to the machine-funk, Romeroesque terrors of the Greenhouse Massacres, to close. 
Sung in Portuguese and English, studded with Spanish, French and German, the lyrics are reproduced on an insert. Pressed at Pallas.
Ace. Check it out.

The king of acid-fuzz guitar presents a barbed bouquet of classic psych covers — The Stooges, Hendrix, Pink Floyd, MC5, Jefferson Airplane and co — with killer, piercing fuzz-wah guitar and bizarre software-generated vocals. ‘One of the finest acid-punk shredders to ever walk the planet, Munehiro Narita gives these time-honored psych rock classics a serious kick in the ass, in the most bizarre and Japanese of musical settings’ (Steve Krakow, Galactic Zoo). ‘Munehiro Narita (High Rise et al) bleeds all over a series of massively re-wired cover versions of classic psych while computer generated little girl vocals relocate the whole damn thing in another future altogether’ (David Keenan).

‘Ndegeocello’s second Blue Note pays homage to the great writer and activist James Baldwin. Her transformative music and collaborative spirit ignites this genre-bending work that is at once a musical experience, a church service, a celebration, a testimonial, and a call to action. Features frequent collaborators Justin Hicks, Kenita Miller, Abe Rounds, Jake Sherman, Jebin Bruni, and Julius Rodriguez, as well as powerful spoken word performances by Jamaican poet and activist Staceyann Chin.’

Warm, comfy and loose — unashamedly inchoate — for Capitol in 1967.
Nice Percy Mayfield version.