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Rare 45s by these standard-bearers of the funky, counter-cultural heavy rock-scene in mid-seventies Rhodesia. Watch Out was its anthem.
Deep-fried rural psychedelia, primitive drum-machine grooves and woozy country-funk — including unlikely covers of The Blackbyrds, Michael Hurley and Jimmy Cliff — by Matt Valentine (MV) and Pat Gubler (PG Six), locked down in Vermont with pals S. Freyer Esq, Jim Bliss, Coot Moon and Carson ‘Smokehound’ Arnold.
Roiling, cascading, highly charged, deeply emotional piano improvisations by this Dutch-born, Columbia-trained chemist, who was an early follower of Gurdjieff.
Nyland released sixteen transcendent albums — nowadays pretty much vanished — of spiritual pianism on his own Gage Hill Press, starting in the mid-sixties. Each LP came with stunning woodcut artwork by Nyland’s wife, Ilonka Karasz (who also designed covers for the New Yorker); and highly refined black-and-white photography.
Piano Studies 337 is a particularly tempestuous performance that Nyland himself recommended to Ansel Adams as a good entry-point to his music.
Expert, highly entertaining survey of DIY punk in its late-seventies heyday.
Six songs juxtaposing torrents of sliced and processed audio with the warmth of the human voice.
With Norah Jones, Josh Mease, Clare Manchon, Natalie Beridze, Pascal Le Boeuf, and Desmond White.
‘Answers the question of what a collaboration between Björk and Venetian Snares would sound like, if both were more aware of the drawbacks of both diatonic tedium and ceaseless harmonic wasteland, respectively.’
The 1984 Hollywood novel, captivatingly read by Will Oldham. (Wurlitzer wrote the Two-Lane Blacktop screenplay for Monte Hellman, and Pat Garrett And Billy The Kid for Peckinpah, amongst other illustrious works.)
Fragile, deep, melancholic, enthralling home recordings from Beirut; lost in memories, worry, grief, rapture, love.
Very warmly recommended.
‘Highest recommendation’, Foxy Digitalis; ‘evanescent bliss, an invitation to a safe space both isolated and welcoming’, The Quietus; ‘a sweep of introspective, breath-catching moments of beauty’, Pitchfork. ‘The combination and contrast of highly familiar and highly alien elements give Asmar’s music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking’
(Byron Coley, The Wire).
Her first two cassette releases remastered and presented in a gatefold sleeve featuring new art-work by Yara herself.
Bagpiping meets Partch DIY and the singing of Pandit Pran Nath, at the grass roots of Fluxus, in an empty swimming pool. Long, slowly building drones, lightly processed, with snatches of melody. Check it out.
A new imprint from the wonderful Okraina label out of Brussels!
These will be double-10”, in gorgeously designed gatefold sleeves, with full-size, eight-page booklets of photographs.
To start, lovely, unusual duets on five-string banjo and steel pan (also slit drums and gamelan). Flowing and meditative; open-air; enjoyably less arsey about folk, soulfulness and melody than much Improvisation. (When Jaki Liebezeit renounced Free Jazz, he said it had too many rules.) For the label it evokes Laraaji and Bill Orcutt.
Check it out!
Adding songs from Salad Days, Is The War Over, the Final Day single and their Testcard EP; plus a DVD of their final US show, at Hurrah in New York in 1980.
