lp

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  • andrew coltrane ‎– cold turkey vol two – american tapes

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    $12.00 Add to cart

    Edition of 100 hand-numbered one-sided LPs


  • e jugend – history works – cosmic winnetou

    $17.00 Add to cart

    this album has been on a hold literally for ages and for diverse reasons. “history works” earmarks the final installment in e jugend’s work trilogy that led to previously released albums “formate heaven syntax hell” (saucerlike recordings, 2001) and “last exit wedding” (taping desk o-phon mania, 2007). as stubborn as ever yet presenting a kaleidoscopic take on aesthetics and texture, “history works” depicts no. 5’s and no. 9’s somnambulistic ability to forge equally dense and minimalistic tapestries of sound. again, the approach seems driven by intuition as much as by the endless search for the most interesting sound, resulting in a different cornucopia of righteous melodies. over the years the first-take approach along with the improv-method lead e jugend into the true heart of compositional darkness, fitting perfectly to the specific setting of these recordings.
    original and witty kraut excursions done by sophisticated masters of this genre.


  • Spencer Clark – the simulated australia – edicoes cn

    $18.00 Add to cart

    Clark’s metier is to envision fantastic imageries of the other worlds and translate these in tones and images in a very direct and personal fashion. Not necessarily indulged in the world of angels and crystals, yet enjoying himself a demon or two while aestheticizing a beautiful and positive Great Darkness. An artist that is both a dreamer sporting a whiff of naiveté, yet someone who likes to make things difficult and refuses to repeat himself, nor settling for laying back in the fringes of today. To go the whole way, and along this way, at his finger tips revealing little by little a true meaning of his oeuvre. A body of work that is both very playful and deeply serious. With compositions applying a tone scheme and style of keyboard playing that is by now completely his own, “Clark’s Scale”.

    This release however reveals possible new meanings of our own world. Driven by simple observation and little interference, the normally sensationalistic world of field recordings becomes a simple vessel for aestheticizing reality. Yet the wave sounds, bird calls, and aquarium background music become a new world through Clark’s ears. Originally intended as a personal study for his recently released “The World Of Shells” LP, and as a sound source for other projects, i however deemed these recordings more than interesting and “content full” enough to release them how they are. Open curtain … !

    These are ambiences from Australian landscapes, recorded by Spencer Clark (Monopoly Child Star Searchers, Typhonian Highlife, The Skaters, et al). Forced by undersigned into the genus of the field recordist. Natural sounds are mirrored to a world of fabricated aquarium music. Where lorikeets and ocean waves serve as a counterpoint for beautiful, light background airs. The recorder cunningly observes a building where the tourist forages, and fascinates the sounds of lands that are forever spiritual to the native. Captured on handheld cassette recorder as both being a study, and a private s(t)imulation. Resulting in a document that is a particular addition to Clark’s catalogue, where the symbolism, the mirth and the mundane forever morph.
    credits
    released December 10, 2016


  • jeffry astin – Bhsaaveaegi – elestial sound

    out of stock

    For over a decade now Jeffry Astin has been quietly tending to his labor and label of love: Housecraft. The cassette imprint has over 150 releases to it’s name, many of them from Astin himself under various aliases (Xiphiidae, Digital Natives) or in collaboration (Tricorn and Queue, Mannateas). Astin’s love for the cassette format runs deep, so when he feels compelled to cut something into vinyl instead we should pay close attention. Following other excellent releases on NNA Tapes, Aguirre Records, and Beer on the Rug, Astin makes his Elestial Sound debut on September 23rd with Bhsaaveaegi, an album he began recording back in 2001 and almost lost forever in a near fatal harddrive crash. The master files were miraculously recovered like some ancient and priceless artifact and preserved for the time being in a limited run vinyl edition.


  • corum – magic mirror – psychic sounds

    $15.00 Add to cart

    “Corum constructs a mind-melting psychopharmacological vision wherein rhythms and melodies ooze into and out of focus. He brings a psychedelic atmosphere, one not culled from a traditional sense, but of a deeply innate ability to transform a space sonically creating a more spiritual, or visceral affair.” “This year sees the release of Magic Mirror, a new solo collection that finishes out a loosely themed trilogy of solo records. The new LP is world music in the broadest sense of that term, incorporating drum rhythms from Africa, instrumentation from the Middle East, and very Western electronic elements. A welcome celebratory and hypnotic vibe, which will perfectly match the incantatory spirit of his work.” – ROBERT HAM, Portland Mercury

    Final album of the Beguiling Isles Trilogy (Beguiling Isles / Effigy Mounds / Magic Mirror).


  • wayne rogers – infraction – twisted village

    out of stock

    Written/played/produced by Wayne Rogers at Twisted Village, December 1995-July 1996.

    Silk-screened fold-over cover in NICEPACK bag.


  • robbie basho – visions of the country – gnome life

    out of stock

    recorded in the height of Robbie Basho’s creative career, “Visions of the Country” was originally released in 1978, and has been out of print for nearly 35 years. The album is comprised of technically superb instrumentation (6 & 12 string guitars and piano); majestic compositions; transcendent singing and whistling; and astonishing lyrical, emotional, and spiritual depths that defy description or comparison.

    It is with a feeling of tremendous honor and joy that we offer this re-issue, which we hope will please existing Basho devotees, and create new acolytes, in equal measure. The feeling is akin to re-introducing an endangered species back into its native habitat, for this album is a precious, mighty, and wild thing. “Visions of the Country” should not stay couped up in expensive e-bay auctions and low quality vinyl-to-Mp3 rips, it needs to soar gloriously in high fidelity through our culture once more!

    “Visions of the Country” is most simply a depiction of the expansive American West, and an ecstatic journey into Basho’s equally expansive imagination and mystical approach to creativity… In Basho’s own words: “My philosophy is quite simple: soul first, technique later, or ‘Better to drink wine from the hands than water from a pretty cup’; of course the ultimate is wine from a pretty cup. Amen.”

    “Visions of the Country” is an shining example of what artistic heights can be attained when soul and technique meet on a deep level – in our opinion it is one of the finest albums ever recorded, wine from a very beautiful and magical cup indeed.


  • maxine funk – lace – time lag records

    out of stock

    first ever vinyl edition of this album, originally released in NZ as a tiny cdr edition on ALASTAIR GALBRAITH’s ‘next best way’ label in 2008, four years before the release of FELT. overall a more polarized and pleasantly tumultuous listen compared with the starkly beautiful FELT, but revealing just as much subtle grace. playing out as though occasionally whipped by a salty wind, with gusts of psychedelic noise rising here & there to engulf these fragile poetic songs, sending them infinitely outward. a more externalized & expansive listening experience then the inward stillness of FELT, and a perfect mirrored pair to the later. these songs will beam deep into your unconscious before you’ve even realized you remembered them. the sound here is decidedly 4-track home-fi, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. a largely solo affair, but with considerable & highly distinctive contributions from ALASTAIR GALBRAITH, adding an electrified & disorienting edge. truly wonderful stuff here, with plenty of that unique new zealand magic. raw, pure, and completely unforgettable… packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the FELT covers. edition of 300 copies.


  • maxine funk – felt – time lag records

    out of stock

    new vinyl edition of this amazing & instantly out of print album, originally released in NZ as a tiny 100 copy edition in 2012. while maxine’s earlier LACE album unfolds as a more externalized & psychedelic experience, here everything focuses inwards with an utterly beautiful, lulling, tidal tranquility. overflowing with warmth & humble magic, like watching dust dance in a beam of sunlight through an open window. a kind of intimate microcosmic observation of the everyday, stretching the tiniest joys & subtlest quirks of life into something truly poetic and timeless. the songwriting is deep & revelatory, yet totally raw & unforced. fully in the “now” but also completely part of the infinite, like it’s been pulled directly from the vague spaces between time & place themselves… stillness in motion… a sparse 4-track home-fi recording, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. sublimely wonderful stuff here, with plenty of that unique new zealand magic. direct, pure & unforgettable, in the most lovely way… packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the LACE covers. edition of 300 copies.


  • AMM – AMMMUSIC – black truffle

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    out of stock

    2016 limited repress… First vinyl reissue of the landmark 1967 debut album by AMM, AMMMusic. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Exact replica sleeve by Stephen O’Malley. “Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe’s beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label’s founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd’s first manager, Peter Jenner (the title of Pink Floyd’s ‘Flaming’ is a tribute to AMM’s ‘Later During a Flaming Riviera Sunset’). Formed in 1965 by three players from the emerging British jazz avant-garde — Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare — AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaff, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe’s prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies. On AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew’s purposeful piano chords, radios beam in snatches of orchestral music. AMM’s clearest break with jazz-based improvisation concerned the idea of individuality. Initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.” –Francis Plagne