lp

Showing 11–20 of 494 results

  • 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


  • windy & carl – instrumental for the broken hearted – blue flea

    out of stock

    2009 Tour LP. Limited to 500 copies in painted sleeves, and pressed on green vinyl.


  • the velvet underground – chelsea girls – no label

    out of stock

    Numbered edition of 300 copies. Taken from The Velvet Underground’s legendary soundtrack to Andy Warhol’s 1966 Chelsea Girls movie.


  • louise landes levi – from the ming oracle – sloowax

    out of stock

    limited stock

    Recording by Louise Landes Levi on traditional bowed harp or sarangi and Hilary Jeffery (who also plays with Catherine Christer Hennix) on trombone drone. Levi studied sarangi under the guidance of Annapurna Devi and Ali Akbar Khan.
    Levi & Jeffery interpret the perennial tradition of Indian raga – informed by the deep dream of the 20th century & the visionary ensembles of the mid century: The Floating Lotus Magic Opera Company (Daniel Moore) & The Theatre of Eternal Music (La Monte Young & Marian Zazeela). Also an accomplished poet, the LP comes with a booklet with a selection of poems from ‘Tower 2/TARA or dc-x’, which was originally printed for the funeral rites of Simon Vinkenoog. Edition of 300 copies.


  • joan la barbara – voice is the original instrument – arc light editions

    $27.00 Add to cart

    Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976 on Wizard Records. This is the first time the original LP, with artwork, has been made available again. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan’s earliest compositions, researching the possibilities of the voice, in two rigorous études, “Circular Song” and “Voice Piece: One-Note Internal Resonance Investigation”, and the more free-form “Vocal Extensions”, which uses live electronic processing. “My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts,” she says. “At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service.” Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. “I did commercials, which, strangely enough, led me to Steve Reich,” she says. “A composer I was working with, Michael Sahl hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of “Drumming”, imitating the marimba.”


  • lino capra vaccina – frammenti da antico adagio – die schachtel

    out of stock

    previously-unreleased material from the original 1978 sessions of Lino “Capra” Vaccina’s Antico Adagio.


  • raul lovisoni francesco messina – prati bagnati del monte analogo – die schachtel

    out of stock

    Originally published in 1979 by the legendary Gianni Sassi’s Cramps Records label as part of a series curated by Franco Battiato, the long-awaited Prati Bagnati del Monte Analogo is finally made available by Die Schachtel in a repackaged deluxe edition, fully remastered (by Giuseppe Ielasi) from the original Cramps tapes, and complete with three extra tracks (in the CD edition) dug from Francesco Messina’s archives. Produced by Franco Battiato, the breathtaking oeuvre of Francesco Messina and Raul Lovisoni is openly inspired by the unfinished metaphysical novel Le Mont Analogue, by the French writer René Daumal, who had been for many years a student of the teachings of the enigmatic Armenian Georges Ivanovich Gurdjieff. The reference to Gurdjieff is important in order to frame this work in its own context, because at that time the great Greek-Armenian mystic was beginning to exert a large influence into the diverse and stimulating artistic environment that for many years developed around Battiato, which included, among the others, Juri Camisasca, Francesco Messina and Giusto Pio. Battiato’s entourage was characterized by a deep desire of spirituality that would not adhere to a particular faith, but rather involved a full opening of the mind and body. This spiritual quest, that one can hear shining through the music, was something intimate and personal and it never became the expression of religious extremists looking forward to life in another world. Similarly, Prati Bagnati del Monte Analogo is a stage of that journey that the artists developed independently, yet with a constant tension of the spirit resulting from years of readings and reflections shared with others. The music on this album is an exact compendium of such an intimate journey: drones and overtones, repetitive patterns, a deep, meditative feel, and space atmospheres. “Writing this on a Sunday afternoon during breaks taken from restoring two zithers from the late 19th century. I love the instruments not only for their beautiful craftsmanship and sound, but for what they’ve seen, the stories in which they’ve played a part, and the journey that brought them to me. Francesco Messina and Raul Lovisoni’s Prati Bagnati del Monte Analogo is playing on a loop as so many times in the past, coloring the space I inhabit with its glowing overtones, spreading its majestic quietness. Taking as a starting point an unfinished utopian novel, written by French pataphysician René Daumal, in which is described the ascension of a mountain connecting Earth and Heaven, the three compositions take us on a journey through the rich green pastures of Mount Analogue, occasionally pausing beneath veils of light, only to stride determinedly onwards, to the realms of an ancient wind deity. At some point during this incursion, you may find yourself in a landscape set out by John Cage, witnessing Vainqueur, Substance and Resilient as children chanting their vocoded chants, or else enter a false portal planting you in Anthony Moore’s cloud and ballroom. While the subject matter is esoteric and the music makes no attempt to conceal this fact, it’s time we released these haunting pieces from the demesne of obscurity. Messina and Lovisoni have created a work of radiant beauty, oneiric states waiting to be explored, to lose ourselves in.” –Stephan Mathieu, from the liner notes


  • guenter schlienz – book of dreams – cosmic winnetou

    out of stock

    “book of dreams” was inspired by notes about dreams i wrote down shortly after i woke up from my sleep. in those strange moments between phantasy and reality, when you can still remember the images and feelings of the dream before they are rubbed off by daytime thoughts and troubles. the compositions which can be heard on this album trying to recapture those images and feelings, mixed with a second thought, kind of a sober interpretation of the sometimes wild and furious adventures with somnia.
    modular synth stuff for inner explorations.