An Evolutionary Music (Original Recordings: 1972 - 1979) compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma's work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma's story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, An Evolutionary Music offers the imprint of an outright auteur.
If you've lived anywhere near Fullerton, California over the last decade, or if you've paid any attention to the recent flux of sun-baked, surf-soaked power pop proliferating along the Western coastline of the U.S. in recent years, chances are high you've taken notice of Orange County's rambunctious guitar pop mavens Audacity. And if you've taken in Fullerton's pride-and-joy both in a sweaty, dingy live environment and on your turntable, you're undoubtedly aware that there is a certain unbridled quality to the band that can't quite be replicated on record. While last year's Butter Knife LP came pretty damn close to capturing Audacity in all their wild and ecstatic splendor, they've finally captured the triumphant bedlam of their live show with their latest 7", "Counting the Days" b/w "Mind Your Own Business". The A-side is Audacity in all their ragged glory - righteous guitar leads, buoyant choruses, and unhinged energy. For the flipside, the OC boys pay tribute to British post-punkers Delta 5 with an explosive cover of their debut single from 1979. "Counting the Days" b/w "Mind Your Own Business" is available worldwide on vinyl and digital formats courtesy of Suicide Squeeze Records. The vinyl version is limited to 750 (250 on fluorescent pink, 500 on black) copies and includes a download coupon.
For much of the Brooklyn duo's career, Beacon has worked with a kind of effervescent, forward-looking R&B that evokes out-of-body experiences, but with their new L1 EP, the music is anchored assuredly to your flesh, bone, and physical senses. The brawny synth timbres which open lead track "Fault Lines" and the stomping beats bolstering gauzy falsettos on confident songs like "Minor Structure" set the tone for a new phase in Beacon's evolution, one geared toward the movements and magnetism of human bodies. As producer Jacob Gossett puts it, "Our records have often been described as moments after the night has given way, a 'comedown after the club.' Hopefully, this record inspires people to go back out for one more."
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Ms Pretzel is a 4 track, 20-minute EP of brand new material by Eric Copeland (Black Dice, Terrestrial Tones). This is Eric's return to DFA after the release of an acclaimed single on Ron Morelli's underground dance juggernaut L.I.E.S., which followed his beloved 2013 album "Joke In The Hole", his solo debut for DFA. The music on Ms Pretzel most certainly continues to break new sonic ground, a process which has gradually unfolded over the last few years via many prior works on seminal underground labels such as Underwater Peoples, Escho, Post Present Medium, and Catsup Plate, among many others. Ms Pretzel takes Eric's outsider fascination with 4/4 dance music and twists it yet again. It is the sound of Eric Copeland throwing a wobbly dance party in a junkyard. DFA could not be more excited to host this gritty event.
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Before New Age hit terra firms at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierra's consciousness soared with cosmic concepts. With cues and lessons from the great minimalists La Monte Young,Terry Riley, Pandit Pran Nath, and help from the venerable public radio program Hearts of Space, De La Sierra embarked on a journey in alternate tunings and resounding reverberations, transporting entranced listeners from the Golden Gates to the intergalactic. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierra's India-inspired visual artwork and musings on the tableau of space.
A hugely exciting new talent, Katie Gately is a Brooklyn-born, LA-based artist with an academic background in film sound production and editing. Having only recently stepped out from her regular job as a sound designer in the film industry, Katie has crafted a set of brilliantly intricate and ambitious sound pieces that exist in a borderzone between electroacoustic composition, field recording and deconstructed pop bringing to mind the widescreen scope of Scott Walker or Julia Holter and the precise playful abstraction of Matmos and Holly Herndon.
Tlaotlon is the solo alias of Melbourne-based New Zealander Jeremy Coughbrough, who has released a clutch of records in the past few years on labels like Dungeon Taxis, Epic Sweep, Trensmat and 1080p. Messy, maximalist and psychedelic, Tlaotlon proffers a kind of squelchy, hyper-colourful, dislocated modern electronica that might find roots in older models like Phthalocyanine or Autechre but sharing commonalities with current producers like Patten, Sculpture, Dalglish, Astral Social Club and others.
Drummer Kid Millions and saxophonist Jim Sauter vaporize the annals of rock 'n' roll n' jazz into pulsating feedback/propulsion on Fountain - their second album. Across six pieces they explore massively hypnotic tonal harmonics and torrential rhythms. This is hardcore abstraction from two New York sherpas yanking us headlong into a third-eye odyssey, surpassing altitudes merely attempted by others. Kid is founding member of Oneida and the ace behind the percussion-focused Man Forever. Sauter is synonymous with the 35-year juggernaut Borbetomagus - pioneers of sound/jazz vivisection and inexorable vision. While both are known for feats of extreme artistic endurance, as a duo they opt for ferocious concentration - a savage pop-style of density and texture. As an omnipotent duo, neither Kid or Sauter anchors the other, instead they smash the fulcrum and spin perpetually in free-fall. LP in edition of 800, includes download.
Welcome to the world of Lord RAJA, a strange, sometimes perilous alternate dimension with beauty and decay in equal measure. It's a world built on the beat-centric music which flows through New York native Chester Raj Anand's stream of consciousness; here, half remembered hip-hop classics are spliced into '90s IDM, ambient, footwork, and experimental sound design. Our latest dispatch from Lord RAJA's uncanny realm is the impulsive and unpredictable A Constant Moth LP, 12 hyper-detailed scenes ripped from the surreal mayhem at play in the mind of this talented young producer.
A thick green mist, a lush chill vibe; after 5 years and countless self-released tapes and CDs, Mega Bog -- the brainchild of songwriter Erin Birgy -- has complete her best work to date; a swirling pop cloud called Gone Banana. Influenced equally by the emotional psychedelia of Kevin Ayers and the pop whimsy of Steely Dan, Banana is a joyous declaration of artistic independence and purpose. Changing line-ups more than most people change clothes, Birgy is an enigmatic musician and a true weirdo.
Alternately a tender songwriting project, a blazin-hot jazz-rock combo, or an open forum for goofy one offs and fragile experimentations, Mega Bog is ultimately whatever Birgy wants it to be on a given day. For Banana, she gathered a loose group of Seattle's thriving experimental pop and improvised music scene. Sounding equal parts Ariel Pink and Prefab Sprout, they rip through 9 hazy burners with a sneaky tightness hidden behind layers of drizzle and reverb. Birgy's rich voice croons and bends around the shifting walls of sound, organizing and refocusing the swirl. An immersive listening experience for oddball pop addicts, peek into the life of a truly strange soul.
In founding Swell Maps, the post-punk prefacing Birmingham art-snots, Nikki Sudden and his drumming brother Epic Soundtracks charted new territory for racket and corrosive guitar. But after folding Swell Maps at the dawn of the '80s, Nikki Sudden plowed through another decade's worth of terrifically fertile ground. Drawing on his devotion to the Rolling Stones and T. Rex - alongside guitarist Dave Kusworth as Jacobites, plus a cheekily named cohort of British sidemen - Nikki Sudden cut a string of raw, inspired rock 'n' roll records, etched with double edged travel melancholia and hard-bitten punk dejection.
This career-spanning 7xLP box set compiles Sudden's landmark solo LPs Waiting On Egypt and The Bible Belt, the Dave Kusworth-era LPs Jacobites and Robespierre's Velvet Basement, Sudden's Rowland S. Howard collaboration Kiss You Kidnapped Charabanc, and his Creation-issued masterpieces Texas and Dead Men Tell No Tales. Limited to just 500 copies, this set also includes Sudden's debut solo single "Back to The Start" b/w "Ringing On My Train."
Gayna Florence Perry and Robin Surtees are perhaps best known for their work with cult Eighties band Shiny Two Shiny. Signed to Red Flame Records, they released one mini LP entitled 'Halfway Across The Rainbow' and one single 'Waiting For us' b/w 'Ritual Hate', in 7" and 12" formats.
A mixture of bright and breezy synth pop with some darker undercurrents both records made a dent in the indie charts gaining positive reviews in the music press for releases and live appearances and acclaim from John Peel as well as daytime airplay on Radio 1. They also toured Europe and appeared on TV. At the start of 1984 the band played at the 'Big Brother' music festival at the ICA in London, supporting Pink Industry. But by this time the writing was on the wall for Shiny Two Shiny.
Didn't It Rain is Jason Molina's first perfect record. Recorded live in a single room, with no overdubs and musicians creating their parts on the fly, the overall approach to the recording was nothing new for Molina. But something in the air and execution of Didn't It Rain clearly sets it apart from his existing body of work. His albums had always been full of space, but never had Molina sculpted the space as masterfully as he does on Didn't It Rain.
Captured Tracks is pleased to present the Stockholm Monsters full catalogue in this special vinyl only reissue. Formed in Manchester in 1980, Stockholm Monsters were signed with Factory Records in 1981. Discovered at a show in Manchester when the band was still teens, New Order's Peter Hook took the young band under his wing and went on to produce the majority of the band's catalogue, under the alias Be Music. Their first single, "Fairy Tales", didn't appear until 1982, due to the tardiness of the songs producer Martin Hannett. Drawing early praise from influential music magazine's NME and Melody Maker, along with touring with New Order, the band seemed set for success. However through numerous line-up changes, delays in recording and the onslaught of bands such as the Happy Mondays the band never quite hit their mark.
During their time with the Factory Records, Stockholm Monsters released one LP (Alma Mater) and a series of 7"s and singles including a scathing take down of Factory's primary indie label rival, entitled "How Corrupt is Rough Trade". Available in a limited run, this complete collection gives new light to one of Factory's lost artists.
Back in 2009, Suicide Squeeze Records labelmates These Arms Are Snakes and The Coathangers teamed up for a series of tour dates on the East Coast. It was a perfect pairing: The Coathangers' jagged catabolic garage rock and These Arms Are Snakes bleary and blighted artcore made for an evening of celebratory chaos. But These Arms Are Snakes' seven-year run came to an abrupt end a few months later, leaving a final unfinished recording - a cover of Lost Sounds' "Energy Drink & The Long Walk Home" - gathering dust in the vaults. In the five years since the Snakes' dissolution, The Coathangers have toured relentlessly on their three albums for Suicide Squeeze; releasing a slew of split 7"s with various road comrades along the way. Though These Arms Are Snakes remain broken up, the finishing touches on "Energy Drink" were finally wrapped up in 2014, and it seemed only appropriate to pair the song with a track from their old tourmates. The Coathangers are still hard at work touring on their highly lauded album from earlier this year, Suck My Shirt, but they found the time to counterbalance the Snakes' Lost Sounds cover with their take on The Gun Club's "Sex Beat". Suicide Squeeze is proud to release the split single worldwide on a limited vinyl run of 1,000 (clear w/ red and black splatter) 7"s with an accompanying download code. The songs are also available digitally.
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TURNING - A concert film documentary captured during the critically acclaimed tour of Europe by Antony and the Johnsons and Charles Atlas during the fall of 2006, it explores the heart and experience of that series of performances. Through its synthesis of Antony's songs and unfurling video portraiture of the 13 beauties who performed on stage, TURNING creates an intimate and cinematic experience exploring themes of identity, transcendence and the revelation of essence.
Also included in the deluxe package is the full TURNING concert recorded live at The Barbican, London, Nov. 2006 and contains songs across the first three Antony and the Johnsons' full length albums along with bonus tracks never before released songs - "Whose are These" and "Tears Tears Tears". The classic lineup of Antony, Maxim Moston, Rob Moose, Julia Kent, Parker Kindred, Jeff Langston, and Thomas Bartlett can be heard on these recordings as Charles Atlas's projected portraits of the girls light up the stage from behind the band for the duration of the concert.
For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined their creative partnership as the core members of the band Balmorhea. In 2007 they self-released their self-titled debut, an album which captures the duo's unique magic as it first blossomed. In 2014 Western Vinyl is reissuing the band's self-titled album, and making it available on vinyl for the first time.
In conjunction with the reissue, we're happy to present two new songs on a limited edition 7" record titled HEIR. With the songs created for the 7" (HEIR I and HEIR II), the band brings everything full circle, returning to the simple structures and melancholic tone that colored their first recordings. HEIR I starts things off slowly with a Wurlitzer's somber tremolo and some gently propulsive electric bass, soon joined by vibes and a soaring violin melody. HEIR II opens with a gorgeous ukulele melody, which is slowly engulfed in Kendall Clark's expressive drumming, eventually giving way to a frenetic wall of strings.
Original 1994 album remastered and repackaged in an expanded gatefold and pressed on 180 gram virgin vinyl.
"On a family vacation to Florida in the mid-'70s, Bubba cut his head on the bedside table in a motel room. I still remember it vividly and how I was haunted by the matter-of-fact line: 'you cut your head on the bedside table.' Its ten syllables sounded right, but the content is what really haunted me. It felt like the ultimate betrayal, the bedside table taking advantage of its proximity to a serenely sleeping body." - Matt Kadane
Original 1996 album remastered and pressed on 180 gram virgin vinyl.
"Beheaded was such a quiet record out of necessity. I was living in a small apartment. Some of the songs I did are really quiet with no drums because I couldn't think of anything to do, we couldn't practice, and I didn't want to wake up the neighbors. It's a definite case of environment affecting the creative process." - Matt Kadane
Original 1998 album remastered and pressed on 180 gram virgin vinyl.
"I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us." - Steve Albini, on recording Transaction De Novo
The complete studio recordings of Dallas, Texas, slow-core pioneers. Every cymbal crash, guitar brush, and whisper, across five LPs or four compact discs. Deluxe box includes WhatFunLifeWas, Beheaded, Transaction De Novo, and an additional disc overflowing with singles, EPs, and outtakes, alongside a perfect bound book dissecting the quintet's nervous slouch through the '90s.
"I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us." - Steve Albini