Ladies and gentleman, thanks a lot for your attentantion – we have another newsletter ready even if it´s not friday. The Broken Water euro tour starts tmrw – so we thought to send it out earlier and also lots of great new records arrived like the cold showers 7“, the new Jungbluth LP, KAMASI WASHINGTON - the epic 3LP, UNA BESTIA INCONTROLABLE - observant com el mon destrueix LP and other La Vida restocks, a bunch of 20 buck spin restocks, FISTER - IV LP and other crown and ... restocks and lots moreeee.
We also repressed the BATON ROUGE – totem LP on rose colored vinyl. Get on while you can.
And last but not least the BROKEN WATER tour starts next week in berlin. Don´t miss out. All dates are here
https://www.facebook.com/events/349341398603153/
and tonight at BEI RUTH – PEACH KELLY POP are playing. Don´t miss this!!
Stay brutal
Robert & Klose & Norman
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7“
COLD SHOWERS - plantlife 7" (aufnahme - Limited edition of 300 handnumbered copies, 2015 w/ exclusive b-side. White vinyl, comes with a download code.) 8.00
DIE - vexed 7" (la vida - Follow up to their amazing debut from last year. 8 new tracks of nihilist and anti social hardcore punk with a sound heavy rooted in both Bristol and Boston circa 1983.) 6.00
HANK WOOD AND THE HAMMERHEADS - same 7" (la via - La Vida Es Un Mus reissue the 2011 7" from HANK WOOD AND THE HAMMERHEADS. These three songs are insanely catchy, keyboard-drenched, punk stompers fronted by a sephardic miscreant known only by the mysterious handle of Hank Wood. This record possesses such snarky, yet dangerous attitude. Lead track 'Shoulda Listen (To Mommah)' is a dirty garage dirge that's part 13TH FLOOR ELEVATORS, part CRAMPS and part THE DOORS.) 6.50
CRUDOS – cobardes 7“ (la vida - Released in time for their recent Spain + London tour this 4 track EP contains 3 previously tracks released in compilations back on the day as well as a song only available on their discography CD. Basically, for those keeping tabs on CRUDOS discography this is a hard vinyl version of the flexi disc re;leased in Brazil last year.) 6.50
PRAG – same 7“ ( lad vida es - P e r t h p u n k s P R A G u n l e a s h e d 4 t r a c k s o f u n h i n g e d m u t a n t h a r d c o r e . T h e n a s t y s o u n d s o f t h i s E P a r e a h y b r i d o f F i n n i s h H a r d c o r e c i r c a 1 9 8 2 , J a p a n e s e l o w p r o d u c t i o n f l e x i s f r o m t h e A D K d a y s a n d S p a n i s h h e a v y h i t t i n g h a r d c o r e . A l l b l e n d e d w i t h a h e a l t h y D I S O R D E R v i b e a n d a r a t s o u n d i n g G E R M S s t y l e v o c a l i s t . A l l i n a l l a d a m a g i n g p i e c e o f p o g o i n d u c i n g h a r d c o r e - p u n k w i t h a t e e t h c u t t i n g g u i t a r t o n e , a w a l l o f r e v e r b a n d a n u r g e n t b e a t . F i l e n e x t t o G L A M , D E S T I N O F I N A L , C R A Z Y S P I R I T o r S E X U A L . T h e E P c o m e s h o u s e d i n a r e v e r s e b o a r d p o c k e t s l e e v e w i t h a h a r d c a r d i n s e r t , b o t h d e s i g n e d b y B r v c e w h i c h m a n a g e s t o m a t c h p e r f e c t l y m u s i c a n d g r a p h i c s o n t h i s r e l e a s e .˛ˇ) 6.00
RITUAL CONTROL - inoculation 7" (sabotage - RITUAL CONTROL started in early 2013, drawing members from a healthy assortment of West Coast hardcore acts like No Static, Condition, Provos, Torso, Effluxus etc. Under their belt they have a 6 song demo cassette and a 4 song 7" ep released last year on Residue records. Sabotage is happy to bring out the third release: Four songs of heavy hitting hardcore with elements of modern dbeat. Drawing influence from such bands as, Mind Eraser, Koward, and Entombed. RC's sound continues to develop as the band slams on and this record is proof of that. Sharp, heavy and disconcerting hardcore with vicious vocals. Recorded by Jack Shirley at the Atomic Garden in East Palo Alto, CA.) 5.00
TIMMY'S ORGANISM - get up, get out 7" ("Timmy Vulgar, Detroit’s favorite son, and most ambitiously amphibious creative force doesn’t need much of an introduction to anyone familiar with subversive punk music over the past decade and a half. He’s been such an irreplaceable figure in each of his musical endeavors since his emergence in such legendary acts such as the Epileptix and Clone Defects back in the late 1990s, right up through his shape-shifting efforts in the mollusk-like Human Eye and the prog-soaked Reptile Forcefield, and straight into his latest nerve-numbing scatterbomb known simply as Timmy’s Organism.” — Todd Killings, Hozac Records How can KURT VILE fans sleep at night knowing that this fucking guy is out there, ruling the universe? Seriously, Timmy Vulgar - makes everyone else look like a fucking joke. — Mitch Cardwell, Maximum Rock'n'Roll - Couldn't have said it better ourselves, Todd. Working with Timmy Vulgar and his outfit Timmy's Organism means yet another dream come true for Third Man Records. Fronting some of the most original, compelling and unpredictable bands (not only in Detroit, but the world) for over two decades, Tim Lampinen’s work with the Epileptix, Clone Defects, and Human Eye has always held a rapturous cult following. Yet his work with his current trio, Timmy’s Organism, presents Lampinen (aka Timmy Vulgar) along with bassist Jeff Giant and drummer Blake “Bovver” Hill, ready for their close-up. With Heartless Heathen the group touches on their artistic and spiritual forbears of Captain Beefheart and Destroy All Monsters, while amply ramping up the slop culture rapture of classic punk 'n' roll like Chrome, Crime, and the Damned as well as contemporaries like Thee Oh Sees. There’s a reason why Lampinen won a $25,000 Kresge Grant for his work with his bands… he creates music that borders on art, live shows that border on theater. It’s high time the rest of the world take notice. Are you ready?) 10.00
WOLF EYES - enemy ladder 7" (third man - Post-industrial/noise group Wolf Eyes and are set to release their new album 'I Am A Problem: Mind In Pieces' on October 30th. Behold the album's first single "Enemy Ladder" b/w "Dull Murder Two." Wolf Eyes history stretches from 97-to present with over 500 releases into the either of the musical world: with units only normal instrument being a lone GUITAR thru the years: give and take some gongs and blues harmonica,: strings here put thru a John Cipollina- in year 2098 live thru a drag strip filter fuzz -damage direct from Jim Baljo. Nathan Young provides vox & electronics from a woods possessed by a spirit thats both too ancient and too futuristic to gain comfort in its own proto- rural/urban musical environment. Final member John Olson rounds out the soundscape with electronics and woodwinds whose only job title can be known as conjuring "the gut of un-nameable menace" into sound. Here on I AM PROBLEM : the trio are at their peak: relaxed but knife-focused : not a second is wasted on the streamlined atmosphere of scruffy scotch tape-electronics musique' concrete foundation of splatter used to raise up a monument of individualism and idiosyncratic homemade misfired dribbling ROCK AND ROLL: again from the year 2098, with a new messed up misconfigured FACE.) 10.00
LP
ATLANTEAN KODEX - the white godess DLP (20 buck spin - “I wish to speak to you today about the tragedy of Europe.” So begins the speech sample from English PM Sir Winston Churchill that opens “Twelve Stars and an Azure Gown (An Anthem for Europa),” the fifth track on The White Goddess (A Grammar of Poetic Myth). Indeed, the entire concept of Germany’s Atlantean Kodex is expressly European in nature—from the classically influenced melodies, to the lyrics and concepts that inspire the towering, grandiose heaviness of the songs, on through the band’s use of German Romantic Caspar David Friedrich’s “Monk by the Sea” as cover art. Continuing on from the band’s previous album, 2010’s near-universally praised The Golden Bough, Atlantean Kodex build upon their sound to achieve an album like no other in 2013. Many bands and labels lay claim to the word “epic” to describe a particular sound, but on The White Goddess, Atlantean Kodex embodies the term in a way very few others could imagine. Drawing from traditional heavy metal, doom and Norse metal, The White Goddess showcases their strongest songwriting, lyrical, vocal performance and production yet, already nearly without equal on their previous LP. Unequivocally, The White Goddess is the best pure heavy metal record of 2013. Self-described as falling somewhere between Twilight of the Gods-era Bathory, early Manowar (Ross the Boss-era) and other classic US bands like Fates Warning, Cirith Ungol and Warlord, Atlantean Kodex retains a singular modernity and heaviness via their incredible production and recording techniques, and through singer Markus Becker, who has the naturally blessed pipes to rival the best heavy metal vocalists past or present. There is no irony or pretense in their music; like last year’s Pallbearer debut album, Atlantean Kodex plays deeply reverent and devoted heavy metal with an emphasis on superior, timeless songcraft. 20 Buck Spin is very proud to present this monument of True Heavy Metal, representing Atlantean Kodex’s first domestic label release in North America; a collection of perhaps the most memorable songs ever released by the label.) 22.00
BATON ROUGE - totem LP rosè wax (adagio830 / echo canyon - 4/5 of Daitro started a new Band a couple years ago and what we got is Baton Rouge. Baton Rouge play great melodic emo rock mixed w/ a raw noisy edge like Unwound meets a little Hot Snakes and Twelve Hour Turn. These 9 new songs are even more catchy then on the one before - so it was worth waiting two years. This record has potential to be a timeless classic - check then out here
https://adagio830-records.bandcamp.com/album/totem) 11.00
BERT JANSCH - it don't bother me LP (bmg - 'It Don't Bother Me' is the second album by Bert Jansch, released in December 1965. The album was produced by Nathan Joseph and Bill Leader, although Leader was left uncredited This, Jansch's second album, followed the landmark first's release by less than a year, still in 1965. It pretty much represents a continuation of the first, though here he plays a couple of works with John Renbourn on second guitar (the exotic North African-sounding vocal piece 'My Lover,' and the incredible instrumental 'Lucky Thirteen'), and the traditional piece '900 Miles,' on which he shows that he can play the banjo as well as the guitar. Other high points include the interesting solo instrumental 'The Wheel,' the chilling commentary title cut, and the more lighthearted 'As the Day Grows Longer Now.' This superb edition is the second in a series of all seven of Bert Jansch's Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever.) 20.00
THE BUTTERSCOTCH CATHEDRAL - s/t LP (toruble in mind - Plenty of great music has been the byproduct of a singular vision; that "man-alone" in the studio producing genius works; Brian Wilson, Curt Boettcher, Pete Townshend have all chained themselves to the mixing console (metaphorically speaking) for the sake of music as something "more". Tuscon, AZ's Matt Rendon know plenty about being the "man-alone" in the studio. Ever since he debuted The Resonars in the early Nineties - a project that started out as a band, dissolved & then just became the fictional "band" identity for Rendon alone - he's produced six albums of Sixties mod-inflected power pop all by himself in his home studio. The Butterscotch Cathedral is the latest album from Rendon & his first project outside of The Resonars since 2004. The Butterscotch Cathedral "s/t" debut is comprised of only three tracks total; one shorter song "Loud Heavy Sun", & two longer suites both nearing the 18 minute mark ("Side A" and "Lisa's Dream"). In this day & age, sidelong tracks in the context of a "rock & roll band" are scarce, and 'The Butterscotch Cathedral' hearkens back to an era that could produce albums like 'Smile' & 'Quadrophenia' without batting an eye. Rendon's had two decades to familiarize himself with his home studio & on this album he's never sounded more at home. Free from the expectations of what it means to create a "Resonars album", 'The Butterscotch Cathedral' finds Rendon experimenting & taking risks in new & exciting ways. Rendon attacks the tunes here with renewed vigor, with every song crackling with shimmering melodic intensity & the sharpest hooks this side of The Brill Building. The tunes embedded within the albums sides ebb & flow from fiery rockers to emotive ballads, woven together in a psychedelic tapestry by Rendon & studio-mate Jim Waters. They fold & unfold onto each other like the rolling ocean tides. Songs like "Waterfall Parasol" & "Uncle Tommy's Song" are snappy power pop numbers, utilizing the Resonars model as a springboard into new territory along with the upliftingly melancholic dirge of "Saxifrage Drive" & the 17-minute "Lisa's Dream" suite on Side Two which bounces to & fro between sparkling pop, acoustic balladry, psychedelic mindfuckery & gorgeous, layered vocal harmonies. The album's lysergically-leaning artwork was provided by designer (and fellow Tuscon native) Jason Willis, a sly nod to the forward thinking & visually striking design work of the ESP label & the album is pressed on black vinyl, as well as a limited, butterscotch yellow vinyl & includes a download code. Won't you come inside...? RIYL: The Beach Boys, The Who, Animal Collective, Todd Rundgren, Tame Impala) 18.00
BYRON WESTBROOK - Precipice LP (root straata - Precipice is Byron Westbrook’s first long playing record under his given name. Operating under the handle Corridors for many years, Byron has established a reputation for creating immersive multi-channel, site specific live experiences using sound, image and light. Precipice expounds upon these ideas as a collection of approaches to texture, landscape, perception of time, and the potential for sound to generate visual space. Like climbing a column which inexplicably leads to a plateau of glass, the topography above and below visible in crystal clear relief. Byron Westbrook is an artist and musician based in Brooklyn NY. He works with listening, space, perception and awareness, often pursuing routes with social engagement. His electronic sound interventions play with dynamics of perception of space, sometimes manifesting as multi-channel sound performances or as small or large-scale installation work using video or lighting. He has presented work at ICA London, Clocktower Gallery, ISSUE Project Room, Abrons Arts Center, Roulette, Diapason Gallery, Eyebeam, BRICarts, LMAK Projects (NYC), Human Resources (Los Angeles), The LAB (San Francisco), International House (Philadelphia), VIVO MediaArtCenter (Vancouver), Les Voutes (Paris), Colla+eral Festival (Bologna), O' (Milan), Cyberfest (St. Petersburg) among many others. He studied with David Berhman, Marcus Schmickler, Laetitia Sonami and Marina Rosenfeld for his MFA from Bard College, and has also toured and collaborated with Rhys Chatham. He has also worked closely with Phill Niblock at Experimental Intermedia Foundation in NYC since 2005. He has been an artist in residence at Clocktower Gallery, Wassaic Project, Diapason Gallery, HotelPupik and is a 2014 Civitella Ranieri Fellow.) 17.00
EDITORS - in dream LP + CD (pias - This is The Editors fifth studio album, ‘In Dream’ and their second release featuring the ‘new’ line up of the band with founding members Tom Smith, Russell Leetch and Ed Lay being joined by Justin Lockey and Elliott Williams. Following two years of intensive world tours, the five piece has taken a step away from the straighter, rock aesthetic of albums like ‘The Weight Of Your Love’ and has moved towards a more electro pop inspired sound, reminiscent of their third album ‘In This Light And On This Evening’. Slowdive's Rachel Goswell guests.) 18.00
JUNGBLUTH - lovecult LP (diy - their new album finally in stock) 12.00
KAMASI WASHINGTON - the epic 3LP (The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life.
Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved. But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared. This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums Cosmogramma and You're Dead!. The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. "Nothing compares to these guys," says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it... Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.” “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It's hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don't want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.) 32.00
KHEMMIS - absolution LP (20 buck spin - Over the course of the last ten years 20 Buck Spin has worked with the best of the best in the crowded doom genre—bands as diverse as Samothrace, Graves At Sea, Pallbearer, YOB, Mournful Congregation, Lycus, Atlantean Kodex, etc. In that tradition, the label is proud to present Khemmis from Denver, Colorado, who brings together components of many of the aforementioned label alumni to forge a venerable testament to what heavy doom rock is in 2015. The six meticulously crafted songs on Absolution reveal a level of musicianship and writing skill seldom heard on debut albums. Often within the scope of a single song Khemmis veers effortlessly between the crushing heaviness of Southern sludge and the somber melodicism of traditional doom, cohesively weaving the disparate styles into their own immediately recognizable form. The band incorporates dual vocals, sometimes harsh, but mostly via a stunningly smooth classic doom / heavy rock style that even adamant fans of Pete Stahl and Wino will applaud. The powerfully adept rhythm section perfectly anchors the towering riff mastery and colorful dual guitar harmonies, all brought together by Dave Otero’s (Cobalt, Nightbringer) pitch-perfect production work.) 17.00
LAMARTINE - reportage LP (finders keepers - A genuine lost and unreleased full-length LP from one of the most mysterious figures of early Italian electronic sound and library music. A missing puzzle piece in the small discography of experimental tape and synthesiser music by the composer known only as Lamartine recorded (but never pressed) in 1974 by the archive that bought you the work of Daniela Casa and the wildest electronic experiments of Alessandroni, Giuliano Sorgini and Fabio Frizzi. Having sat in the can for over 40 years the similarities to the likes of Cluster, Tom Dissevelt and the Radiophonic workshop have yet to be recognised and celebrated.) 20.00
LA MISMA - Kanizadi LP (la vida - A f t e r j u s t o n e 7 " a n d a h a n d f u l o f d e m o s N Y C ' s L a M i s m a r e l e a s e t h e i r d e b u t L P ' K a n i z a d i ' o n L a V i d a E s u n M u s i n E u r o p e a n d T o x i c S t a t e i n t h e U S A . T h e t i t l e t r a c k ' K a n i z a d i ' k i c k s o f f t h e L P w i t h a C r i s i s e s q u e r i f f b e f o r e h e a d i n g d e e p i n t o a w o r l d o f f u r y , e n e r g y a n d U K 8 2 p o g o p u n k . T h e i r s o u n d i s b u i l t o n d r i v i n g d r u m s , b a s s t h a t h a s d e p t h a n d b o u n c e , h a r s h y e t c a t c h y g u i t a r w o r k a n d i n t e n s e v o c a l s t h a t a r e s p a t o u t i n P o r t u g u e s e . I t s i t s s o m e w h e r e b e t w e e n t h e f u r y o f T o ~ i b a b e a n d t h e p u n k i e r s i d e o f A s M e r c e n · r i a s o r N i x e , c l a s s i c e a r l y 8 0 ' s I t a l i a n s i n g l e s b y K a n d e g g i n a G a n g o r J o S q u i l l o a n d a d e m o f o u n d i n t h e R i o t C i t y a r c h i v e . ' K a n i z a d i ' i s s u r e l y a n o t h e r v i t a l p i e c e i n t h e p u z z l e o f N Y C p u n k i n 2 0 1 5 . T h e L P c o m e s h o u s e d i n a 3 5 0 G r a m s l e e v e w i t h a n A 2 p o s t e r a n d 2 8 p a g e b o o k l e t d e s i g n e d b y L a M i s m a ' s v o c a l i s t N a y V i e i r a - R o s a r i o . ) 14.00
MICHAEL CHAPMAN - fish LP (light in the attic - Michael Chapman, the old folk guitarist from Leeds, has had a bit of a career renaissance of late. He has a long list of admirers from the American alternative music scene such as Thurston Moore, Kurt Vile, Will Oldham and Bill Callahan, which has probably helped. He is about to turn 75 so what better way to celebrate than release a new album, Fish.) 23.00
PEGA MONSTRO - alfarroba LP (upset the - Vinyl Limited To 500 For The World Pega Monstro are sisters Júlia Reis (drums) and Maria Reis (guitar, keyboard), both sing! The duo's name translates as 'catch the monster', perfectly countering the band's striving dream-punk sound.
The name ega Monstro' also references a novelty toy in the shape of a jelly hand on a string, which children have been throwing at each other in delight for many generations in their native country.) 18.00
PRONTO - s/t LP (slovenly - Slovenly Recordings presents a new black jewel in the rough from Australia: Melbourne scuzz squad PRONTO, and their self-titled LP will steal your purse n’ pills before kicking holes in your speakers! “Pronto” hits hard from the gate with a rare breed of aggression that mercilessly attacks your better senses with scraping vocal chords, three or less guitar chords and brash, unrelenting rhythmic fuckery. This decroded piece of plastic devolves from hammering rock’n’roll into psyched-out meltdowns, never neglecting the breed of anthemic choruses that were perfected during the first wave of UK punk in a twisted post-punk application. Pronto is making good with ruthless threats of thuggish damage. They’re knocking at your door, and you need the hurt.) 17.00
SCHÖNESENDE - s/t DLP (moment of - SCHÖNESENDE is the solo project of Matthew Bunkell, known for his work withLIGHT BEARER and MOMENTUM. With the exception of Jack Riddleston’s vocals on the song »Rise, Moloch«, spoken words by Joanne and Gary Bunkell and a the voice of postman-turned-poet Charles Bukowski and others, Matthew has written and recorded his debut album »Schönesende« all by himself. The endeavour, started in 2012, marks Matthew’s exploration of philosophical as well as psychological themes. Over the course of almost 70 minutes, »Schönesende« does not only musically explore different facets of Black Metal, Folk and abstract experimental music, but also immerses its listeners in a multi-disciplinary philosophical discourse revolving around questions about the human condition. Matthew, who in the near future intends to publish a collection of short stories and a novel which tie into the themes of the Schönesende project, cites authors such as Ernest Becker, Allen Ginsberg, F. Scott Fitzgerald, Ernest Hemingway, John Fante and Bukowski as influences for his art. Becker’s work – in which the cultural anthropologist postulates that the denial of one’s death or mortality is a driving force for human behaviour of all types – resonated so profoundly with Matthew that he decided to explore this topic further with Schönesende. Just like Schönesende’s music open-minded and diversified approach to Black Metal and its playful interaction with other genres, Matthew’s lyrics transcend simplistic dualistic concepts. »No one perpetrates evilness for the sake of evil. We live in an existence of subjective truths which we will never truly universally share and are trying to make sense of«, Matthew says in regards to the considerations which have informed Schönesende. He is free to admit that while he naturally opposes any form of oppression, he recognises that we are all »attempting to create ideological structures that benefit us and most regularly rob others of their basic human rights.« »Schönesende« is as much a critical evaluation of ideological constructs – ranging from religion to capitalism and so forth – empathetically approached from the perspective of those who fall prey to them as it is a skilfully executed artistic work of art in which Matthew’s talents as both a musician and a writer are tied together seamlessly.) 18.00
SPECTRAL LORE - I lp (atmospheric black metal with a touch of ambient, not unlike wolves in the throne room or weakling, but with a more progressive approach artwork by reuben sawyer of hollow sunshine fame) 13.00
THE STOPS - nameless faces LP (Self-described as "5 ladies playing punk rock." This, their debut LP, definitely adds to Portland's reputation for dark but melodic punk rock (see: Red Dons, The Observers, The Wipers). The band plays driving distorted punk that is at times informed by power pop. Think of a band that somehow combines the seemingly disparate influence of The Adolescents, The Wipers, and The Go-Gos and you're in the right place. Members of Red Dons, The Pedestrians, and Pataha Hiss.) 12.00
TOMO AKIKAWABAYA - The Invitation of The Dead (minimal - We’re honored to announce an exquisite double LP release by obscure Japanese artist Tomo Akikawabaya. As long time admirers of Akikawabaya’s 1980s releases on his own label Castle Records, we had attempted to reach him for many years without any luck. Finally at some point in 2014, a conversation was struck and one thing lead to the next. It was through Nao Katafuchi that we finally made contact with the legend himself, and began speaking about the proposed release idea. It turned out that the admiration was mutual, which was surprising as we thought Akikawabaya had disappeared completely. After working through the track selection and artwork ideas, we came up with the release plan. We’re very excited to present this double LP entitled The Invitation of The Dead. The collection of songs include the entirety of both The Castle (1984) and Anju (1985) releases, all newly remastered. They sound fresher and stronger than ever before, exactly as the artist had intended them to sound when he recorded them 30 years ago. The songs that span this double LP are personal and unique; they are dark synthpop gems. The artist still remains a mystery, as does his relationship to the model Rena Anju featured on this and all but one of his album covers (Kojiki to Onna). The Invitation of The Dead double LP is a limited edition of 999 copies. The first 300 copies will be pressed on 160 gram black vinyl with white haze for the A/B sides and white vinyl with black haze for the C/D sides, and the remainder will be pressed on 160 gram black vinyl for the A/B sides and white vinyl for the C/D sides. The double LP will be presented in a gatefold sleeve designed by Peter Miles featuring cover photo by Alao Yokogi.) 31.00
UNA BESTIA INCONTROLABLE - observant com el mon destrueix LP (la via - Barcelona's UNA BÈSTIA INCONTROLABLE came out of nowhere a few months ago. Within a few weeks of their existence they had recorded a promising demo of experimental noisy hardcore, played a few shows in UK and Spain and started working on their debut album. Barely 6 months later they give birth to "Observant Com el Món es destrueix". A 9 track LP integrally sang in Catalan and with a psychedelic approach to their previous bands sound (GLAM/ ATENTADO/ DESTINO FINAL / INVASION/ CROSTA amongst others). Their primative anthems of nature seeking dreams are distorted, repetitive and heavy at times. With their boots firmly stuck in hardcore based while keeping the overall sound free of any boundaries and styles. The artwork by guitarrist Guillem el Muro reflects the spirit of the album perfectly. An explosion of hardcore between day dreaming of peace and nightmares of reality.) 14.00
THE UNDERGROUND YOUTH - haunted LP (fuzz club - Limited edition of 500 on coloured vinyl (coke bottle clear vinyl). Manchester's The Underground Youth is here with with yet another hauntingly beautiful record that blends shoegaze, post-punk and psychedelia. TUY is the name under which Manchester's underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulat-ed virally on the Internet. Since then, TUY, with Craig and Olya Dyer as the core of the band, have expanded to a five piece, gaining a solid international fan-base.) 26.00
WENDY RENE - After Laughter Comes Tears: Complete Stax & Volt Singles + Rarities 1964-1965 DLP (light in the attic – back in stock - It’s been a long time coming, but After Laughter Comes Tears is the first ever anthology of southern soul legend Wendy Rene, whose classic, organ-driven “After Laughter (Comes Tears)” has been covered or sampled by everyone from Wu Tang Clan (“Tearz”, from 36 Chambers) to Alicia Keys (“Where Do We Go From Here”), Lykke Li and El Perro Del Mar. “If I could sing like anyone,” said Lykke Li, “It would be her.” Wendy was due to perform one last show with Otis Redding and the Bar-Kays, but changed her mind at the last minute. It was an auspicious decision – that weekend, Redding and four Bar-Kays died when their plane crashed in Lake Monona. Mary mourned her friends but not her music career. She taught harmony to her children and she sang in church, not in the studio. Then, in 1993, something strange happened – a friend of her son heard Wu Tang Clan’s “Tearz” on the radio. As new generations of artists have rediscovered Wendy Rene’s work, they have touched her life in various ways: Alicia Keys’s remake of “After Laughter…”, “Where Do We Go From Here”, for example, helped pay for her current home. Keys tried to meet up with Rene when she played in Memphis. “I wasn’t able to do it,” says Wendy, revealing little. In September 2010, Wendy Rene returned to live performance, albeit very briefly, playing a set at Ponderosa Stomp in New Orleans. It was to be a bittersweet occasion – Wendy’s beloved brother Johnny had died suddenly in June 2010 and performing brought back a flood of memories. “I was so choked up I wasn’t able to perform like I wanted,” she admits. Though her career was brief, Wendy Rene left behind a thrilling catalogue of classic soul. Here, Light In The Attic gives it the archive treatment it richly deserves. Listen, delve and enjoy.) 24.00
FANZINES / MAGS
DOWNPOUR fanzine # 2 + compilation TAPE (Interviews with TINY MOVING PARTS
ARMS ALOFT, BEACH SLANG, ZACH BRYSON, SPORT, HYSTERESE vs. IRISH HANDCUFFS, THE FEST 13 report, SWEET EMPIRE tourdiary + reviews, columns
Comes with our sweet as candy “Live Fast. Neil Young.” tape compilation featuring tracks by bands like FRAGMENTIST, OFF MOUNTAINS, WOLVESX4, WELTER, ZACH BRYSON, ROLLERGIRLS,CAMP LIFE, PORTUGUESE BEND, KID CISCO, SICK TRANSIT, THE BEATIFUL STATES, BACKBORD and TIDAL WAVES) 6.00