Our Deep Listening Station has literally changed the way customers can listen to music at our store in Amsterdam. We offer use of the turntable to those who want to get stuck into records on real HiFi sound. Recently we began making regular store selections of titles we recommend giving the long listen. We'll be sharing them with you, monthly, here.
Fresh eared for the new year - we pull out another selection of brand new productions and quality re-issues for the Deep Listen. Delve in..
Takao instead presents a rich and detailed tapestry of compositions that take New Age affectations, fashioning them into something far grander. There’s a penchant for the naiÌˆve, the more garish of digital instruments in the vein of James Ferraro – but importantly, Takao steers away from submitting to gestures themselves naiÌˆve or garish, opting instead to focus attention to a more nuanced, delicate style.
Indeed, a more intrinsic tradition to posit “Stealth” as an inheritor of would be the Impressionism of Debussy, or even Satie, with Takao’s approach drawing light and composure from his instruments at their most bare and unadorned. Ever so pleasing and atmospheric, “Stealth” is remarkably affecting in its subtlety.” (Nico Niquo)
Starting track Rustic Song, from the jet sound at beginning, you will realize that you arrived in Thailand. Followed by Track 2 Starshine, you can find surf vibe but it’s different than the West coast surf music. The topnotch is the B1 track Badtrip where you can hear lo-fi garage with heavy doomy fuzz jam part. For fans of Oh Sees, La Luz, or Thai’s morlam music.
Khana Bierbood (translated as Strange Brew in Thai), formed in 2012, in Bangsaen Beach in Thailand. After hours of jamming together they started create their unique sound influenced by 60’s surf music, 70’s garage rock with Thai traditional music. Current line up is: GOB Yutthana -Vox,Guitar, JAY Rathchanon-Bass,Backing vocal, OHM Chanutpong – Drums, Peep Sirimit -Percussions, Keys, and MO kittinan- Guitar.
Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.
A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982.
The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home.
Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara [Irish for "My Friend"].
He later described the process on the back of the LP himself saying:
"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"
A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels.
It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.
Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.
His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on.
Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.
The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.
Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.”
After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London.
This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.
Among Lovely Music's first six releases, it came to be known as "the yellow record". No one had ever heard anything like it; Ashley presented an unvarnished exposition of the inner workings of a man's mind. And on the other side, those of a woman. These two episodes were the foundation for Ashley's seven-part opera, Perfect Lives (LCD 4917CD, 2017), which was performed by his ensemble throughout the 1980s and was completed for television broadcast by Britain's Channel Four. New arrangements of Perfect Lives, notably Varispeed's site-specific version, continue to intrigue and enchant. Recorded at the Center for Contemporary Music, Mills College, Oakland, California, July 1977, produced by Ashley. Personnel: Robert Ashley - voice; "Blue" Gene Tyranny - keyboards; Kris - tablas. 180 gram vinyl, Stoughton Old Style sleeve, includes libretto.
By 1981, after four years of DIY electronics, it was time for a change. For Philip Sanderson that change came in the form of film. At first, requests came from friends for soundtrack work, and by the end of the decade he was making short experimental 16mm films himself. On One of These Bends is a collection of unreleased songs, soundtrack work and obscure cassette only pieces from the 80’s which reflect Sanderson’s shift in focus. It was a departure from the
industrial music he had been making with his group Storm Bugs, having more in common with Nino Rota and Henry Mancini, albeit as seen through a DIY lens, and with a reel-to-reel orchestra comprised of an EMS VCS3, vibraphone, DX7, Roland SH-101, Roland TR-606, tape delay, acoustic guitar, fretless bass and Yamaha FB-01
On two numbers, Philip jokingly asked an American chanteuse to “sing it like a cross between Streisand and The Shangri-Las”, and to his surprise she did, the results sounding like a loungey AC Marias, or a lost early CrÃ©puscule recording by Anna Domino. Counterpointing this are tracks such as E For Echo made with just an acoustic guitar, and the very first piece Bright Waves which combines the choral vocal talents of Nancy Slessenger with a Revox tape delay system, originally released on his own label Snatch Tapes, under the pseudonymous duo Claire Thomas & Susan Vezey.
This album is presented with the ‘picture turned down’ so to speak, and as such the music acts as a kind of memento mori for the absent moving images, and maybe even for the decade itself. Remastered from the original reels, DMM pressing.
All music by Errol H. Tout
Guitars, Bass Synth - Errol H. Tout
Drums - Craig Wheel
Guitar, Synths, Sampled Percussion, Linn Programming - Mark McAndrew
Bass, Sampled Marimba - Peter Hadley
Cello - Willem Vanderviz
Artwork Arranger: Angela Sanfrancesco, Fabrizio Martina
One of the very earliest full-length French concept albums - part radical manifesto, part pantomime. This anti-intellectual "physical" reaction to the bourgeoning musique concrete movement combines found sounds and industrial noise with piano jazz alongside imposing avant-garde orchestral elements and Magne's own hammered cimbalom flourishes. This unique debut album also provides an early insight into a fruitful soundtrack/conceptual jazz career collaborating with Jean-Claude Vannier, Martal Solal and Artie Kaplan as well as founding the French Strawberry Studio at Château d’ Hérouville where French groups like Magma, Catherine Ribeiro, Brigitte Fontaine and Ange shared a diary with Terry Riley and Pink Floyd.
Presented here for the first time since its initial humble pressing in its unabridged entirety complete with its collectable illustrated sleeve art this album stands as the perfect debut release and musical modus operandi for this new archival imprint.
First ever reissue of this seminal 1972 samba-jazz masterpiece(!) originally released on the now defunct Copacabana label. Obrigado Patua Discos from Sao Paulo!
Amado Maita's only album (1948 - 2005) had a small print run and became one of the rarest LPs in Brazilian music. Although he was multi-instrumentalist, he chose to focus on the voice in the recordings and counted on a team of musicians that included artists such as drummer Edison Machado (in the song "Samba de Amigo"), pianist Mozart Terra and other heavyweights in the Brazilian music scene.