Tago Mago, Can's Third Studio Album Originally Recorded in 1971 Is the First Album with Damo Suzuki on Vocals, and Features the Can Line Up of Holger Czukay on Bass, Michael Karoli on Guitars, Jaki Liebezeit on Drums and Irmin Schmidt on Keyboards. This Special Double Vinyl Has Been Out of Print for Over 20 Years.
Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass andTree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.
Vinyl LP pressing. After a decade in the wilderness, David Berman has returned to record-making - this time around as Purple Mountains, leaving his iconic Silver Jews brand to history. Fortunately for all the fans, he's retained his iconic songwriting style, with a new batch of tunes conveying an astonishing variety of 21st-century mid-life crises. Featuring full-on technicolor production intervention from Woods' Jarvis Taveniere and Jeremy Earle, Purple Mountains debut stands tall among Berman's classic albums, with knee-slappers and eye-wipers alike - ten new tracks ready to go into suffering jukeboxes across the land.
Wilson Tanner come to shore with II, a new album of floating melodies,
lightly salted. Throwing electroacoustic conventions overboard, Andrew
Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new
work aboard a 1950s riverboat with a resourceful array of weatherproof
electronic instruments and a long extension lead. These eight
compositions pull in a by-catch of maritime folklore; of siren and
selkie, seagull and engine oil slick. A change of course from their
debut album 69, the ambient temperature drops as II casts out to sea in
uncertain weather and returns to the safe harbors of Port Phillip Bay.
The seafarers head out to "My Gull"'s poised optimism - the birds watch
but do they listen? By the arrival of "Loch and Key," the shoreline has
dissolved completely, the boat floating in serene infinity as the rest
of the world spins. Conditions soon take a treacherous turn on "Killcord
Pts I-III" - a 12 minute odyssey that battens down the hatches as these
sailors eye merciless waves and blinding ocean spray, jointly
channeling Berlin-school electronics and sea legs. In the aftermath, the
waterlogged bleeps of "Idle" survey the damage as our parched crew
sound the distress signal and ultimately descend into delirium. Known
for navigating individual courses as solo musicians, Wilson and Tanner's
collective storytelling is saturated in detail, buoying between tension
and harmony. II modestly stands as some of both artists' most
accomplished material. Includes download.