MAGIC MIX

psych . krautrock . prog . rock

WEEK STARTING 18 Aug

Genre pick of the week Cover of Musik, Die Schwer Zu Twerk by Electric Würms.
Electric Wurms is the new side-project from Wayne Coyne and Steven Drozd of The Flaming Lips.

This is the first of what could be endless communicated sound stories. It is titled Musik, Die Schwer Zu Twerk, which predicted this modern day dance move by almost forty years ago. Some of it is indeed hard to twerk to but some of it, is not. There is a particular track called Transform!!! that closely resembles a drug fuelled boogie freak rock track by Miles Davis. Another verse Heart Of The Sunrise sounds vaguely like a song by the prog folk group Yes. Of course Yes also turned themselves into space ships so it's no wonder these songs share a similar vibe.

The ensemble leans toward a hypnotic mood for most of the space bible readings. It is a scary truth that we are hearing and then forced to ponder. The pulsating poem Living states… "live as if you were living already for the second time. And that you had acted wrong the first time". So they call themselves Electric Würms after the greatest of the super freaks. But they are not a super-group. They are like Sherpas climbing with you. To help you. To love you. All the secrets that they know they tell you. That's what love is.

FORMAT INFORMATION

LP Info: Special edition lilac coloured vinyl. Vinyl also
includes a copy of the album on CD.

Can

Can - Remastered Edition

    Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

    ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

    The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

    ‘Can’ was originally released in 1978. Lost on its initial release amongst the punk explosion, ‘Can’ features the classic ‘Sodom’ and ‘Can Be’.

    The album sees Holger Czukay take more of a back seat and would be Can’s last album before they reformed one more time with Malcolm Mooney on ‘Rite Time’ in 1986.

    Can

    Delay - Remastered Edition

      Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

      ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

      The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

      ‘Delay’ was originally released in 1981. This is the classic ‘first album’ that was stuck in the vaults until 1981 when Holger Czukay edited the archived tapes and formed the album.

      ‘Delay’ is a compilation album of early outtakes of Can’s work with singer Malcolm Mooney, including some of the band’s earliest material. It contains the song ‘The Thief’, which was later covered live by Radiohead.

      Can

      Out Of Reach - Remastered Edition

        Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

        ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

        The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

        ‘Out Of Reach’ has been unavailable in any official format since its original release in 1978.

        ‘Out Of Reach’ is one of Can’s rarest, less-known albums. This is due in a large part to the fact that bassist Holger Czukay left the band and drummer Jaki Liebezeit has a reduced role, leaving most of the rhythm duties to percussionist come-lately Reebop Kwaku Baah.

        As on the group’s proper swansong, 1977’s ‘Saw Delight’, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is marvellous, especially on the centrepiece improvisations ‘November’ and ‘Serpentine’.

        Can

        Rite Time - Remastered Edition

          Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

          ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

          The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

          ‘Rite Time’ was originally released in 1986. Can got back together with original vocalist Malcolm Mooney to record again.

          Revaluated as one of the classic Can albums, they show again how everything changes yet remains unmistakably Can.

          Bob Carpenter

          Silent Passage

            Bob Carpenter came close to being a major star. He received a glowing mention in Rolling Stone in 1970, recorded an album for Warner Brothers and had his songs recorded by Emmylou Harris, Billy Joe Shaver and others.

            However, ‘Silent Passage’, his lone solo album recorded in 1974, was pressed and ready to ship when contract negotiations shelved the record indefinitely. By the time things were resolved it was the end of the 70s singer-songwriter boom and Warner had moved on.

            He died in 1995 and the last decade of his life was spent in religious devotion. He joined a Buddhist monastery shortly before his death.

            The album saw release on the Canadian Stony Plain label in 1984 but has been out of print until now.

            It’s a tragic story of one that got away: if things had gone differently perhaps ‘Silent Passage’ would be considered a country-rock classic - slotted somewhere between, say, Gene Clark’s ‘No Other’ and Neil Young’s ‘Tonight’s The Night’. Perhaps it’s not too late for that - Carpenter's songs are timeless, magical and waiting to be discovered.

            There’s a talented backing behind, featuring a lot known session players from the era and soon to be famous singers (Emmylou Harris, Anne Murray) but it's Bob Carpenter's voice that takes the lead here and it soars.

            Following last years determined studio double LP, Euporie Tide, Causa Sui returns to improve with a third round of mindbending jams feat. Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free flowing krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fullfills the group's potential entirely. The krautrock grooves, the low-end heavyness and the sprawling furor is still very much present - but this set is also permeated by a rare free jazz-sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. One eye looking back to the golden age of improvised music, the other looking straight ahead, into the future.

            ”Incipiency Suite”, which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt'r) from American impro-rock collective Sunburned Hand of the Man first got together with Danish stoner/kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania – Copenhagens autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel.

            In the early summer of 2009 Ron Schneiderman was back in Denmark, this time for a threeweek stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhaagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in Pewt'r Sessions 1 and 2 The group got together again for a performance at 2012's Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt'r Sessions 3 was recorded.

            Flamingods

            Hyperborea

              Flamingods are a five piece multi-instrumental experimental band originally started by Kamal Rasool in late 2009, now comprising of Kamal, Charles Prest, Sam Rowe, Karthik Poduval and Craig Doporto. Their sound has been described as ethnic pop, with elements of noise, tribal and freaked folk. They use a number of percussion instruments, some of which were collected during Rasool’s travels to places like Tanzania and the Amazon. The album was written after new Visa laws forced founding member Kamal Rasool out of the UK. The album deals with themes of identity, belonging and alienation whilst also day dreaming of leaving to foreign far away lands such as the mythical island of Hyperborea. The album was made with none of the band members in the same room, sending audio files back and forth across the internet.

              Already receiving BBC6 radio plays from Lauren Laverne, Tom Ravenscroft, John Kennedy, Huw Stephens Stuart Maconie and press reviews:
              “The London/Dubai soundclashers create global-minded psychedelia with their dance-party-ready new album Hyperborea” DAZED
              “African rhythms and soundscapes cribbed from across the world music remit" 8/10 NME
              “A record of superb scope, vision and energy” 8/10 Loud & Quiet
              “An eclectic mix of tribal-esque chants and hypnotic harmonies” The Line Of Best Fit


              Fuzzy Duck

              Fuzzy Duck - Vinyl Edition With Bonus 7"

                Killer early 1970's psych/progressive, with burning hammond organ and searing lead fuzz guitar with some great funky beats for discerning DJs!

                FORMAT INFORMATION

                Ltd LP Info: Limited vinyl that comes with bonus 7" single and booklet insert.

                Grumbling Fur’s ‘Preternaturals’ is the second release on the label run by The Quietus, the UK’s leading independent online music magazine. The label’s first release was East India Youth’s ‘Hostel’ EP, the release which launched East India Youth’s career.

                ‘Preternaturals’ is Grumbling Fur’s follow-up to the acclaimed 2013 album ‘Glynnaestra’ (Thrill Jockey).

                Contemporary sun-kissed psychedelia with a strong pop edge - Depeche Mode in a stone circle - recalling Brian Eno, Penguin Café Orchestra, Beta Band, Super Furries, Coil, Talk Talk, Harmonia and Boards Of Canada, amongst others.

                The album features Tim Burgess (The Charlatans) on ‘Lightinsisters’. Burgess is a strong supporter of Grumbling Fur and they will be working with him on his next album.

                Heldon

                Allez-Teia

                  Allez-Téia, the second album by French guitarist Richard Pinhas under the Heldon moniker, was originally released in 1975 on the artist’s own Disjuncta imprint. Far from the band’s prog-tinged trio lineup, Allez-Téia features a menagerie of guitars, Mellotron and analog synthesizers. While opening track “In the Wake of King Fripp” pays homage to King Crimson in its title, the album’s heady textures and rhythmic meditations are more reminiscent of the German Kosmiche movement (Cluster, Harmonia, et al.) and post-rock experimentalists, such as Jim O’Rourke and Gastr del Sol. Acoustic guitar even makes a rare appearance - on the beautiful and melancholy “Aphanisis.” With front cover artwork depicting the events of May ’68 in Paris (by renowned photojournalist Gilles Caron), these dark ambient sounds make Allez-Téia perhaps the most revolutionary release in Heldon’s influential catalogue, foreshadowing Pinhas’s incredible solo work for decades to come.

                  July

                  Second Of July

                    July's legendary previously unreleased second album of demos from 1968.

                    King Gizzard & The Lizard Wizard

                    Float Along - Fill Your Lungs / Oddments

                    King Gizzard & the Lizard Wizard crank up the fuzzbox and set the Memory Man delay on infinity, assembling a cosmic force field that draws their sonic creations of the recent past into one unified, throbbing whole. Housed in a gatefold jacket for special re-release, this compilation features the truly intergalactic Float Along – Fill Your Lungs (dateline September 2013) together with its sister album Oddments (dateline Match 2014).

                    The Melbourne, Australia, seven-piece just finished their maiden North American tour, including a run of club dates along with appearances at Austin Psych Fest, Canadian Music Week and a slot at Northside Festival alongside Thee Oh Sees, Mac Demarco, Omar Souleyman and more. The remainder of King Gizzard’s American vacation saw them holed up in Sky Lodge in the Catskills for a month, recording what will be their sixth LP (tentatively scheduled for early 2015 release). They have also just recorded their fifth LP at Daptone in Brooklyn, due out at the end of 2014. The band return to Australia for the rest of the summer before heading back Stateside in October to open a White Fence tour, and then a European tour in November, including a slot at the Iceland Airwaves Festival. In short, there is no slowing this band down. Float along and fill your ears.

                    Korn

                    Korn - 180g Red Vinyl Edition

                      Korn is the eponymous debut studio album by the American Nu-Metal band Korn. It was released in 1994, right after the band toured with Biohazard and House of Pain. The album’s themes mainly consisted of both drug and child abuse. Korn was well received by music critics. The band stormed the alternative scene virtually overnight, and is said to have established Nu-Metal.

                      Bands like Coal Chamber and Limp Bizkit were inspired by the album’s rage, emphasising similar grooves and song structures, including some Hip Hop elements. Slipknot, Machine Head, and Sepultura were also inspired by the album. The album launched the career of record producer Ross Robinson, who later produced albums such as Three Dollar Bill, Yall by Limp Bizkit and Slipknot’s first two albums.

                      A little more than a year after release, the album went Gold in the United States. The album spawned 4 singles; “Blind”, followed by “Need To”, “Shoots and Ladders” and “Clown”. The album has now sold over 10 million copies worldwide and was never before issued on vinyl.


                      FORMAT INFORMATION

                      LP Info: 180 gram audiophile vinyl with 6-page insert. First pressing of 2500 numbered copies on red/black transparent vinyl. Available on vinyl for the first time!

                      The Magic Numbers have returned with their most confident and compelling album to date, ‘ALIAS’, including their brand new single ‘Shot In The Dark'. ‘ALIAS’ augments The Magic Numbers’ signature vocal harmonies with a darker, electrifying atmosphere and captures on record the infectious energy of the band’s live performances. The result is a new, powerful sound for the band. From the dramatically poignant openers ‘Wake Up’ and ‘You K(no)w’ the album builds in intensity, opening out into the string-laden backdrop of the soulful, seductive ‘Thought I Wasn’t Ready’ and the majestic ‘Roy Orbison'. New single ‘Shot In The Dark’ is bursting with existential angst and animalistic guitars that echo Neil Young’s work with Crazy Horse. 

                      FORMAT INFORMATION

                      Ltd CD Info: Deluxe CD in a digipack with 4 extra tracks.

                      2xLtd LP Info: Heavyweight double vinyl pressing in gatefold sleeve with insert. Includes bonus CD featuring 4 extra tracks.

                      Alanis Morissette

                      Under Rug Swept - Blue Vinyl Edition

                        180 gram audiophile vinyl with Insert
                        First pressing of 2000 numbered copies on blue transparent vinyl
                        Available on vinyl for the first time!

                        The fifth album by Canadian singer-songwriter Alanis Morissette, Under Rug Swept, was originally released in 2002. It was the first album Morissette had written and produced all on her own, debuting at number one on charts in 12 countries, including the United States and Canada. The album produced the singles “Hands Clean” and “Precious Illusions”.

                        Following up on the massively successful Supposed Former Infatuation Junkie [MOVLP1140], it was time for a cool change in making her next record. With Under Rug Swept, Morissette brought back the sound of Jagged Little Pill, a lush, dense layering of loops, guitars, keyboards, and vocals that makes her songs incredibly catchy. While sounding really good, the music flows, the production shines in its subtleties, it’s pleasingly melodic, tempering the extremities of Jagged Little Pill while retaining character.

                        Nico

                        The Marble Index - 180g Vinyl Edition

                        'The Marble Index' is the second studio album by German musician Nico. She initially became famous as a Warhol Superstar in the 60s. Nico is known for both her vocal collaboration on the Velvet Underground's debut album, 'The Velvet Underground & Nico' (1967) and her work as a solo artist from the late 60s through the 80s.

                        Originally released in 1969, 'The Marble Index' was produced by Frazier Mohawk. Critic Simon Reynolds described the album as "one of the most harrowing and death-fixated albums in rock history". The album was written by Nico and features musical arrangements by John Cale, who had worked briefly with Nico during her collaboration with The Velvet Underground. The music of the album was a new style for Nico, distancing herself from rock and pop. The album also unveiled Nico's songwriting, as her debut solo album 'Chelsea Girl' featured none of her compositions.

                        The Music On Vinyl reissue of this critically acclaimed and influential album is pressed on 180 gram audiophile vinyl. A classic album indeed!


                        The Rolling Stones

                        The Rolling Stones

                          This is a compilation of the Rolling Stones studio sessions in chronological order.

                          Brian Jones, Mick Jagger, Keith Richards, Charlie Watts and Bill Wyman started their sessions at I.B.C. Studios, 35, Portland Place close to Regent Street in London where the LP cover picture was taken in the early 1963. The first six tracks were recorded between the 28th of January & the 2nd of February. Come On / I Want To Be Loved is their first 7” recorded at Olympic in London on 10th May. In the hot summer of 1963, between July and August, they recorded at the Decca Studios Poison Ivy, It Should Be, Fortune Teller. On 14th and 15th September they were in Kingsway, London for their first EP with You Better Move On, Bye, Bye, Johnny and Money. Then they came back to the I.B.C. Studios on 5th October to record: Come On, Memphis Tennessee, Roll Over Beethoven and I Just Want To Make Love To You. Two days later, in Kingsway, they recorded the last two songs of this compilation.

                          Savaging Spires

                          We Should Be Dead Together

                            Savaging Spires pass through the songs like ghosts, drawn from the circle around since departed Midlands favorites Virgin Passages, make the most of whatever acoustic instruments might be at hand on these collected recordings. There is an exciting feeling inherent in the tracks that someone could walk into the room at any time and add percussion or piano or guitar or an additional octave in the soaring choruses. It is rare that songs of this depth and range can feel so loose - while also being delicate and swirling in intensity. You can feel the act of creation in every note or creak or cadence and it is intoxicating. The results are not overtly folk or psych or pop or rock yet they appeal to all of those senses at once. What they are is English, in the purest sense. Not London trying to be cool England, but the real England.

                            It is odd to have an 11-track EP. Even more strange is to organize it as one track followed by 10 tracks, as is done on the sleeve, especially when it plays out in a more traditional order in practice. But everything about Savaging Spires seems to go against convention. A band that All Music likened to "Animal Collective and the Incredible String Band jamming on foundinstruments at The Residents' house, with Mark Kozelek as guest vocalist" never ceases to surprise. This continues their habit of producing amazing results in front of a microphone, as their self-titled debut was considered by many to be an instant cult classic. "Recalling the glory days of pastoral psychedelia" according to The Wire, and receiving airplay from ardent fans in the UK on BBC Radio 1 (Tom Ravenscroft), BBC Radio 6 (Stuart Maconie), BBC Radio 3 (Late Junction) and Resonance Fm. It also found heavy rotation in the US on KALX, WFMU, WNYU, KVRX and many others. "We Could Be Dead Together" sees the band continuing to grow and leaves them presented in a way to reach even more fans of beautiful and challenging music.


                            Afro and rock; now that's a pretty good combination any day of the week. But in the hands of John Cameron (founder of prog outfit CCS, composer of cult soundtracks "Kes" and "Psychomania") and Alan Parker circa 1973, the juxtaposition of these two words kicks up a boat load more breaks and funky atmospherics than can safely be navigated via the Zambezi, with or without Audrey Hepburn in tow. A quick word of warning; if you're the kind of crate digger whose heart misses a beat at phrases like 'repetitive forceful riffs' and 'aggressive Afro rhythms', you had better pre-book an ambulance before slipping this baby on to your record player and dealing with the ensuing onslaught of nasty wah wah guitars, fiery conga work outs, heavy harps (really), spacey electric piano, far out flutes and lots and lots of drums.


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