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Superior Viaduct Vinyl, CD & Tape 78 Artikel

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Joe McPhee - Nation Time
Joe McPhee
Nation Time
LP | 1971 | US | Reissue (Superior Viaduct)
23,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
It’s been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his debut LP. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka’s poem ‘It’s Nation Time,’ and the students at Vassar College didn’t know what hit them. ‘What time is it?’ shouted the bandleader. ‘C’mon, you can do better than that. What time is it?!’ The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee’s home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon’s audience-less recording session, the band was ignited by McPhee’s passion and his gorgeous post-Coltrane / post-Pharoah tenor. On ‘Shakey Jake,’ they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday. Originally released in 1971 on CjR, an imprint started expressly to document McPhee’s music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut’s first release. In fact, the first four records on this seminal Swiss label all featured McPhee.
John Frusciante - Niandra LaDes And Usually Just A T-Shirt
John Frusciante
Niandra LaDes And Usually Just A T-Shirt
2LP | 2017 | US | Original (Superior Viaduct)
36,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions. Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque. Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody. The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly. On the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape. This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves.
Steve Reich - Drumming
Steve Reich
Drumming
2LP | 1971 | US | Reissue (Superior Viaduct)
28,49 €* 29,99 € -5%
Release:1971 / US – Reissue
Genre:Klassik
Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing—pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City—first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made—and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.
Scientist - In The Kingdom Of Dub
Scientist
In The Kingdom Of Dub
LP | 1981 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1981 / US – Reissue
Genre:Reggae / Dancehall
Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby’s studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby’s throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Originally released in 1981, In The Kingdom Of Dub remains one of the best early LPs in Scientist’s long career. Produced by Roy Cousins at Channel One and featuring Sly & Robbie along with members of The Revolutionaries, The Aggrovators and The Soul Syndicate, the album offers a wide range of arresting rhythms, bold effect drops and exquisitely melodic bass. From “18 Drumalie Avenue Dub” (a reference to King Tubby’s address) to “Burning Sun Dub,” Scientist lays down a veritable roadmap of dub —filled with disintegrating echoes of satiny organ and textural guitar—firmly cementing his place as one of the true innovators in Jamaican popular music.
L. Voag - Way Out
L. Voag
Way Out
LP+7" | 1979 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1979 / US – Reissue
Genre:Rock / Indie
The first-time vinyl reissue of the 1979 solo debut from The Homosexuals bassist Jim Welton (a.k.a. L. Voag) includes a bonus 7-inch of the rare Move EP. The Way Out is recommended for fans of Desperate Bicycles, This Heat and Mark Perry. “The start of recording The Way Out crossed over with the last days of my involvement with the Homosexuals. Lovely as they were, the guys were demanding unswerving, vanilla rock ’n’ roll fealty from me—something I just couldn’t provide given my need to taste eight thousand musical ideas at once. “The gravity around which The Way Out took shape issued from a decidedly asinine idea: what if we lived in a world where the music of the avant-gardists (Stockhausen, Oliveros, Henry) provided the best-selling, chart-topping pabulum of the day, while pop music (as we know it) was an obscure, nigh impenetrable, elitist niche product? L. Voag is a fiction used to describe a character from the pop milieu who, desperate for a hit, attempts to knock out a crossover album combining both worlds. Not surprisingly, he fails miserably. “The Way Out was recorded at Surrey Sound Studios, founded in 1976 by brothers Nigel and Chris Grey. While Nigel (sensibly?) concentrated on music biz staples The Police and others, Chris—a visionary with at least one if not both feet planted in the future—opened up the studio to all manner of experiment, actively inviting mavericks and crazies to participate. Maniacs like the Homosexuals, Milk From Cheltenham, and L. Voag were granted access to gold standard, 24-track recording equipment, so long as it was during so-called dead time between 1:00 and 7:00 A.M. The brothers were unfailingly generous, even on the occasion when Lepke retuned Sting’s hand-turned lute to the obscure Mixolydian mode—by accident.
Faust - The Faust Tapes
Faust
The Faust Tapes
LP | 2018 | US | Original (Superior Viaduct)
26,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
Faust stand among the most influential creative forces to have emerged from Germany in the late ’60s and early ’70s. Along with Can, Agitation Free, Neu! and others, Faust rejected the Anglo-American norms of rock ’n’ roll to start a back-to-basics and uniquely Teutonic revolution in sound—later dubbed by the UK press with the semi-derogatory term “krautrock.” Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segal writes in the liner notes, “There’s no consensus about which Faust album represents their zenith. But a survey of the group’s fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.” Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band’s best-known songs. “Flashback Caruso,” with its delicate acoustic guitar and Rudolf Sosna’s airy vocals, could easily have appeared on So Far or Faust IV, while on “J’ai Mal Aux Dents,” Jean-Hervé Peron’s playful lyrics and this ecstatic, era-defining riff perfectly represent Faust’s magical mischievousness.
Spacemen 3 - For All The Fucked-up Children Of This World We Give You Spacemen 3
Spacemen 3
For All The Fucked-up Children Of This World We Give You Spacemen 3
LP | 2018 | US | Original (Superior Viaduct)
24,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
In 1984, Spacemen 3 made their first-ever recording session and sold a few cassettes at now-legendary, incendiary gigs. Growing out of the dual guitar attack of Jason Pierce and Pete Kember, the band’s three-piece line up with Natty Brooker on drums offered a liturgical take on ’60s psychedelia, bare-knuckle blues and stunning feedback. This early glimpse into the Spacemen 3 cosmos—crafted by and for all the fucked-up children of this world—captures the band’s unorthodox approach to rock ’n’ roll with nuance and power. While the raw atavism of “Things’ll Never Be The Same” and “Walkin’ With Jesus” would be scaled back considerably on later recordings, the one-chord propulsion of “T.V. Catastrophe” and hardwired stomping of “Fixing To Die” draw from a primitive force that served as the impetus for the group’s formation. For All The Fucked-Up Children remains the perfect introduction to Spacemen 3. Not only do these demos reveal the auspicious beginnings of two teenagers born on the same day in Rugby, England, but also compelling clues that point toward the exploration and eventual refining of their signature sound.
Scientist - Introducing Scientist - The Best Dub Album In The World
Scientist
Introducing Scientist - The Best Dub Album In The World
LP | 1980 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1980 / US – Reissue
Genre:Reggae / Dancehall
Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby’s studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby’s throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Introducing Scientist – The Best Dub Album in the World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby’s, the album features hypnotic basslines, reverb-drenched keyboards, and fluid, start-stop rhythms. Opening track “Steppers,” with its well-balanced phrasing and organic contours, shows Scientist’s mastery of the studio-as-instrument concept. On “Scientific,” the effects-laden guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form.
Richard Pinhas - Iceland
Richard Pinhas
Iceland
2LP | 2019 | US | Original (Superior Viaduct)
24,99 €*
Release:2019 / US – Original
Genre:Electronic / Dance
Originally released in 1979, Iceland is Richard Pinhas’ third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon’s hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward. Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas’ delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes—all vivid in texture and timbre, notwithstanding an undeniably chilling ambience. This first-time vinyl reissue includes “Wintermusic,” an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas’ excursions channel the season’s stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments. Recommended for fans of Cluster, Mica Levi and Fripp & Eno.
Fall, The - Rough Trade Singles
Fall, The
Rough Trade Singles
LP | 2018 | US | Original (Superior Viaduct)
22,99 €*
Release:2018 / US – Original
Genre:Pop
The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums. “Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man’” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release. Superior Viaduct’s edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner.
John Bender - Pop Surgery
John Bender
Pop Surgery
LP | 2018 | US | Original (Superior Viaduct)
24,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
Following the release of lo-fi electronic masterpiece I Don’t Remember Now / I Don’t Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. “I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.” This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.
Franco Battiato - Clic
Franco Battiato
Clic
LP | 1974 | US | Reissue (Superior Viaduct)
26,99 €*
Release:1974 / US – Reissue
Genre:Electronic / Dance
On his fourth album, Clic, Franco Battiato moves further out—into realms of pure and elemental approaches to sound—to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D’Adda on percussion. While only “No U Turn” bears the maestro’s voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions. Clic’s dedication to Karlheinz Stockhausen comes into focus on the final piece, “Ethika Fon Ethica”—a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell’s celebrated Folkways compilations from the 1950’s). It’s the perfect ending to Battiato’s beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer’s mid-1970s oeuvre. Superior Viaduct presents the first-time domestic release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.
Mekons, The - Where Were You?
Mekons, The - Never Been In A Riot
Spacemen 3 - Taking Drugs To Make Music To Take Drugs To
Spacemen 3
Taking Drugs To Make Music To Take Drugs To
2LP | 2018 | US | Original (Superior Viaduct)
36,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
In the swirl of kaleidoscopic recordings that is Spacemen 3's discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position – one at the nexus between their garage beginnings and expansionist future. Spacemen 3 capture the inspired spark of mid-'80s psychedelia, offering a distinct variation on high pop through layered feedback, a formidable rhythm section and shining vocals.Taking Drugs features the legendary Northampton demos, which secured the band's first record deal with Glass. While much of this material would be expanded upon on their first two albums, Sound Of Confusion and The Perfect Prescription, many devotees consider these early 1986 demos to be the vital document of Spacemen 3 at this primal stage.With urgent, minimally treated versions of "Sound Of Confusion" (aka "Walkin' With Jesus"), "Losing Touch With My Mind" and "Come Down Easy," this double LP collection serves to exalt the strength of Spacemen 3's songwriting over the deep-dive, sonic ruminations that would permeate their later studio efforts.Includes download card and new insert with liner notes by Byron Coley.
Spacemen 3 - Playing With Fire
Spacemen 3
Playing With Fire
LP | 1988 | US | Reissue (Superior Viaduct)
27,99 €*
Release:1988 / US – Reissue
Genre:Rock / Indie
Spacemen 3 began assembling their third album, 1988’s Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions’ first offering came in the form of “Revolution,” a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3’s crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock ‘n’ roll. An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like “Suicide” (named after the notorious NYC band) and the mesmeric “How Does It Feel?” catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter. Includes download card and new insert with liner notes by Marc Masters.
Franco Battiato - Sulle Corde Di Aries
Franco Battiato
Sulle Corde Di Aries
LP | 1973 | US | Reissue (Superior Viaduct)
28,99 €*
Release:1973 / US – Reissue
Genre:Electronic / Dance
Franco Battiato is often heralded as Italy’s answer to Brian Eno. A quizzical composer / lyricist, Battiato turned pop music upside down in the early ‘70s with three classic LPs—Fetus, Pollution and Sulle Corde Di Aries—that formed a confluence of avant-folk sensibilities and analog electronics. 1973’s Sulle Corde Di Aries is the third chapter in Battiato’s foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit—eschewing traditional, song-based composition in favor of kosmische voyages. On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. “Sequenze e Frequenze,” the album’s side-long centerpiece, blooms in a polyphony of organic pulses reminiscent of the vibrant keyboard minimalism of Terry Riley’s A Rainbow In Curved Air and the rhythmic interconnectedness of Can’s Ege Bamyasi. While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato’s catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies. Superior Viaduct is honored to present the first-time domestic release of Sulle Corde Di Aries on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.
Franco Battiato - Pollution
Franco Battiato
Pollution
LP | 1972 | US | Reissue (Superior Viaduct)
28,99 €*
Release:1972 / US – Reissue
Genre:Electronic / Dance
Franco Battiato is often heralded as Italy’s answer to Brian Eno. A quizzical composer / lyricist, Battiato turned pop music upside down in the early ‘70s with three classic LPs—Fetus, Pollution and Sulle Corde Di Aries—that formed a confluence of avant-folk sensibilities and analog electronics. Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato’s perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it “genius.” While Battiato’s core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone. Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don’t need to speak the artist’s language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock ‘n’ roll. Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.
John Coltrane & Alice Coltrane - Cosmic Music
John Coltrane & Alice Coltrane
Cosmic Music
LP | 1968 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1968 / US – Reissue
Genre:Organic Grooves
John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the ‘60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks (“Manifestation” and “Rev. King”) by John Coltrane’s legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more (“Lord Help Me To Be” and “The Sun”) from Alice Coltrane’s very first session as a bandleader, recorded six months after her husband’s passing. “Manifestation” opens with the group already in mid-flight: Trane’s fierce tenor leads the way with Pharoah Sanders’ blistering sax and Alice’s powerful chords hearing his call. On “Rev. King,” Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison’s bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, “Lord Help Me To Be” brings Alice’s celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. “The Sun,” a meditative ballad with subtle urgency, perfectly closes the album’s contemplative circle. As John Coltrane recites on the final track, “May there be peace and love and perfection throughout all creation.”
Bert Jansch - Rosemary Lane
Bert Jansch
Rosemary Lane
LP | 1971 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1971 / US – Reissue
Genre:Rock / Indie
By the time Rosemary Lane was released in 1971, Bert Jansch had covered a great deal of territory on numerous albums as a solo artist, collaborations with John Renbourn and records by the band in which he and Renbourn sang and played guitar, Pentangle. Returning to the intimate economy of his self-titled debut LP from a half-dozen or so years earlier, Rosemary Lane was recorded on portable equipment by engineer/producer Bill Leader and featured Jansch with no accompaniment save his guitar and voice. Rosemary Lane has elements of many of the styles Jansch covered in his extraordinarily eclectic career — from the folk and blues that were his bedrock to medieval music — yet cuts to the heart of his strength as spell-binding storyteller and empathic interpreter of isolation and want. Occasional instrumentals vary the mood that, like much of his work, is usually somber and introspective. Jansch once again lights the way forward with detours through the past. His sparse arrangements seamlessly merge original songwriting and traditional folk songs, while Jansch’s imaginative lyrics charm every step of the way — as if speaking directly to the listener alone. This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.
DNA - A Taste of DNA
DNA
A Taste of DNA
12" | 1981 | US | Reissue (Superior Viaduct)
16,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
New York's DNA have had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA's most-famous song). While the band's explosive live performances captivated audiences, extant recordings captured DNA's dynamic sound and savage economy in songwriting. Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP's six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay's guttural screams create a thoroughly personal semantics. As Marc Masters writes in the liner notes, "A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends." This first-time vinyl reissue is recommended for fans of The Contortions' Buy and Red Crayola's The Parable Of Arable Land.
Liquid Liquid - Liquid Liquid
Liquid Liquid
Liquid Liquid
12" | 1981 | US | Reissue (Superior Viaduct)
16,99 €*
Release:1981 / US – Reissue
Genre:Organic Grooves
Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style—a fusion of irresistible basslines, junkyard percussion and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records et al.). Their eponymous debut establishes Liquid Liquid's uncompromising vision, from its startling black-and-white sleeve design to the minimalist grooves found within. While Principato's striking pitch-shifted shouts on "Bell Head" lead hypnotic circular rhythms, "Rubbermiro" brings in dub-inflected melodica and Richard Edson (Sonic Youth, Konk) on trumpet, closing appropriately in a locked-groove.
Liquid Liquid - Optimo
Liquid Liquid
Optimo
12" | 1983 | US | Reissue (Superior Viaduct)
16,99 €*
Release:1983 / US – Reissue
Genre:Organic Grooves
Liquid Liquid continued toward dance-floor perfection with their third EP. 1983's Optimo features the band's best-known songs and remains a high water mark for post-punk aficionados. The title track positively erupts when the bass enters, forcing even the stiffest person in the room to move. While it would be an understatement to say that "Cavern" may sound familiar (due to its gross sampling in Grandmaster Melle Mel's "White Lines"), Liquid Liquid were indeed the originators of this iconic New York riff.
Alain Goraguer - OST La Planete Sauvage
Alain Goraguer
OST La Planete Sauvage
LP | 1973 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1973 / US – Reissue
Genre:Film / TV
Animated sci-fi masterpiece La Planète Sauvage (a.k.a. Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes and strings. While the lush arrangements are reminiscent of Goraguer’s collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd’s Obscured by Clouds and Broadcast’s Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin and David Axelrod.
Leslie Winer - Witch
Leslie Winer
Witch
LP | 2014 | US | Original (Superior Viaduct)
21,99 €*
Release:2014 / US – Original
Genre:Electronic / Dance
Produced in the twilight of the ’80s in London and originally released on white-label LP with a homemade rubber stamp impression, Witch is the mysterious and powerful debut from poet, artist and musician Leslie Winer. It’s an infectious patchwork of dub beats, tasteful samples and Winer’s sultry blend of spoken word with cool, folksy lullabies that later became popularized by acts such as Massive Attack and Tricky. Even though Witch predates those artists’ breakthroughs by a year or more, Winer quickly rejected NME’s christening her as the “grandmother of trip-hop.” No stranger to the concept of fame and its pitfalls, Winer moved to New York in the late ’70s to attend university and befriended William S. Burroughs and Jean-Michel Basquiat, among other street-level luminaries. Her striking, androgynous looks eventually led to a successful modeling career. As the ’80s closed, Winer chose to use © instead of her own name as a moniker; the front cover of Witch features an ouroboros around the letter C to form a copyright symbol. Winer’s spoken delivery evokes the frank realism of beat poetry; her lyrics grapple with socially constructed notions of beauty, womanhood and domestic roles. These stark challenges to power structures are articulate and staggeringly direct, pushing the boundaries of pop music’s form. This message, matched with Winer’s uncanny approach and melodic ear, fitted with an electro-acoustic palette built on tension and restraint, culminates in the extraordinary work that—as John Peel said—is “the very definition of a hidden gem.”
Alice Coltrane - A Monastic Trio
Alice Coltrane
A Monastic Trio
LP | 1968 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1968 / US – Reissue
Genre:Organic Grooves
Born Alice McLeod into a musical Detroit family, Alice Coltrane began playing piano at age seven and later studied with Bud Powell in Paris. Upon returning to the States, she joined vibraphonist Terry Gibbs’s group and eventually shared a bill with the John Coltrane Quartet. In 1965, the two wed in Juárez, Mexico, and played alongside one another until her husband’s last performance in May, 1967. A Monastic Trio, created in the year following her husband’s passing, is Coltrane’s first recording as a band leader and features six original compositions. While John’s spirit can be felt throughout—from the song titles (“Ohnedaruth” was his adopted Hindu name) to the personnel (Jimmy Garrison, Rashied Ali, and Pharoah Sanders were frequent collaborators)—the album showcases Alice’s immense talent for fusing spiritual free jazz and new age with classical, Eastern, post-bop and gospel. As the late Amiri Baraka writes, “‘I Want to See You’ is a monastic piano concerto. With echoes of Europe..., it has a solemnity and majesty to it.... Yes, monastic is the word. The piano broods in its earth imagination.”
Brigitte Fontaine - Comme A La Radio
Brigitte Fontaine
Comme A La Radio
LP | 1969 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
Featuring Areski Belkacem and Art Ensemble Of Chicago, Comme a la Radio is the sophomore album in Brigitte Fontaine's prolific career. While her debut, Brigitte Fontaine Est...Folle, is a unique take on French chanson, here the ART ENSEMBLE provides the perfect setting for Fontaine's exploration of free-verse poetry. Often arrhythmic and spoken, her vocals command the same spontaneity and grace that her collaborators applied to their instruments. The album's eight-minute title track sets the tone: a sparse bass line keeps time as Fontaine dances around stabs of flute and trumpet. On "Tanka II," named for a form of concise Japanese poetry, Areski (who provides percussion throughout) plays hand-drums atop flurries of bass as Fontaine coos and whispers pensively, gradually uttering controversial phrases. "L'Ete L'Ete" centers around a repeated motif with individual lines of high-pitched melody on a bed of muted horns. Each track is its own world, with Fontaine's incredible range, both in style and substance, acting as the glue between the immense talent involved. The overall effect is chilling, and it is no surprise that Comme a la Radio is often cited as Fontaine's best known work.
Kevin Harrison - Inscrutably Obvious
Kevin Harrison
Inscrutably Obvious
LP | 1981 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1981 / US – Reissue
Genre:Electronic / Dance
Preorder 01.03.2019
Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late ’70s and early ’80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP—a lost gem of Britian’s ’80s cassette culture and DIY bedroom aesthetics. Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks—from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens. Harrison clearly wears his influences on his sleeve—major debts are paid to Brian Eno, Robert Fripp and Manuel Gottsching—yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities. This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago.
Fall, The - Totale's Turns
Fall, The
Totale's Turns
LP | 1980 | US | Reissue (Superior Viaduct)
22,99 €*
Release:1980 / US – Reissue
Genre:Pop
Given The Fall’s penchant for iconoclasm, it’s no surprise that they decided to say goodbye to the ’70s with a series of gigs at Northern England’s gruffest halls. The band’s formidable live show was met with even more derision and disorder than customary during these late ’79 and early ’80 performances, and they skillfully amplified such sentiments back at the crowd. Totale’s Turns, The Fall’s first live album, was released on Rough Trade just prior to their pivotal third album, 1980’s Grotesque. “The difference between you and us is that we have brains,” shouts Mark E. Smith to open Totale’s Turns as the band breaks into the rollicking “Fiery Jack,” their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon’s splintering guitars, Steve Hanley’s thunderous bass and Smith’s combative sneer reverberate over “Rowche Rumble,” “Choc-Stock” and “Spectre Vs. Rector” more than any studio would ever allow. Totale’s Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct’s edition is the first time that Totale’s Turns has been available on vinyl domestically. Liner notes by Brian Turner.
Takehisa Kosugi - Catch-Wave
Takehisa Kosugi
Catch-Wave
LP | 1975 | US | Reissue (Superior Viaduct)
27,99 €*
Release:1975 / US – Reissue
Genre:Electronic / Dance
Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the 1960s, he was part of Japan’s first improvisational music collective, Group Ongaku, and contributed to Fluxus in New York. In 1969, he founded the influential, experimental ensemble The Taj Mahal Travellers, and in 1975 he would release his first solo album, Catch-Wave. “Mano-Dharma ‘74” features improvised violin drones and voice with various oscillators, echo delays and layered tape experiments that the artist made in New York in 1967. While Kosugi’s continuously changing spectrum of sound shifts gradually (almost imperceptibly), photocell synthesizers create ultra-low frequencies to disturb the crestless sound waves. The brighter the light is, the harsher the noise becomes. Catch-Wave’s second sidelong piece, “Wave Code #E-1,” is a three-part performance for solo vocalist. As Kosugi describes in the liner notes (translated into English for this edition), the concept of onomatopoeia played an essential role in the type of sounds he generates with his voice, manipulated through customized electronic circuits and at times recalling Gregorian chant, throat singing and cosmic soundscapes. This first-time vinyl reissue is recommended for fans of Tony Conrad, Eliane Radigue and Fennesz.
Alvin Curran - Canti E Vedute Del Giardino Magnetico
Alvin Curran
Canti E Vedute Del Giardino Magnetico
LP | 1975 | US | Reissue (Superior Viaduct)
23,99 €*
Release:1975 / US – Reissue
Genre:Electronic / Dance
American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early ’70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic. Canti E Vedute Del Giardino Magnetico, Curran’s solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome’s The Kitchen). Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer’s alluring voice—converging in an immersive realm of Curran’s inner / outer experiences. This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.
Spacemen 3 - Recurring
Spacemen 3
Recurring
LP | 1990 | US | Reissue (Superior Viaduct)
27,99 €*
Release:1990 / US – Reissue
Genre:Rock / Indie
1990’s Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3’s departing statement surely reveals a deep divide within the S3 camp—each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other’s songs—Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock. Opening saga “Big City (Everybody I Know Can Be Found Here)” marries ambient haze with narcotized indie rock, while “I Love You” manages to arrange a beautiful flute alongside a defiantly throbbing bass track. “Hypnotized,” a reimagined fuzz-pop hymn, would become the group’s first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3’s persistent sound, rooted in both aural expansion and phenomenal songwriting. Includes download card and new insert with liner notes by Marc Masters.
Suicide - First Rehearsal Tapes
Suicide
First Rehearsal Tapes
LP | 2017 | US | Original (Superior Viaduct)
26,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
“On Suicide’s First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977. “These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory. “The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide’s first album as well as their sonic adventures that followed, you have to start here with their earliest recordings.” —Henry Rollins (excerpt from the liner notes)
Basil Kirchin - Worlds Within Worls
Basil Kirchin
Worlds Within Worls
LP | 2017 | US | Original (Superior Viaduct)
28,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the ‘40s as a professional jazz drummer, in the ‘60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable. Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin’s various tape manipulations—amplified insects, animals, engines, glossolalia of children—with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes. As Brian Eno writes in the liner notes on the original release, “Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well…. So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it.” Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.
Franco Battiato - Fetus
Franco Battiato
Fetus
LP | 1971 | US | Reissue (Superior Viaduct)
28,99 €*
Release:1971 / US – Reissue
Genre:Electronic / Dance
Franco Battiato is often heralded as Italy’s answer to Brian Eno. A quizzical composer / lyricist, Battiato turned pop music upside down in the early ‘70s with three classic LPs—Fetus, Pollution and Sulle Corde Di Aries—that formed a confluence of avant-folk sensibilities and analog electronics. Originally released in 1971 on Bla Bla, Fetus predated the prodigious Cramps and Multhipla catalogues to become one of the first electronic records produced in Italy. With his trusted VCS3 synthesizer, Battiato created primordial soundscapes that shift between dreamy and delirious. His unsentimental, yet evocative voice—combined with a sublimely detached approach to lyrics—spawned a new breed of divergent songwriting. Fetus, a concept album exploring themes of genetic engineering, is enigmatically sub-titled “Ritorno al Mondo Nuovo” (Return to the New World) and dedicated to Aldous Huxley. While the sleeve design may have raised a few eyebrows upon its initial release, the back cover photograph of Battiato (standing defiant in dark glasses) makes the real iconoclastic statement. Battiato’s infectious melodies and innovative sound-collage techniques remain uniquely spry given that each track averages less than four minutes in length. Pink Floyd’s Meddle, Os Mutantes’ eponymous recordings and Jim O’Rourke’s experimental-pop idiosyncrasies all find parallels to the curious beauty of Fetus. Superior Viaduct is honored to present the first-time domestic release of Fetus on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.
Arnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In Love
Arnold Dreyblatt And The Orchestra Of Excited Strings
Propellers In Love
LP | 1986 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1986 / US – Reissue
Genre:Organic Grooves
Arnold Dreyblatt has been called “the most rock ‘n’ roll of all the composers to emerge from New York’s downtown scene in the 1970s.” Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra’s second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt’s rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums. On Propellers In Love, simple song titles – “Odd & Even,” “Harmonics,” “Bowing” – belie intricate harmonic structures. Dreyblatt’s modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra’s rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion (“Pedal Tone Dance” and the title track). Throughout, the Orchestra’s perpetual motion achieves a tremulous and exquisite density. Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.
Fall, The - Room To Live
Fall, The
Room To Live
LP | 1982 | US | Reissue (Superior Viaduct)
26,99 €*
Release:1982 / US – Reissue
Genre:Rock / Indie
On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith’s continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall’s most experimental and improvisational recordings. As proclaimed on the album cover, “Undilutable Slang Truth!” would be revealed throughout Room To Live. With the album’s comparatively lo-fi production and always- teetering performances, the title track comes closest to a stab at pop (by The Fall’s standards), built on fantastically bent saloon swaying under one of Smith’s by-now characteristic dressing-downs of square life. “Detective Instinct” is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. “Marquis Cha Cha” is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure. Superior Viaduct’s edition is the first time that Room To Live has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
Ornette Coleman - To Whom Who Keeps A Record
Ornette Coleman
To Whom Who Keeps A Record
LP | 1975 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
In the late 1950s, Ornette Coleman set the jazz world on fire. From his own unique playing style to his fundamental deconstruction of harmony and complete rethinking of group performance, Coleman at once confounded critics and inspired a new generation. This revolutionary music eventually became known as free jazz, but Coleman’s influence extended well beyond – into avant-garde rock and art circles – and today his name is synonymous with artistic freedom. Originally released in Japan only, To Whom Who Keeps A Record collects outtakes from Coleman’s legendary Atlantic period, sessions from Change of the Century and This Is Our Music that are as emotionally transfixing as intellectually rigorous. Featuring the classic quartets with Don Cherry, Charlie Haden, Billy Higgins and Ed Blackwell, this collection is striking for its brilliant compositions and scorching solos. The song titles themselves lay out Coleman’s central philosophy: “Music always brings goodness to us all. Unless one has some other motive for its use.” This first-time vinyl reissue includes liner notes by Byron Coley.
Areski & Brigitte Fontaine - Je Ne Connais Pas Cet Homme
Areski & Brigitte Fontaine
Je Ne Connais Pas Cet Homme
LP | 1973 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1973 / US – Reissue
Genre:Rock / Indie
Following their groundbreaking collaboration with the Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo. Originally released in 1973, Je Ne Connais Pas Cet Homme is their first record billed under both names. Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds. As always, there is a mercurial quality to their lyrics. The title track (translated as “I Do Not Know This Man”) suggests at once Apostle Peter’s denial and a poetic acknowledgement. On “C’est Normal” Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy—as if Areski and Fontaine beckon listeners into their strange and beautiful world. This first-time domestic release continues Superior Viaduct’s reissue campaign of Fontaine’s classic ’70s catalog.
Devo - Hardcore Volume 2
Devo - Hardcore Volume 1
Avengers - Teenage Rebel / Friends Of Mine
Avengers
Teenage Rebel / Friends Of Mine
7" | 1995 | US | Reissue (Superior Viaduct)
12,99 €*
Release:1995 / US – Reissue
Genre:Rock / Indie
"Teenage Rebel" remains the anthem for every disaffected youth on the planet. Not included on the infamous Pink album, this song is a two-minute package of pure adolescent vitriol. Backed with "Friends of Mine," a declaration of solidarity for the punks of San Francisco. Recorded in 1978 at the famed Iguana Studios on Folsom Street. Limited edition Record Store Day 2012 elease of 1,000 pressed on orange vinyl.
Phill Niblock - Niblock For Celli / Celli Plays Niblock
Phill Niblock
Niblock For Celli / Celli Plays Niblock
LP | 1984 | US | Reissue (Superior Viaduct)
24,99 €*
Release:1984 / US – Reissue
Genre:Electronic / Dance
Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early ’80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound. The second album and perhaps the most rare in Niblock’s vast catalogue, 1984’s Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli’s oboe and English horn to create seamless, enchanting drones. Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing. This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.
Spacemen 3 - Dreamweapon
Spacemen 3
Dreamweapon
2LP | 1995 | US | Reissue (Superior Viaduct)
33,99 €*
Release:1995 / US – Reissue
Genre:Rock / Indie
August 1988, Spacemen 3 embark on one of the strangest events in the band’s already strange history. Billed as “An Evening Of Contemporary Sitar Music” (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders’ film Wings Of Desire. Spacemen 3’s proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the “Sweet Sister Ray” of ‘80s Britain. Their signature sound is at once recognizable and disorienting —pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3’s classic Playing With Fire album. “Spacemen Jam,” featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects. Includes download card and new insert with liner notes by Will Carruthers.
This Kind Of Punishment - A Beard Of Bees
This Kind Of Punishment
A Beard Of Bees
LP | 1984 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1984 / US – Reissue
Genre:Rock / Indie
In the fertile terrain of New Zealand’s 1980s post-punk scene, few figures loom as large as the Jefferies brothers. Graeme Jefferies and Peter Jefferies—the primary forces behind This Kind Of Punishment—wrote some of the best music to come out on Flying Nun, Xpressway or elsewhere. A dizzying mix of pastoral ballads and DIY experimentation, TKP’s songwriting was at once classic and acutely raw. Among This Kind Of Punishment’s myriad recordings, A Beard Of Bees best outlines the collective vision of the Jefferies brothers. Their classic second album feels more meticulous than its predecessor, proffering a grey, near-Mancunian influence that serves as both touchstone and springboard for the proceedings. The unique maneuvering on “Trepidation” is a marvel: guitar sweetness shifting toward melancholic piano and ending with their combined shimmer. Conversely, the augmented VU-inspired noise of “East Meets West” positions itself as the album’s prime moment of severity, creepily building toward horror-show screams that inch to a buried, found-sound resolution. Originally self-released in 1984, A Beard Of Bees has been out of print for almost 25 years.
Pin Group, The - Go To Town
Pin Group, The
Go To Town
12" | 1982 | US | Reissue (Superior Viaduct)
17,99 €*
Release:1982 / US – Reissue
Genre:Pop
Limited edition for Record Store Day 2017!New Zealand's Pin Group emerged out of the early '80s Christchurch scene and, with just two stunning singles and one brilliant five-song EP, have become an archetype for nearly all indie bands ever since.The Pin Group went back into the studio in January 1982 to record their third and final classic release. Featuring an expanded five-piece lineup with Mary Heney on guitar/vocals and Peter Fryer on viola, Go To Town is a work of taut perfection. Showcasing the band's dramatic chiaroscuro textures and arresting lyrics, "Long Night" and "When I Tell You" make staggeringly clear how much sonic ground The Pin Group covered in their unfortunately short tenure.
Pin Group, The - Coat
Pin Group, The
Coat
7" | 1981 | US | Reissue (Superior Viaduct)
12,99 €*
Release:1981 / US – Reissue
Genre:Pop
Limited edition for Record Store Day 2017!New Zealand's Pin Group emerged out of the early '80s Christchurch scene and, with just two stunning singles and one brilliant five-song EP, have become an archetype for nearly all indie bands ever since.Wasting little time, The Pin Group released Coat in November 1981, merely two months after their first single. On the title track, Humphries' distant vocals call out as tense rhythms gradually push listeners over the edge. B-side track "Jim" could easily have been recorded in Manchester circa 1979, but remains a master class in NZ post-punk atmospherics, menacing from start to finish.
Pin Group, The - Ambivalence
Pin Group, The
Ambivalence
7" | 1981 | US | Reissue (Superior Viaduct)
10,39 €* 12,99 € -20%
Release:1981 / US – Reissue
Genre:Pop
Limited edition for Record Store Day 2017!New Zealand's Pin Group emerged out of the early '80s Christchurch scene and, with just two stunning singles and one brilliant five-song EP, have become an archetype for nearly all indie bands ever since.Ambivalence was not only The Pin Group's hypnotic debut, but also the very first release on Flying Nun. While guitarist Roy Montgomery, bassist Ross Humphries and drummer Peter Stapleton build off each other's jittery riffs, Montgomery's uncanny baritone pierces the torrential clangor. Conjuring both Wire's Chairs Missing and VU’s White Light/White Heat, the band captures a truly unique sound – evocative, yet austere.
Jon Gibson - Two Solo Pieces
Jon Gibson
Two Solo Pieces
LP | 1977 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1977 / US – Reissue
Genre:Electronic / Dance
For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism – witness its inclusion in Alan Licht's famed Minimal Top Ten list – this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself. The photo on the album's back cover – a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church – offers a striking visual complement to these gorgeous recordings. Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.
Bert Jansch - Birthday Blues
Bert Jansch
Birthday Blues
LP | 1969 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
Bert Jansch’s freewheeling fifth album, Birthday Blues, occupies a unique place in his solo discography. Released in 1969, the same year Basket of Light propelled Pentangle into the UK pop charts, Birthday Blues almost sounds like a Pentangle LP missing John Renbourn and Jacqui McShee. Backed-up by bandmates Danny Thompson and Terry Cox, Jansch neither holds back his characteristic moodiness nor takes himself too seriously. What’s more, Jansch is in love. Heather Rosemary Sewell isn’t just the inspiration for one of the song titles; she also designed the cover, whose Hans Feurer front photo shows Bert holding the couple’s puppy. With just enough of a Donovanesque pop sense, Pentangle producer Shel Talmy keeps the overall feel of these recordings fresh, warm and immediate. As its playfully ambivalent title suggests, Birthday Blues reveals an artist fully comfortable in his own skin. Blues and folk influences are woven together into songs at once directly personal, yet generously light and free. The most “pop” of Jansch’s ‘60s solo recordings and perhaps one of his most underrated, Birthday Blues is a deep and rewarding family affair at the height of his musical powers. This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.
Ennio Morricone - OST Un Uomo Da Rispettare
Ennio Morricone
OST Un Uomo Da Rispettare
LP | 1973 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1973 / US – Reissue
Genre:Film / TV
Un Uomo Da Rispettare translates to “A Man to Respect,” which can easily be said of Ennio Morricone himself—the unparalleled maestro of the soundtrack. This 1972 crime film stars Kirk Douglas as a master safecracker at a crossroads in his life, emerging from prison yet tempted by one last big job. Morricone builds the main theme around Cicci Santucci’s flugelhorn as riveting leitmotifs reprise amidst variations of noir-jazz abstraction to frame the composer’s grand vision. A strident, two-note piano phrase sets the mood of heightened tension, while muted timpani and trance-like descending bass patterns sweep dramatically across the cinematic stereo field. On “18 Pari,” slinky rhythms and softened wah-wah guitars offer a distinctly Italian library music, adding elements of lightness to the overall avant-garde score. Un Uomo Da Rispettare’s dissonant chords and angular arrangements recall Morricone’s free improvisation work with Gruppo D’Improvvisazione Nuova Consonanza. This first-time vinyl reissue is recommended for fans of Krzysztof Penderecki, Harry Partch and Sun City Girls.
John Bender - Plaster Falling
John Bender
Plaster Falling
LP | 1981 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1981 / US – Reissue
Genre:Electronic / Dance
Plaster Falling was recorded at the same time as John Bender’s first album, I Don’t Remember Now / I Don’t Want To Talk About It. Released in 1981 on the artist’s own Record Sluts label, copies of Plaster Falling’s initial pressing came hermetically sealed in plaster (and later latex). Thus, listeners had to literally break open the record to find what’s hidden inside. Produced in relative isolation, Plaster Falling is a beacon of brilliance in the nascent minimal-wave sphere. Veering towards skeletal urgency, these recordings set bright analogue melodies against half-whispered vocals and expand Bender’s electronic cryptography thru a series of lone signifiers: “Station,” “Plaster,” “Women,” etc. As Bender explains in the liner notes, “I began to distance myself from the present and describe scenes as if in a movie – seeking concrete, terse, juxtaposed imagery.” This first-time standalone reissue is recommended for fans of Gareth Williams & Mary Currie’s Flaming Tunes, Minimal Man and Grouper. Pressed on translucent blue vinyl in a limited / numbered edition of 1,000 copies.
Flesh Eaters, The - Forever Came Today
Flesh Eaters, The
Forever Came Today
LP | 1982 | US | Reissue (Superior Viaduct)
24,99 €*
Release:1982 / US – Reissue
Genre:Rock / Indie
On vinyl, this is a reissue of the band's classic third album, originally from 1982. 'Forever Came Today' is the perfect introduction to The Flesh Eaters' dark sense of humor and positively bleak form of rock'n'roll.
Bert Jansch - Bert Jansch
Bert Jansch
Bert Jansch
LP | 1965 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1965 / US – Reissue
Genre:Rock / Indie
Bert Jansch recorded his second album in 1965, just after his self-titled debut earlier that same year. The sessions were a step-up from the intimate, field-recording setting of his first album, although still not labored over too much in the studio. "I figured that the faster I put down the tracks, the faster I could get out of the place," Jansch told NME, "so I just ordered about a dozen bottles of wine, put the microphone in front of me and off I went, for three hours." The lyrics of It Don't Bother Me shift vividly between pure poetic imagery and the hollow resonance of pain. The LP's underrated title song stands as a manifesto for the way Jansch lived at the time. "My Lover," featuring guitarist John Renbourn, has almost sitar-like drones, while "Lucky Thirteen" is a captivating, melancholy instrumental that shimmers with brilliant fingerpicking. This first-time domestic release is remastered from the original tapes and features liner notes by Richie Unterberger. Bert Jansch's It Don't Bother Me remains another essential British folk LP that belongs next to Nick Drake, Roy Harper and John Martyn in every record collection.
Bert Jansch - It Don't Bother Me
Bert Jansch
It Don't Bother Me
LP | 1965 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1965 / US – Reissue
Genre:Rock / Indie
Scottish singer-songwriter Bert Jansch recorded his first album in producer Bill Leader's London flat with a borrowed guitar, sitting on the edge of the bed and singing into a portable tape recorder. As author Richie Unterberger writes in the liner notes, "When Bert Jansch's self-titled debut LP was issued in April 1965, he was already a major figure on the British folk scene. His synthesis of traditional British folk with blues and a bit of jazz was at the vanguard of a new generation of UK folk performers, well-versed in past forms but unafraid to venture into new territory. His virtuosic guitar was complemented by a plaintive rough-hewn voice that didn't just document the on-the-road experience, but lived it." Bert Jansch contains all original material, except a shattered cover of Davy Graham's "Angie" that Jansch makes all his own. "Needle of Death," one of the first folk songs to address the consequences of heroin use, yields to a restraint uncommon for Jansch, yet beautifully encapsulates the album's tone of heartfelt conviction. Superior Viaduct is honored to present the first-time domestic release of Bert Jansch's debut, remastered from the original master tapes. For those interested in a unique strand of music that would become a major influence on everyone from Jimmy Page, Nick Drake, Donovan, Neil Young and more – there is no better place to start than here.
Steve Reich - Four Organs / Phase Patterns
Steve Reich
Four Organs / Phase Patterns
LP | 2016 | US | Original (Superior Viaduct)
24,99 €*
Release:2016 / US – Original
Genre:Electronic / Dance
Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid-1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called “Big Four” of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich’s influence can easily be seen today in both the classical world and contemporary pop music. “Four Organs” is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson’s stoically-steady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound – stretching the tones to create (in Reich’s words) “slow-motion music.” Inspired by Reich’s early training on drums, “Phase Patterns” treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of the most highly regarded avant-garde recordings of the past 50 years. This first-time vinyl reissue features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.
Milk From Cheltenham - Triptych of Poisoners
Milk From Cheltenham
Triptych of Poisoners
LP | 1983 | US | Reissue (Superior Viaduct)
12,09 €* 21,99 € -45%
Release:1983 / US – Reissue
Genre:Rock / Indie
The first-time vinyl reissue of the sole album from UK DIY legends Milk From Cheltenham, originally released in 1983 on famed It’s War Boys imprint, is recommended for fans of Swell Maps, The Faust Tapes and LAFMS. “Flashback to no-when (1978) in a musty cellar beneath a record store in Brixton, later to become the humble 8-track recording studio of It’s War Boys. Milk From Cheltenham would regularly jam and invite friends / enemies to participate with whatever weapons / instruments they chose to deploy, making live recordings on an odd triple microphone input cassette player. By the time of the recordings at Surrey Sound in 1981-82, we had reduced in size from a hive of toxicity to a triptych of poisoners: Victorr Lounge, Salamander and myself. “Like rabid quantum monkeys with broken typewriters, we were allowed to run loose in the studio, under the supervision of tonmeister Chris Grey and head zookeeper L. Voag. There was always a cornucopia of exotic instruments including kettle drums, synthesizers and electric sitar. To make some of the basement tapes sound bigger, Chris would play them through vast speakers and re-record the results. The footsteps you hear is our mate strolling around in cowboy boots on top of one of the speakers. “Milk were hot—like a triplet mega-brain generously juiced on creative steroids—and this was before our special splice-and-be-damned bricolage of the tapes, interpolating into the jams a pastiche of Morricone lock grooves, early Sparks, radio fragments, a JFK speech and samples from our most cherished record, Christmas Carols With Breezy (a creepy singing rabbit). One track mined a session at Cold Storage (home studio of This Heat) where everyone played in different parts of the building, separated according to instruments and without much idea of what anyone else would be doing.
Departmentstore Santas - At the Medieval Castle Nineteen 100-Year Lifetimes Since
Departmentstore Santas
At the Medieval Castle Nineteen 100-Year Lifetimes Since
LP | 1984 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1984 / US – Reissue
Genre:Rock / Indie
The Departmentstore Santas’ LP is an underground rock classic of the highest order—from its carnivalesque front cover to the sixteen home-schooled tracks contained inside. Information about this mysterious band has been as scarce as original copies of their self-released album, yet purveyors of lo-fi pop esoterica have whispered about the Santas’ raison d’etre for the better part of the past three decades. Recorded in the early ’80s in La Mesa, California, At the Medieval Castle Nineteen 100-Year Lifetimes Since features quirky sing-alongs, wide-eyed lyrics, echoey instrumentals and outsider folk-punk à la Daniel Johnston. While bandleader Joseph D’Angelo’s unique charm may not fit comfortably in any one style, his preternatural world is united by the warmth and grit of these bedroom recordings. Out of step with other music of its era, Departmentstore Santas uncannily anticipated the 4-track movement of the ’90s. This first-time reissue is recommended for fans of Television Personalities, Guided By Voices and Cleaners From Venus.
Liquid Idiot / Idiot Orchestra - Liquid Idiot / Idiot Orchestra
Liquid Idiot / Idiot Orchestra
Liquid Idiot / Idiot Orchestra
LP | 2015 | US | Original (Superior Viaduct)
9,99 €* 17,99 € -44%
Release:2015 / US – Original
Genre:Organic Grooves
Prior to forming Liquid Liquid in 1981, the band members were in two other groups: Liquid Idiot and Idiot Orchestra. While these ensembles sounded more experimental than groove-oriented, the beginnings of Liquid Liquid’s spatial / conceptual framework can be heard here. Liquid Idiot started at Rutgers University in the late ’70s and soon relocated to NYC where they performed at various lofts and clubs including Tier 3, Mudd Club and CBGB. The band even encouraged audience members to bring their own instruments to their early shows. Idiot Orchestra was an offshoot that included a dozen or more players (clarinet, sax, trumpet, violin, cello, synth, bass, marimba and drums) resembling a no wave version of Raymond Scott’s big band. As musician and artist Richard McGuire recalls, “We weren’t trying to sound like anyone. We weren’t imitating anyone. We were just playing. I keep using ‘outsider art’ as a reference to what we were doing. None of it was made for a market; it wasn’t made with any intention other than the enjoyment of making it.” This split archival LP collects two rare 7-inches from 1978 and 1980, both of which were originally pressed in hyper-limited editions and self-released by the bands. The package also features a fanzine of ephemera, rare photos and new interview with McGuire.
Znr - Barricade 3
Znr
Barricade 3
LP | 1976 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1976 / US – Reissue
Genre:Electronic / Dance
ZNR was the French duo of Hector Zazou and Joseph Racaille (hence, Zazou ’n’ Racaille) active in the mid to late ’70s. Their 1976 debut, Barricade 3, is an anti-pop masterpiece that truly defies categorization; it makes perfect sense that ZNR appears on the infamous Nurse With Wound list. Featuring an array of seemingly dichotomous instruments (piano, synthesizers, woodwinds, electric guitar and more) as well as genuinely bizarre vocals, the album is composed of fifteen odd experiments using a loose framework of analog electronics, avant-garde rock, jazz influences, and post-structuralist études. As The Shadow Ring’s Graham Lambkin writes, “The debut ZNR LP has long remained one of my all-time faves. A collision of eccentric Satie-esque miniatures, strange keyboard / synth explorations and the occasional song, delivered in a mixture of French and Spanish tongues. I always think of the creepy, over-ripe vocals on ‘Seynete’ as one of the LP’s most memorable moments, but there are many.” Despite its schizophrenic mystique, Barricade 3 is very witty and surprisingly accessible with hints of Robert Wyatt, Kevin Ayers and Perrey-Kingsley. This long out-of-print vinyl reissue reproduces the original gatefold design including illustration by Don Van Vliet.
X - Adult Books
Dils, The - I Hate The Rich
Jon Gibson - Visitations
Jon Gibson
Visitations
LP | 1973 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1973 / US – Reissue
Genre:Electronic / Dance
Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. No other artist has performed in the world premieres of Terry Riley’s “In C,” Steve Reich’s “Drumming,” and Philip Glass’ “Einstein on the Beach,” three major works that changed the course of musical history. While his expertise on woodwind instruments made Gibson a go-to collaborator in Reich’s, Glass’, and La Monte Young’s ensembles, less known are his remarkable contributions as a composer and visual artist. Visitations, Gibson’s first release under his own name, originally appeared on the Chatham Square imprint in 1973. Inspired by the books of Carlos Castaneda, Gibson departs from the structured repetition of his minimalist peers and takes the listener on an aural journey—spanning organic field recordings, ambient flutes and synthesizers, and free-flowing textures. Visitations’ two side-long tracks are at once solemn and unsettling, making this an astonishing debut that firmly establishes Gibson as a pioneer in his own right. This first-time vinyl reissue is recommended for fans of Cluster, Harold Budd and Phill Niblock.
B.C. Gilbert / G. Lewis - 3R4
B.C. Gilbert / G. Lewis
3R4
LP | 1980 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1980 / US – Reissue
Genre:Electronic / Dance
In 1980, after three relentlessly creative albums, the members of Wire were at an impasse, unsure of how to push themselves any further as a four-piece rock band. While frontman Colin Newman spent the band’s hiatus mining Wire’s knack for intelligent and contorted pop songs, guitarist Bruce Gilbert and bassist / vocalist Graham Lewis joined forces for a series of experimental projects (Dome, Cupol, etc.) where the primary motivating concept was “studio as instrument.” 3R4, the duo’s only LP under the B.C. Gilbert/G. Lewis moniker and the very second album to be released on 4AD, eschews melody and structure in favor of ambient-noise soundscapes, metallic textures and tense moods. If the brief “Barge Calm” tracks appear like sonic exercises, the longer pieces (“3. 4…” and “R”) are true exorcisms, conjuring supernatural found-sounds with the patience and deliberation of (un)holy men. Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film. This first-time vinyl reissue is recommended for fans of Faust, David Cunningham, and Thomas Leer & Robert Rental’s The Bridge.
B.C. Gilbert / G. Lewis - Ends With The Sea
B.C. Gilbert / G. Lewis
Ends With The Sea
7" | 1981 | US | Reissue (Superior Viaduct)
11,99 €*
Release:1981 / US – Reissue
Genre:Electronic / Dance
Bruce Gilbert and Graham Lewis have always juggled darkness and light in their various collaborations (Dome, Cupol, etc.); Gilbert’s pointillist melodicism counterbalanced by Lewis’s menacing bass and sardonic lyrics. While the duo explores cinematic soundscapes on their album 3R4, here they return to more song-based territory with icy vocals, detached guitar lines and even a faint industrial vibe. Ends With the Sea provides a vital glimpse into the creative forces that even a band as daring and inventive as Wire could not contain. This first-time vinyl reissue is recommended for fans of SPK, Chris Carter, and Einstürzende Neubauten.
Electric Eels - Spin Age Blasters / Bunnies
Electric Eels
Spin Age Blasters / Bunnies
7" | 1982 | US | Reissue (Superior Viaduct)
11,99 €*
Release:1982 / US – Reissue
Genre:Rock / Indie
Following their legendary punk-as-ever Agitated single, electric eels released their second posthumous single, Spin Age Blasters / Bunnies, on Mustard Records in 1981. Recorded in 1975 and taking the band’s free-form jazz and art rock alliances to dizzying extreme, the twin-guitar swirl of “Spin Age Blasters” sounds like Trout Mask Replica on paint fumes, while “Bunnies” features Dave E.’s relaxing Bob-Ross-like vocals and frantic clarinet bursts à la Roscoe Mitchell. This first-time vinyl reissue includes original cover artwork by eels’ guitarist John Morton and is pressed in a limited edition of 1,000 copies.
Philip Johnson - Youth In Mourning
Philip Johnson
Youth In Mourning
LP | 1982 | US | Reissue (Superior Viaduct)
18,99 €*
Release:1982 / US – Reissue
Genre:Electronic / Dance
Philip Johnson, a lost figure in the dark waters of early industrial music, self-released over 25 tapes starting in the late ’70s. As a part of the “cassette culture” in the UK, he produced ethereal soundscapes, damaged electronics and undanceable drum patterns, along with homemade j-cards. For his first and only LP, 1982’s Youth in Mourning, Johnson further refined his approach with mesmerizing audio collages and Mark-E-Smith-ian vocals to make one of the most unique documents of the era. The song “C81,” commenting on NME’s compilation of the same name, expresses contempt with know-it-all indie culture that was similarly reflected 20 years later in LCD Soundsystem’s “Losing My Edge.” Fans of the degenerate tale in The Velvet Underground’s “The Gift” will appreciate Johnson’s “The Karate Kicking Girl of New Invention.” Youth in Mourning is a personal record, yet fearless. It pulls back the bedroom curtain, revealing (as Johnson writes in the liner notes) “the sound of a warm-air heater on a cold afternoon and a cassette being pushed into the deck and switched on.” This first-time reissue comes from the original master tapes. Recommended for fans of Cabaret Voltaire, John Bender and The Shadow Ring.
Peter Jefferies - Electricity
Peter Jefferies
Electricity
2LP | 1994 | US | Reissue (Superior Viaduct)
19,99 €* 27,99 € -28%
Release:1994 / US – Reissue
Genre:Electronic / Dance
Peter Jefferies (This Kind of Punishment) released his brilliant sophomore album Electricity in 1994. While his solo debut, 1990’s The Last Great Challenge in a Dull World, has drawn comparisons to classic singer-songwriters like Nick Drake and Townes Van Zandt, Electricity is a far more sparse and nocturnal affair. Jefferies’ earthy baritone weaves between piano, guitar, cello and analog tape machine noise, pulling in listeners to the deep pastoral life of his music. With guest appearances from heavyweights in the New Zealand music scene (Straitjacket Fits’ Shayne Carter, Plagal Grind’s Robbie Muir and the Dead C’s Bruce Russell), Electricity has garnered a cult following among fans, yet the songs possess a singular quality—every note, utterance and flourish reflect back to Jefferies alone. The simple arrangements, in particular on ballads such as “By Small Degrees,” convey fiercely intimate moments as well as Jefferies’ tremendous range and playfulness as a writer. This first-time vinyl reissue includes four bonus tracks from 1992’s Swerve EP and is highly recommended for fans of Flying Nun Records, John Cale and Jim Shepard. After 20 years, now is the time to revisit the groundbreaking work of this New Zealand legend.
Gruppo Di Improvvisazione Nuova Consonanza - Gruppo Di Improvvisazione Nuova Consonanza
Gruppo Di Improvvisazione Nuova Consonanza
Gruppo Di Improvvisazione Nuova Consonanza
LP | 1966 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1966 / US – Reissue
Genre:Organic Grooves
Considered the first collective of experimental composers, Gruppo d’Improvvisazione Nuova Consonanza formed in 1964 in Rome to chase the expressive potential of live improvisation to its furthest reaches. Led by Franco Evangelisti, Gruppo also included Ennio Morricone before he found fame composing soundtracks. The ensemble advanced the innovations of 20th century avant-garde in laboratory-like studio settings where the intuitive interplay between members flourished. Before 1976’s benchmark release, Musica Su Schemi, Gruppo recorded this eponymous album in 1973. Whether the passages are jarring or soothing, clamorous or silken, the ensemble retains astounding organic coherence. An ultra-rare entry in Gruppo’s formidable discography, Gruppo d’Improvvisazione Nuova Consonanza is finally reissued for the first time ever.
Brigitte Fontaine - Brigitte Fontaine
Brigitte Fontaine
Brigitte Fontaine
LP | 1972 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Never one to settle on a single musical style, Brigitte Fontaine followed up her debut, Est…Folle, and her astonishing collaboration with The Art Ensemble of Chicago, Comme à la Radio, with the most eclectic release of her lengthy career, 1972’s Brigitte Fontaine. It is telling that Fontaine chose an eponymous title for her third album, the sole release from her venerable ’70s catalogue attributed to her alone. Here the actress-cum-singer has finally arrived. From the introspective opening track, simply named “Brigitte,” seductive melodies perfectly hang above slithery bass lines and acoustic strumming. On “Moi Aussi,” a sparse and trance-like duet with long-time collaborator Areski, Fontaine muses, “They put me in a cage and after they told me ‘You fly down.’” Brigitte Fontaine is an unmatched European art-pop masterpiece anchored by both vocal and lyrical dexterity—in many ways, Fontaine’s most compelling work and an excellent entry point for those unfamiliar with this unique French icon.
Edward Artemiev - OST Solaris
Edward Artemiev
OST Solaris
LP | 1972 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1972 / US – Reissue
Genre:Electronic / Dance, Film / TV
Pioneering electronic score for Andrei Tarkovsky’s sci-fi classic. Now with new artwork.
Brigitte Fontaine - Est... Folle
Brigitte Fontaine
Est... Folle
LP | 2013 | US | Original (Superior Viaduct)
21,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
French poet and chameleonic vocalist Brigitte Fontaine's career spans over four decades. Only a few years before her 1968 debut, Brigitte Fontaine Est...Folle, she moved to Paris to become an actress and took her prodigiously mature voice into the studio. Rich in the drama she brought to theater, Fontaine synthesized chanson and world music, which eventually won her international acclaim as a performer and collaborator with a variety of artists from around the world. On Est...Folle, Fontaine takes flight over conductor JEAN CLAUDE VANNIER's brilliant arrangements. Vannier is in fine form, using what would become his trademark stylings: lush strings, taut rhythms culled from across the globe and a healthy dose of whimsy. Fontaine is adventurous and multi-dimensional with sophisticated lyrics, poignant melodies and enthralling delivery. Such artful handling of meter and rhyme (or lack thereof) is rare in pop song. Far from the era's ye-ye phenomenon, but never fully removed from its traditions, Est...Folle is an essential link in French pop music, exuberantly pushing the genre into more conceptual and experimental sounds.
Tuxedomoon - Scream With A View
Tuxedomoon
Scream With A View
12" | 2013 | US | Original (Superior Viaduct)
13,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
Founded by Steven Brown and Blaine Reininger in San Francisco, Tuxedomoon are a futuristic alternate reality of delirium and existential dread. Aligned with fellow Bay Area experimentalists The Residents (to whose Ralph Records the group eventually signed) and Robin Crutchfield’s post-DNA project Dark Day, Tuxedomoon developed a unique combination of synthesizer and guitar that placed them at the forefront of the US post-punk movement in the late ’70s and early ’80s. Scream With a View, recorded surreptitiously in The Residents’ private studio in 1979, advances brilliant melodic concepts through analog technology for a sound barely comprehensible today. On “Where Interests Lie,” punchy drum machine underlies barbed and eerie leads from guitarist Michael Belfer (The Sleepers). “(Special Treatment for the) Family Man”—a reference to Dan White’s trial for the assassination of San Francisco’s mayor George Moscone and supervisor Harvey Milk in 1978—is an indignant vigil cut with a rare brand of macabre humor. Saxophone, Polymoog, violin, e-bowed guitar, and CB radio interference make Scream With a View the insidious foil to the urgent No Tears EP.
Edward Artemiev - OST Solaris
Edward Artemiev
OST Solaris
LP | 1972 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves, Film / TV
Pioneering electronic score for Andrei Tarkovsky’s sci-fi classic, Hand-assembled jackets with three unique designs!Records randomly chosen!
Mx-80 Sound - Hard Attack
100 Flowers - 100 Flowers
100 Flowers
100 Flowers
LP | 1983 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1983 / US – Reissue
Genre:Rock / Indie
First-time reissue of underground Los Angeles classic originally released in 1983!
Factrix - Scheintot
Avengers - Paint It Black / Thin White Line
Avengers
Paint It Black / Thin White Line
7" | 1983 | US | Reissue (Superior Viaduct)
12,99 €*
Release:1983 / US – Reissue
Genre:Rock / Indie
Their second 7-inch packs a 1-2 punch that tears through the Stones' classic and unleashes the menace that was only hinted at in the original. The B-side "Thin White Line" is a musical punch in the gut with the pay-off of lead-singer Penelope Houston's excellent "Don't talk about the blood running down my chin" lyric. Limited edition Record Store Day 2012 release of 1,000 pressed on green vinyl.
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