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Superior Viaduct Vinyl, CD & Tape 68 Items

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Flaming Tunes - Flaming Tunes
Flaming Tunes
Flaming Tunes
LP | 1985 | US | Reissue (Superior Viaduct)
20,99 €*
Release:1985 / US – Reissue
Genre:Rock / Indie
Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie. Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes. In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson. Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation. All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.
Suicide - Alan Vega Martin Rev
Suicide
Alan Vega Martin Rev
LP | 1980 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1980 / US – Reissue
Genre:Rock / Indie
After crystallizing a reputation for confrontational live performances and releasing their essential debut LP, Suicide went into the studio to record their stunning follow-up. Producer Ric Ocasek lends a pop sensibility to the band's sound, constructing an atmosphere at once light and catchy, yet still crazed and venomous.


Originally released in 1980 on ZE Records, Alan Vega Martin Rev features an array of glistening keyboards and early preset rhythm machine sounds whose harsh simplicity suggests the discreet zones and confined movements of urban life. While his vocal treatments are more refined than before, Alan Vega is still cool as ice, visceral and evocative.


Superior Viaduct is honored to present Suicide's under-appreciated second album. For the first time since its initial release 35+ years ago, this vinyl release includes the original track list and artwork. If there can be a quintessential New York band, it is without a doubt Suicide.
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:Soundtracks
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.
Glenn Branca - Ascension
Glenn Branca
Ascension
LP | 1981 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1981 / US – Reissue
Genre:Pop
Glenn Branca’s first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell’s Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock ’n’ roll. On “The Spectacular Commodity,” chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) “never stops climbing skyward.” With artist Robert Longo’s stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint’s Tweez.
Ike Yard - Ike Yard
Ike Yard
Ike Yard
LP | 1982 | EU | Reissue (Superior Viaduct)
21,99 €*
Release:1982 / EU – Reissue
Genre:Electronic / Dance
Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP. Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition. With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies. Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.). The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (fact A Second) only further illustrates the release's importance and Ike Yard's timeless mystique.
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.
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.
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)
19,99 €*
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.
Glenn Branca - Lesson No. 1
Glenn Branca
Lesson No. 1
2x12" | 1980 | US | Reissue (Superior Viaduct)
23,99 €*
Release:1980 / US – Reissue
Genre:Rock / Indie
After cutting his teeth in the late-'70s No Wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveils BRANCA's visionary guitar concepts with two monstrous, side-long compositions that would help forge NYC's downtown art-punk sound and act as a massive influence on countless young groups, namely Sonic Youth and Swans.

The title track is easily Branca's most-accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. "Dissonance" is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.

Soon after the release of Lesson No. 1, Branca would begin work on ambitious, long-form symphonies. "Bad Smells," included here as a single-sided bonus 12", was commissioned in 1982 as a dance piece for choreographer Twyler Tharp and originally released on a split LP with John Giorno. Featuring Sonic Youth guitarists Lee Ranaldo and Thurston Moore, "Bad Smells" is a thrilling multi-section guitar assault, one that would foretell much of Branca, Ranaldo and Moore's work for the next decade
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.
Ex, The - All Corpses Smell The Same
Ex, The
All Corpses Smell The Same
7" | 1980 | US | Reissue (Superior Viaduct)
14,99 €*
Release:1980 / US – Reissue
Genre:Rock / Indie
Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration.

All Corpses Smell The Same, The Ex's first single, marks the beginning of this DIY odyssey – appearing in June 1980 on Hé Records, a precursor to the band's own stalwart Ex Records imprint. The core of The Ex's propulsive sound can be found in these tracks, as they show a band starting to push beyond the boundaries of punk. The exuberant jag and slash of Terrie Ex's guitar drive "Human Car" and "Rock 'N' Roll-Stoel," while the rhythmic churn of "Cells" and "Apathy Disease" hints at the shape of Ex music to come – centering on vocalist G.W. Sok's incisive poetic invective.

With only 500 copies pressed originally and gone in a flash, All Corpses Smell The Same quickly became a legendary piece of the international punk puzzle, and The Ex would begin an inspiring career that continues to this day. These songs show that from the jump, The Ex were operating on punk's freest and most exploratory edges. In the words of The Mekons' Jon Langford, The Ex have "always epitomized the boundless potential of punk's initial moment."
Ike Yard - Night After Night
Ike Yard
Night After Night
LP | 1981 | US | Reissue (Superior Viaduct)
18,99 €*
Release:1981 / US – Reissue
Genre:Electronic / Dance
New York no-wavers Ike Yard are perhaps best known for being the first American band signed to Factory Records, and it isn't difficult to hear why: the group's music has much in common with the existential frigidness of Joy Division and early New Order as well as the mutant noise-funk of Section 25 and A Certain Ratio. That said, the sound of Night After Night, the band's debut EP, is one that could only have emerged from the lawless dystopia of '70s New York City.

Vocalist/percussionist Stuart Argabright, guitarist Michael Diekmann, vocalist/bassist Kenny Compton and synth player Fred Szymanski traffic in a particularly foreboding rhythmic tension, creating in the process an unlikely amalgam of minimal wave, industrial and post-punk.

Recorded shortly after forming in 1980 and originally released on seminal Brussels imprint Les Disques Du Crépuscule, Night After Night suggests an alternate history in which Tobe Hooper and Jah Wobble provided the soundtrack to The Warriors. The atmosphere throughout is thick. Every cymbal is dubbed-out and spacey; every vocal utterance treated, alien and detached.

Fans of Chrome's damaged ice machine-guitar or Suicide's menacing, anything-can-happen m.o. will rejoice in the siren-sounds, metal clanging and metronomic death-pulse of "Sense of Male," while “Infra-ton" evokes the cacophonous rattle of gates being pulled down over bodega storefronts and the screech of subway brakes. Side two kicks off with "Motiv's" mechanical dread, and the squelchy din of "Cherish" recasts The Residents as streetwise, urban punks.

Night After Night remains primal evidence of the dank, uncompromising narcotica of Ike Yard's embryonic period.
Ike Yard - Night After Night Red Record Store Day 2020 Edition
Jon Gibson - Songs & Melodies, 1973-1977
Jon Gibson
Songs & Melodies, 1973-1977
2LP | 2020 | US | Original (Superior Viaduct)
29,99 €*
Release:2020 / US – Original
Genre:Electronic / Dance
Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. As a versatile reed player, he has performed with everyone from Steve Reich and Philip Glass to Terry Riley and La Monte Young. In the 1970s, Gibson would emerge as a minimalist composer in his own right and release two exceptional albums, Visitations and Two Solo Pieces, on Glass’ Chatham Square imprint.

Songs & Melodies brings together recordings from 1973 to 1977 (mostly previously unreleased), featuring prominent figures in New York’s scene including Arthur Russell, Barbara Benary and Julius Eastman. This double LP collection showcases the breadth of Gibson’s expressive range—from introspective piano meditations to cerebral ensemble works—and the subtlety of his radical compositional techniques.

The front cover artwork, a hand-drawn diagram by Gibson, originally appeared in the program for a March 1974 concert at Washington Square Church in Greenwich Village. While this concert was not the first to feature the composer exclusively, it would be a pivotal event in Gibson’s early career as a composer.

Superior Viaduct is honored to present this long overdue archival release that not only documents Gibson’s important work, but also a crucial period in NYC musical history.
Mekons, The - The Quality Of Mercy Is Not Strnen
Mekons, The
The Quality Of Mercy Is Not Strnen
LP | 1979 | US | Reissue (Superior Viaduct)
24,99 €*
Release:1979 / US – Reissue
Genre:Rock / Indie
Debut album by UK post-punk legends The Mekons
• Originally released in 1979 on Virgin Records
• First-time vinyl reissue
• Liner notes by Simon Reynolds
• No export outside US/Canada
William Hooker - ...Is Eternal Life
William Hooker
...Is Eternal Life
2LP | 1977 | US | Reissue (Superior Viaduct)
29,99 €*
Release:1977 / US – Reissue
Genre:Organic Grooves
Private press free jazz album recorded in New York City between 1975 and 1976
• Featuring William Hooker on drums and David Murray on tenor sax
• Recommended for fans of Rashied Ali, William Parker and Frank Lowe
• First-time reissue
• No export restrictions
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.
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.
Takehisa Kosugi - Catch-Wave
Takehisa Kosugi
Catch-Wave
LP | 1975 | US | Reissue (Superior Viaduct)
37,99 €*
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.
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.
Alice Coltrane - Lord Of Lords
Alice Coltrane
Lord Of Lords
LP | 1972 | US | Reissue (Superior Viaduct)
23,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
Originally released in 1972, Lord Of Lords was Alice Coltrane’s final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances—shining a vital light on the devotional path that she would follow for the rest of her career.

On the first two pieces, “Andromeda’s Suffering” and “Sri Rama Ohnedaruth” (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer “Going Home.” Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.

This first-time vinyl reissue has been carefully remastered from the original master tapes.
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.
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.
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.”
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:Soundtracks
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.
Fall, The - Hex Enduction Hour
Fall, The
Hex Enduction Hour
LP | 1982 | US | Reissue (Superior Viaduct)
26,99 €*
Release:1982 / US – Reissue
Genre:Rock / Indie
Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation. Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band’s most urgent and distinctive. The album begins with the severe provocation of “The Classical” and the terse punk of “Jawbone And The Air-Rifle,” but it’s “Hip Priest” that stands out as Smith’s calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated “And This Day” fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano. Superior Viaduct’s edition is the first time that Hex Enduction Hour has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
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.
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.
Avengers, The - The Avengers
Avengers, The
The Avengers
LP | 1983 | US | Reissue (Superior Viaduct)
21,99 €*
Release:1983 / US – Reissue
Genre:Rock / Indie
In the late ’70s, The Avengers established themselves as one of the US’s preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter’s final performance.

As Byron Coley writes in the liner notes, “Of the best bands of San Francisco’s first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was), with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!”

Originally released in 1983, four years after the band’s dissolution, The Avengers’ self-titled LP is often referred to as “The Pink Album” for its magenta-hued cover design. Frontwoman Penelope Houston’s iconic voice and razor-sharp lyrics resonate on anthems “We Are The One” and “The American In Me,” while penetrating ballads like “Corpus Christi” reveal a truly out-of-body euphony.

The Pink Album remains The Avengers’ definitive statement—collecting their classic Dangerhouse EP, sessions recorded with the Pistols’ Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, “The word I always come back to is mystical, and that remains almost theirs alone.”
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 Liquid - Successive Reflexes
Liquid Liquid
Successive Reflexes
12" | 1981 | US | Reissue (Superior Viaduct)
16,99 €*
Release:1981 / US – Reissue
Genre:Organic Grooves
Following their debut in 1981, Liquid Liquid wasted no time with their second release the same year. Successive Reflexes picks up where the previous EP leaves off with "Lock Groove," a slow-paced deconstruction of Fela Kuti and Can that shows how quickly the band was able to capture their stripped-down approach in the studio. "Push" drives forward with unapologetic funk, yet still sounds utterly unique. Like their 99 labelmates ESG, Liquid Liquid created music on their own terms and artfully avoided the trappings of any single genre.
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.
Edward Artemiev - OST The Mirror / Stalker
Edward Artemiev
OST The Mirror / Stalker
LP | 2014 | US | Original (Superior Viaduct)
26,99 €*
Release:2014 / US – Original
Genre:Organic Grooves, Soundtracks
It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer Eduard Artemiev to score his two lyrical and haunting films, The Mirror (1975) and Stalker (1979), as he had done for Solaris (also available on Superior Viaduct).

Artemiev’s magnificent soundtrack to The Mirror is the natural follow-up to Solaris. Dense, slow-moving, and often disorienting mood pieces with Baroque sensibilities resonate beyond the film’s dream-like images. For Stalker—Tarkovsky’s other science fiction masterpiece—Artemiev was inspired by Indian classical music and employed layers of synth tones, flute and tar (a traditional Iranian stringed instrument) to create a central theme as spellbinding as The Zone, a setting in the film where laws of physics no longer apply.

Superior Viaduct presents the first-time official release of these two astonishingly unique soundtracks. Recommended for fans of Lech Jankowski’s music for Brothers Quay films, BC Gilbert & G Lewis and Oneohtrix Point Never.
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.
Devo - Hardcore Volume 2
Devo - Hardcore Volume 1
Avengers - Paint It Black / Thin White Line
Avengers
Paint It Black / Thin White Line
7" | 1983 | US (Superior Viaduct)
12,99 €*
Release:1983 / US
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.
Ex, The - History Is What's Happening
Ex, The - Disturbing Domestic Peace
Ellen Fullman - In The Sea
Ellen Fullman
In The Sea
2LP | 2020 | US | Original (Superior Viaduct)
29,99 €*
Release:2020 / US – Original
Genre:Electronic / Dance
Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman’s large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself.

Along with her 1985 debut album—appropriately titled The Long String Instrument—Fullman’s only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland.

Ethereal and exquisitely paced, these rare recordings capture minimalism’s quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans.

Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman’s pioneering and timeless work.
Avengers, The - American In Me
Avengers, The
American In Me
7" | 2019 | US (Superior Viaduct)
11,99 €*
Release:2019 / US
Genre:Rock / Indie
Few first wave California punk bands burned as brightly as The Avengers. Formed in San Francisco during 1977’s Summer of Hate, they swiftly ascended to the top of the West Coast scene and earned the coveted support slot for The Sex Pistols’ final concert in January 1978. The Avengers’ frenetic performance at Winterland made quite an impression on Pistols guitarist Steve Jones who offered to record the group.

From the Jones produced sessions, “The American In Me” remains an unmistakable anthem. Embodying the punk zeitgeist, singer Penelope Houston fiercely declares, “Ask not what you can do for your country, what’s your country been doing to you.”

The original White Noise EP version of “The American In Me” is paired with “Uh-Oh,” featuring Jones on piano and bravely demonstrating Me Too sentiments four decades earlier. Comp-only track “Cheap Tragedies” closes this reimagined lost-single set.

The American In Me perfectly captures The Avengers’ dynamic power—frustration, style and passion forged into some of the most pivotal sounds of punk’s formative era.
Crime - San Francisco's First And Only Rock 'N' Roll Band: Live 1978
Crime
San Francisco's First And Only Rock 'N' Roll Band: Live 1978
2x7"+DVD | 2019 | US (Superior Viaduct)
21,99 €*
Release:2019 / US
Genre:Rock / Indie
One of the most savagely cool and confrontational punk acts in history, Crime famously dubbed themselves “San Francisco’s First And Only Rock ‘N’ Roll Band.” This inflammatory claim was supported by unpredictable live shows that often ended in riots.

In 1978, film producer Larry Larson captured CRIME in their natural habitat, the dimly-lit nightclub Mabuhay Gardens. They looked and sounded more severe than anyone in San Francisco was ready for. The footage sat dormant for decades, until now!

Edited and directed by Jon Bastian, the recently completed movie features archival live performances and unruly behind-the-scenes straight from the original 16mm color film. A vital document of the group—Frankie Fix, Johnny Strike, Ron The Ripper and Hank Rank—as well as North Beach’s sordid scene: parading punks, square thrill-seekers and Fab Mab promoter Dirk Dirksen’s provocative emceeing.

Superior Viaduct presents this first-time release of the 35-minute movie on DVD and double 7” of its soundtrack. Feel the beat—it’s CRIME time.
This Kind Of Punishment - In The Same Room
Marion Brown - Three For Shepp
Kevin Harrison - Inscrutably Obvious
Kevin Harrison
Inscrutably Obvious
LP | 1981 | US | Reissue (Superior Viaduct)
19,99 €*
Release:1981 / US – Reissue
Genre:Electronic / Dance
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 - 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.
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.
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.
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.
Mekons, The - Where Were You?
Mekons, The - Never Been In A Riot
Sun Ra And His Arkestra - Featuring Pharoah Sanders And Black Harold
Sun Ra And His Arkestra
Featuring Pharoah Sanders And Black Harold
LP | 2017 | US | Original (Superior Viaduct)
26,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.

“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.

“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.

“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”

—John Corbett (excerpt from the liner notes)
Fall, The - Perverted By Language
Fall, The
Perverted By Language
LP | 1983 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1983 / US – Reissue
Genre:Pop
The Fall returned to Rough Trade in 1983 to release a pair of singles (“The Man Whose Head Expanded” and “Kicker Conspiracy”) and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band’s shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become.

The emergence of Brix Smith is often cited as the impetus for The Fall’s move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on “Hotel Blöedel,” where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song’s cold romanticism in his unmistakable brand of strange. “Garden” provides a new take on The Fall’s stretched-out tendencies—using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, “Eat Y’self Fitter,” is wholly classic Fall: a playfully circular bass line drives the album’s strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song’s spiteful decree with equal parts glee and scorn.

Superior Viaduct’s edition is the first time that Perverted By Language has been available on vinyl domestically.
Tony Conrad - Ten Years Alive On The Infinite Plain
Tony Conrad
Ten Years Alive On The Infinite Plain
2LP | 2017 | US | Original (Superior Viaduct)
34,19 €* 35,99 € -5%
Release:2017 / US – Original
Genre:Electronic / Dance
Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music.

“Ten Years began with image before sound,” writes Andrew Lampert, “a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture.”

For its 1972 premiere at New York’s The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer’s own making. Chatham played the Long String Drone—a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware—while Spiegel carried out an arrhythmic bass pulse throughout.

Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain’s breathtaking premier performance. As Chatham recounts in the liner notes, “When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate.”
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 - 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.
This Kind Of Punishment - Radio Silence
This Kind Of Punishment
Radio Silence
7" | 2016 | US | Original (Superior Viaduct)
11,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Recorded in Auckland in 1984, these archival tracks capture seminal New Zealand band This Kind Of Punishment’s unique alchemy of poignant melody and four-track claustrophobia. The previously unreleased “Radio Silence” offers an astringent, phantasmagoric comment on—and perhaps retreat from—the contemporaneous NZ scene. “Reaching An End” (from legendary compilation Killing Capitalism With Kindness) is a classic in the mold later perfected on Peter Jefferies’ solo output: unadorned piano blanketed by rich, wistful vocals, plucked strings and muffled drum beat. Less, after all, can be so much more. Cover photography by Chris Knox. Translucent orange vinyl pressed in limited edition of 1,000 copies.
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.
John Bender - I Don't Remember Now / I Don't Want To Talk About It Black Vinyl Edition
Fall, The - Dragnet
Fall, The
Dragnet
LP | 1979 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1979 / US – Reissue
Genre:Rock / Indie
Dragnet is arguably The Fall's best-known album. With the departure of Martin Bramah after Live At The Witch Trials, the band underwent yet another lineup shift in late 1979. Marc Riley switched to guitar and Steve Hanley joined on bass; the latter's signature basslines would become a major part of The Fall for the next two decades.


Opening track "Psykick Dancehall" strikes like an elusive, working-class anthem with its bouncy tempo changes and Mark E. Smith’s unfiltered vocals raining down on the dance-floor. "Dice Man" takes its direction from disheveled beats, stuttering lyrics and asymmetrical phrasing. Somehow Dragnet manages to be even more lo-fi than The Fall's debut, yet reveals a cohesive sound and fierce songs that would further build the band’s cult following.


Superior Viaduct's edition is the first time that Dragnet has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
Tony Conrad with Faust - Outside The Dream Syndicate
Tony Conrad with Faust
Outside The Dream Syndicate
LP | 1973 | US | Reissue (Superior Viaduct)
25,99 €*
Release:1973 / US – Reissue
Genre:Electronic / Dance
Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theater of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name.

Outside The Dream Syndicate, originally released in Europe only in 1973, is a stunning debut. Two side-long tracks—“The Side Of Man And Womankind” and “The Side Of The Machine”—show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier’s repetitive drum beat and Jean-Hervé Peron’s stripped-down bassline conjure a tense, ascetic groove, while Conrad’s seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone’s internal pulse.

It is hard to imagine Conrad’s trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in Outside The Dream Syndicate, yet no other record captures—so completely and instantly—the intersection of avant-garde and rock forms. Outside The Dream Syndicate remains ahead of and bracingly outside of its time.

This first-time vinyl reissue and long out-of-print CD release have been carefully been carefully mastered from the original master tapes and include liner notes by musician Jim O’Rourke and author Branden W. Joseph.
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.
B.C. Gilbert / G. Lewis - 3R4
B.C. Gilbert / G. Lewis
3R4
LP | 1980 | US | Reissue (Superior Viaduct)
19,79 €* 21,99 € -10%
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.
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.”
Phill Niblock - Nothing To Look At Just A Record
Phill Niblock
Nothing To Look At Just A Record
LP | 2013 | US | Original (Superior Viaduct)
21,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
Received a 8.0 rating from Pitchfork.

Phill Niblock has pushed the boundaries of sound and visual art for over 40 years. While dutifully producing experimental films and curating multi-media loft performances in New York’s 1960s avant-garde circles, Niblock developed a composition technique informed by American minimalists such as Tony Conrad and La Monte Young. His music consists of long instrumental tones, closely pitched together to create beat patterns and multi-tracked into dense layers.

Nothin to Look At Just a Record, originally released on esteemed 20th century / jazz label India Navigation in 1982, is Niblock’s recording debut and often cited as his masterpiece. “A Trombone Piece,” the first of two side-long tracks, was recorded by Richard Lainhart and Richard Kelly (both music innovators in their own right) at SUNY Albany in the mid-’70s. Breathing pauses from instrumentalist James Fulkerson’s trombone were spliced out to unravel the drones spatially, rather than according to metered rhythm. The overall effect is mesmerizing and beautifully envelops the listener with each tonal subtlety.

To celebrate Niblock’s 80th birthday, Superior Viaduct is honored to present the first-time vinyl reissue of Nothin to Look At Just a Record, a high-water mark in 20th century music and listed as #5 on Alan Licht’s Minimal Top Ten.
Sleepers, The - The Sleepers
Sleepers, The
The Sleepers
7" | 1978 | US | Reissue (Superior Viaduct)
11,99 €*
Release:1978 / US – Reissue
Genre:Rock / Indie
THE SLEEPERS' debut five-song EP, originally released in 1978, is one of the truly essential records to come out of California in the late '70s. It is 100% punk in spirit and yet avoids every punk cliche. The band's original lineup of RICKY WILLIAMS, MICHAEL BELFER, PAUL DRAPER and TIM MOONEY operates here as a machine-a temperamental one rattling in unison. Opener "Seventh World" trudges through many tempos without repeating a single one, while Williams's astonishing, Robo-fueled voice douses the microphone with esoteric imagery. Each track creates a new template for psychedelic rock and discards it by the time the next one begins. This record inexplicably transcends the mere sum of its parts. First-time reissue in its proper 7-inch format, from original master tapes.
Henry Flynt - Graduation
Martin Rev - Martin Rev
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