Label:Left Ear Records
Cat-No:LER1036
Release-Date:20.09.2024
Genre:Indie Rock/Alternative
Configuration:LP
Label:Left Ear Records
Cat-No:LER1036
Release-Date:20.09.2024
Genre:Indie Rock/Alternative
Configuration:LP
1
Leong Lau - The Atlas Revolution
2
Leong Lau - Ghost Drums
3
Leong Lau - Rhythm Pounding
4
Leong Lau - Dragon Man
5
Leong Lau - Soul Baby
6
Leong Lau - Deep In The Jungle
7
Leong Lau - Love Poem
** Includes fold out colour poster (40cm * 20cm), replicating the insert included in the original '76 release **
Only a decade ago Leong Lau remained a well-hidden Malaysian-Australian treasure, known only to small circles of Australian record collectors. In 2013 we met Leong in person at the Brisbane state library, where after a long and somewhat transcendental ‘conversation’, received his blessings to re-release his music.
In 2014, we reissued his sophomore album ‘That Rongeng Sound’ and later in 2021, his sole single ‘late Night Flyer. In 2024, we are going back to finish the triangle of Leong releases, with a repress of his debut 1976 album ‘Dragon Man’. A raw and electrifying album that continues to stand the test of time.
Dragon Man might best be described musically as psyc/rock, however the significant use of soul/funk and jazz melodies adds a unique musical depth that makes it hard to categorise. However, what truly sets Leong apart is his distinct vocal style, delivering half sung/half spoken lyrics in a stereotypical Aussie accent that comes across more like a sermon than what might be conceived as ‘traditional’ songs.
Moreover, in a time where the Australian music industry and its performers’ musical styles were dictated by major labels, Leong began to break down those barriers by self-releasing his music. This rewarded Leong creative control, where he was able to dictate the musical and cultural themes, with songs like ‘Dragon Man’ and ‘Deep In The Jungle’ that both pay homage to his unique Chinese/Malay heritage. That said, Dragon Man is both a significant musical and cultural statement that’s just as poignant today as it was then.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Only a decade ago Leong Lau remained a well-hidden Malaysian-Australian treasure, known only to small circles of Australian record collectors. In 2013 we met Leong in person at the Brisbane state library, where after a long and somewhat transcendental ‘conversation’, received his blessings to re-release his music.
In 2014, we reissued his sophomore album ‘That Rongeng Sound’ and later in 2021, his sole single ‘late Night Flyer. In 2024, we are going back to finish the triangle of Leong releases, with a repress of his debut 1976 album ‘Dragon Man’. A raw and electrifying album that continues to stand the test of time.
Dragon Man might best be described musically as psyc/rock, however the significant use of soul/funk and jazz melodies adds a unique musical depth that makes it hard to categorise. However, what truly sets Leong apart is his distinct vocal style, delivering half sung/half spoken lyrics in a stereotypical Aussie accent that comes across more like a sermon than what might be conceived as ‘traditional’ songs.
Moreover, in a time where the Australian music industry and its performers’ musical styles were dictated by major labels, Leong began to break down those barriers by self-releasing his music. This rewarded Leong creative control, where he was able to dictate the musical and cultural themes, with songs like ‘Dragon Man’ and ‘Deep In The Jungle’ that both pay homage to his unique Chinese/Malay heritage. That said, Dragon Man is both a significant musical and cultural statement that’s just as poignant today as it was then.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Leong Lau
Label:LEFT EAR RECORDS
Cat-No:LER1027
Release-Date:18.06.2021
Genre:Alternative/Electronic
Configuration:7"
Label:LEFT EAR RECORDS
Cat-No:LER1027
Release-Date:18.06.2021
Genre:Alternative/Electronic
Configuration:7"
1
Leong Lau - Late Night Flyer
2
Leong Lau - One Dimensional Man
Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.
From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.
The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.
The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Left Ear Records
Label:Left Ear Records
Cat-No:LER1037
Release-Date:02.05.2025
Genre:Alternative/Electronic
Configuration:12"
Label:Left Ear Records
Cat-No:LER1037
Release-Date:02.05.2025
Genre:Alternative/Electronic
Configuration:12"
1
Tim Gruchy - Jungles (Original Full-Length Version)
2
Michael Krrilich - Arnehm Land (Extended Version)
Limited Edition 12"
Left Ear are delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honoring them with a split 12” release.
Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane. The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths.
A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation.
This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals.
Side B: Michael Krillich’s Arnhem Land began its journey in 1982 in a shared house in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record. This creation became part of his cassette release, Thematic Variations.??In 2010, Krillich uploaded an unreleased extended version of Arnhem Land from Thematic Variations to YouTube, which was shared by record dealer Matt Bowden with Left Ear Records, who pursued to release it on vinyl. Their search to uncover the sample’s origins led them to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region.??After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Left Ear are delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honoring them with a split 12” release.
Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane. The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths.
A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation.
This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals.
Side B: Michael Krillich’s Arnhem Land began its journey in 1982 in a shared house in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record. This creation became part of his cassette release, Thematic Variations.??In 2010, Krillich uploaded an unreleased extended version of Arnhem Land from Thematic Variations to YouTube, which was shared by record dealer Matt Bowden with Left Ear Records, who pursued to release it on vinyl. Their search to uncover the sample’s origins led them to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region.??After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Respuesta Alternativa - Old Bass
2
Respuesta Alternativa - Del Silencio Playa De Gavieiro
3
Respuesta Alternativa - Chintofono
4
Respuesta Alternativa - Asturtxal
5
Respuesta Alternativa - De Puntillas
6
Respuesta Alternativa - Nella Tana Dei Gargoyle
7
Respuesta Alternativa - Precipia Lalba
For their 35th release Left Ear returns to the archives of Spanish Musician Jesús Mª Catalán and his project Respuesta Alternativa, or the Alternative Response. Unlike his previous release, the tracks from this compilation were not released at the time and the tapes only found recently, which had been lying dormant in a shoebox since their creation from the period 1987-1990. When not on the road working as a sound technician,
Jesús continued to craft atmospheric tracks in the quiet of his bedroom and later finished productions with the assistance of long-time collaborator Julián C. Pérez. Together, they captured simple themes, with the sound evolving over time. Transitioning from guitars, they incorporated vocal samples to weave enduring musical tapestries. Given Jesus’ geographic location (Spain) and the atmospheric down-tempo nature of the music, we wondered if the ‘balearic’ sounds had played a part in his productions. Jesus explains that “the distinction in the Balearic and Asturias Islands is marked by the different character of its people and the incidence of the weather, where the sea influences the Mediterranean Sea of the Balearic Islands is a calm sea. The Cantabrico de Asturias Sea is stormier”.
As a proud Asturian, Jesús was influenced by and payed homage to his surroundings, with lush breezy passages echoing calm ocean days and others reflecting sudden turns in conditions, weaving a stormier, more confronting layer into his already distinct sounds.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Jesús continued to craft atmospheric tracks in the quiet of his bedroom and later finished productions with the assistance of long-time collaborator Julián C. Pérez. Together, they captured simple themes, with the sound evolving over time. Transitioning from guitars, they incorporated vocal samples to weave enduring musical tapestries. Given Jesus’ geographic location (Spain) and the atmospheric down-tempo nature of the music, we wondered if the ‘balearic’ sounds had played a part in his productions. Jesus explains that “the distinction in the Balearic and Asturias Islands is marked by the different character of its people and the incidence of the weather, where the sea influences the Mediterranean Sea of the Balearic Islands is a calm sea. The Cantabrico de Asturias Sea is stormier”.
As a proud Asturian, Jesús was influenced by and payed homage to his surroundings, with lush breezy passages echoing calm ocean days and others reflecting sudden turns in conditions, weaving a stormier, more confronting layer into his already distinct sounds.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Left Ear Records
Cat-No:LER1031
Release-Date:17.02.2023
Genre:Alternative/Electronic
Configuration:2LP
Label:Left Ear Records
Cat-No:LER1031
Release-Date:17.02.2023
Genre:Alternative/Electronic
Configuration:2LP
1
The DNA Lounge - Lost In Translation
2
Height/Dismay - Girl From Ipanema
3
Will Kuiper - Diffusion
4
Drone - Music For Guitar + Piano
5
Tim Gruchy - Jungles
6
TCH - Moholy Nagy Takes A Holiday
7
Cameron Allan - Tango BW
8
Electric Hand - Daintree
9
Buchanan Holbrook - Hunger
10
Colin Offord - Absolutely Wired
11
Roger Frampton's Intersection - Open, As The Sky
12
David Watson - The Key To A Code
13
Jane Stevenson - Soloaloha
14
LIME - Farmarimba Solo
15
Kiri Uu - Mis Sa Kavva Kodun Teid?
16
CLOUT - Two Can Too
17
Back To Back Zithers - Cicadas
Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.
As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.
The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.
To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.
The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.
To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Picture Music - Bus Stop Dawn
2
Picture Music - Hauptbahnhof
3
Picture Music - Waht It Is
4
Picture Music - Hole In The Wall
5
Picture Music - Dummy S Run
6
Picture Music - Ivory Coast
7
Picture Music - Bopal
8
Picture Music - Landscape
9
Picture Music - Pillow Music
10
Picture Music - Aviation For Beginners
11
Picture Music - Yesterdays
Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music.
If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same.
This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same.
This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Left Ear Records
Cat-No:LER1030
Release-Date:11.11.2022
Genre:Alternative/Electronic
Configuration:LP
Label:Left Ear Records
Cat-No:LER1030
Release-Date:11.11.2022
Genre:Alternative/Electronic
Configuration:LP
1
Twin Cosmos - Giniro No Tsubasa
2
Twin Cosmos - Los Angeles City
3
Twin Cosmos - Silent Love
4
Twin Cosmos - Seventy Cherrys
5
Twin Cosmos - Space Flight
6
Twin Cosmos - Prologue
7
Twin Cosmos - Happy Turkey Days
8
Twin Cosmos - Improvisation Love
9
Twin Cosmos - Nonewords
10
Twin Cosmos - How Short Our Life Are
11
Twin Cosmos - Mad Love
12
Twin Cosmos - God. Truth. Love
13
Twin Cosmos - Telephone
14
Twin Cosmos - Nothing Meaning Of Life
15
Twin Cosmos - Eraser Head
16
Twin Cosmos - Evil Spirits
17
Twin Cosmos - Crush - Twin Cosmos
Twin Cosmos is not only the name of the musical output of fraternal twins Morihito & Yasuhito Ito, but more philosophically, an album that encapsulates, “the universe of twins”.
The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.
Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.
Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.
In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.
Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.
The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.
Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.
Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.
In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.
Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.
The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Justine - Wordless Songs
2
Justine - Mama Didn't Tell Ya
Repress!
Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.
Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.
Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Jean-Pierre Boistel / Tony Kenneybrew - Remedios
2
Jean-Pierre Boistel / Tony Kenneybrew - Dans Le Secret & Clepsydre
3
Jean-Pierre Boistel / Tony Kenneybrew - Des Perce-Bois
4
Jean-Pierre Boistel / Tony Kenneybrew - C'est A Sete
5
Jean-Pierre Boistel / Tony Kenneybrew - Vas Y Peter
6
Jean-Pierre Boistel / Tony Kenneybrew - A Capucine
Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!
Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.
The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.
Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.
The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.
Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Left Ear Records
Cat-No:LER1029
Release-Date:25.05.2022
Genre:Alternative/Electronic
Configuration:LP
Label:Left Ear Records
Cat-No:LER1029
Release-Date:25.05.2022
Genre:Alternative/Electronic
Configuration:LP
1
Influenza Prods. - Niente Fazzoletti
2
Influenza Prods. - Mémoire
3
Influenza Prods. - Pretty City
4
Influenza Prods. - Rocking Gertrude
5
Influenza Prods. - Leftovers
6
Influenza Prods. - Ciò Che Vide II Pescatore Siculo
7
Influenza Prods. - Improvviso
8
Influenza Prods. - Kada Polazi Vlak
9
Influenza Prods. - Anduma A Pe'
10
Influenza Prods. - Animal Lovers
11
Influenza Prods. - Wu-Shih
12
Influenza Prods. - Piccolino
13
Influenza Prods. - Peace Soup
Left Ear re-surface with a compilation of music from Italy’s original “homewave” band the ‘Influenza Prods.’. TIP!!!!
Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing.
It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner.
In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”.
As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections
The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985).
Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing.
It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner.
In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”.
As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections
The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985).
Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Left Ear Records
Cat-No:LER1012
Release-Date:23.03.2022
Genre:Alternative/Electronic
Configuration:12"
Label:Left Ear Records
Cat-No:LER1012
Release-Date:23.03.2022
Genre:Alternative/Electronic
Configuration:12"
1
Respuesta Alternativa - Amigos
2
Respuesta Alternativa - De Paso
3
Respuesta Alternativa - Grata Compania
4
Respuesta Alternativa - Andy
5
Respuesta Alternativa - En Tu Caso
Repress!
Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Shahara-Ja - I'm An Arabian Knight (Extended Funky Arabian Mix)
2
Shahara-Ja - I'm An Arabian Knight (Instrumental)
3
Shahara-Ja - I'm An Arabian Knight (Extended Funky Mix)
Repress!
Melbourne`s Left Ear have polished a lost, late `80s, Antipodean, Electro Soul gem. It`s creation no doubt inspired by the music of L.A.`s Egyptian Lover and the genre-defining output of New York`s Tommy Boy. However, the gear used, the sparse mix, the Eastern keys in the detail, and its erotic intent, make it sound more like Chris & Cosey backing a would-be Michael Jackson.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Melbourne`s Left Ear have polished a lost, late `80s, Antipodean, Electro Soul gem. It`s creation no doubt inspired by the music of L.A.`s Egyptian Lover and the genre-defining output of New York`s Tommy Boy. However, the gear used, the sparse mix, the Eastern keys in the detail, and its erotic intent, make it sound more like Chris & Cosey backing a would-be Michael Jackson.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Left Ear Records
Cat-No:LER1026
Release-Date:23.03.2022
Genre:Alternative/Electronic
Configuration:12"
Label:Left Ear Records
Cat-No:LER1026
Release-Date:23.03.2022
Genre:Alternative/Electronic
Configuration:12"
1
Tester Housing - The Clock Ticks Over
2
Tester Housing - The Clock Ticks Over (Dub Version)
3
Tester Housing - Into You
4
Tester Housing - Oh
Tester Housing was the short-lived band consisting of mates Bill Tolson and Ken Olver. The duo met during the early 1980s in the burgeoning Southside of Melbourne, St Kilda. Pitched along the bayside, St Kilda at the time was full of artists, painters, writers, poets and musicians. The suburb was the type of place where dwellers wore their hearts on their sleeves; the sort to be found sharing a jug at the pub after a fist fight. The St Kilda music scene during the late ‘70s and ‘80s was infamous, breeding bands such as the Primitive Calculators and The Boys Next Door.
Despite Tester Housing producing a modest handful of recordings, both were actively present in the St Kilda chaos. Bill established Prahran’s Greville Records in 1978 and later founded the prolific Rampant Releases in 1982, pressing the likes of Not Drowning, Waving and David Chesworth. The duo also played together in the new-wave group Gilded Youth, before joining forces and forming Tester Housing.
When asked about their reasoning for the bands short stint, they wink and answer “just say something interesting such as drugs and ego got in the way and after we both had a knife fight on St Kilda pier one night and we both decided to go into rehab for the next twenty years. Or alternatively, we just knew that if we continued to play music together we would become too rich and boring.”
To commemorate Testing Housing’s imprint Left Ear Records present Over You, a 12” of the bands two 1983 singles, The Clock Ticks Over and Into You with their counterparts, a dub version and a stripped back almost acapella. Their sound channels both that of the gritty Southside and the experimental Northside scenes to create youthful and enchanting synth-pop. Both arrangements are laced with themes of love, redemption and acceptance in a unique and compelling way.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Despite Tester Housing producing a modest handful of recordings, both were actively present in the St Kilda chaos. Bill established Prahran’s Greville Records in 1978 and later founded the prolific Rampant Releases in 1982, pressing the likes of Not Drowning, Waving and David Chesworth. The duo also played together in the new-wave group Gilded Youth, before joining forces and forming Tester Housing.
When asked about their reasoning for the bands short stint, they wink and answer “just say something interesting such as drugs and ego got in the way and after we both had a knife fight on St Kilda pier one night and we both decided to go into rehab for the next twenty years. Or alternatively, we just knew that if we continued to play music together we would become too rich and boring.”
To commemorate Testing Housing’s imprint Left Ear Records present Over You, a 12” of the bands two 1983 singles, The Clock Ticks Over and Into You with their counterparts, a dub version and a stripped back almost acapella. Their sound channels both that of the gritty Southside and the experimental Northside scenes to create youthful and enchanting synth-pop. Both arrangements are laced with themes of love, redemption and acceptance in a unique and compelling way.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:LEFT EAR RECORDS
Cat-No:LER1027
Release-Date:18.06.2021
Genre:Alternative/Electronic
Configuration:7"
Label:LEFT EAR RECORDS
Cat-No:LER1027
Release-Date:18.06.2021
Genre:Alternative/Electronic
Configuration:7"
1
Leong Lau - Late Night Flyer
2
Leong Lau - One Dimensional Man
Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.
From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.
The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.
The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
MINORU 'HOODOO' FUSHIMI - Nikuzukue
2
MINORU 'HOODOO' FUSHIMI - Thanatopsis
3
MINORU 'HOODOO' FUSHIMI - In Praise Of Mitochondria
4
MINORU 'HOODOO' FUSHIMI - Ai Wa Nohshintoh
5
MINORU 'HOODOO' FUSHIMI - Ai Wa Nohshintoh
6
MINORU 'HOODOO' FUSHIMI - Mizuko No Tamashii Hyakumademo
7
MINORU 'HOODOO' FUSHIMI - Furarete Nambo
8
MINORU 'HOODOO' FUSHIMI - Sutten Tenmari
9
MINORU 'HOODOO' FUSHIMI - Nohdashi
10
MINORU 'HOODOO' FUSHIMI - Dompan (Alternate Version)
11
MINORU 'HOODOO' FUSHIMI - It Isn't Because Of Hemoglobin
12
MINORU 'HOODOO' FUSHIMI - Zennotized Funk
REPRESS!!
Oddball Japanese electro-fueled vocoder funk with occasional raps from the 80s, including unreleased material...
Japanese Electro original, Minoru Hoodoo Fushimi, self-released four albums. Two vinyl LPs and two CDs between 1985 and 1992. Melbourne`s Left Ear Records have selected twelve tracks, for a double vinyl retrospective. 10 tracks from Minoru`s four albums and a further two unreleased tracks from the archives.
Minoru set out to combine his love of all things Funk with traditional instruments and song from his homeland. He uses shamisen on Thanatopsis. Where Parliament`s Flashlight, George Clinton`s Atomic Dog, ride with Osamu Kitajima`s Masterless Samurai. Shakuhachi on Mizuko No Tamashii Hyakumademo. Nohdashi puts koto with a Jimmy Castor riff. All set to popping and locking beats.
Minoru`s vocals switch between raps about cellular metabolism and haemoglobin, Soul croon and vocoder. On Shinz-San he adds Metal guitar to vintage Sugarhill. And he goes crazy with his sampler. Scratching in cats, frogs, babies, laughter, giggles, traffic jams, failing ignitions, opera singers, and amorous sighs. Furarete mixes elephant roars and Go-Go. Creating unique avant grooves that share something with Tackhead`s ON-U Sound System, Savant`s tape experiments, and fellow countrymen EP-4.
co-compiled by Left Ear Records and Jerome Qpchan
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Oddball Japanese electro-fueled vocoder funk with occasional raps from the 80s, including unreleased material...
Japanese Electro original, Minoru Hoodoo Fushimi, self-released four albums. Two vinyl LPs and two CDs between 1985 and 1992. Melbourne`s Left Ear Records have selected twelve tracks, for a double vinyl retrospective. 10 tracks from Minoru`s four albums and a further two unreleased tracks from the archives.
Minoru set out to combine his love of all things Funk with traditional instruments and song from his homeland. He uses shamisen on Thanatopsis. Where Parliament`s Flashlight, George Clinton`s Atomic Dog, ride with Osamu Kitajima`s Masterless Samurai. Shakuhachi on Mizuko No Tamashii Hyakumademo. Nohdashi puts koto with a Jimmy Castor riff. All set to popping and locking beats.
Minoru`s vocals switch between raps about cellular metabolism and haemoglobin, Soul croon and vocoder. On Shinz-San he adds Metal guitar to vintage Sugarhill. And he goes crazy with his sampler. Scratching in cats, frogs, babies, laughter, giggles, traffic jams, failing ignitions, opera singers, and amorous sighs. Furarete mixes elephant roars and Go-Go. Creating unique avant grooves that share something with Tackhead`s ON-U Sound System, Savant`s tape experiments, and fellow countrymen EP-4.
co-compiled by Left Ear Records and Jerome Qpchan
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
shahara-ja - I'm An Arabian Knight (Egyptian Lover Dub Mix)
2
shahara-ja - I'm An Arabian Knight (Egyptian Lover Vocal Mix)
3
shahara-ja - I'm An Arabian Knight (Egyptian Lover Instrumental Mix)
'From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja’s ‘I’m An Arabian Knight’ has gained much momentum since it’s 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he’d do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover’s signature 808'
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Nigeria’s Kingsley Bucknor’s ‘Just U and Me’ LP gets the long-awaited reissue treatment from Melbourne’s Left Ear Records. After cutting his teeth playing with Fela in the 70’s and releasing two afrobeat LP’s Kingsley travelled the globe before finding himself in London, it’s here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
workdub - No Title
2
workdub - No Title
3
workdub - No Title
4
workdub - No Title
5
workdub - No Title
6
workdub - No Title
7
workdub - No Title
8
workdub - No Title
9
workdub - No Title
10
workdub - No Title
Left Ear are re-introducing another ten lost tracks from Nicholas Georgieff and Virgil Work, St Louis' basement electronics duo Workdub.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Brother Resistance - Star Warz Rapso
2
Brother Resistance - Wars In Space Dub
3
Brother Resistance - Dancin Shoes Rapso
4
Brother Resistance - Ring De Bell (Part 1)
5
Brother Resistance - Children Of Soweto
6
Brother Resistance - Rapso Take Over
Fully Remastered 2021 Repress - TIP!
Originally released in 1986, Brother Resistance's Rapso Take Over blends calypso, reggae, disco, funk and poetry to create the artist’s signature Rapso sound.
A progressive form of poetry from Trinidad and Tobago, Rapso emerged as a means by which to articulate the daily suffering symptomatic of the social unrest afflicting the nation throughout the 1970s and 80s. Brother Resistance played a significant role in the Rapso movement, deploying his music to spread messages of hope and liberation.
The authorities took Brother Resistance’s rising status seriously, destroying what they could of his studios and in the process leaving only a small amount of his music in circulation. Now for the first time we can hear Brother Resistance’s finest work remastered and repressed. The music and the message live on through Rapso Take Over’s stripped back rhythms infused with steel and strings, all carried by the voice of resistance.
Dedicated to the memory of Bro Resistance 1954 - 2021
Full Tracklist:
A1 Star Warz Rapso
A2 Wars In Space Dub
A3 Dancin Shoes Rapso
B1 Ring De Bell (Part 1)
B2 Children Of Soweto
B3 Rapso Take Over
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Originally released in 1986, Brother Resistance's Rapso Take Over blends calypso, reggae, disco, funk and poetry to create the artist’s signature Rapso sound.
A progressive form of poetry from Trinidad and Tobago, Rapso emerged as a means by which to articulate the daily suffering symptomatic of the social unrest afflicting the nation throughout the 1970s and 80s. Brother Resistance played a significant role in the Rapso movement, deploying his music to spread messages of hope and liberation.
The authorities took Brother Resistance’s rising status seriously, destroying what they could of his studios and in the process leaving only a small amount of his music in circulation. Now for the first time we can hear Brother Resistance’s finest work remastered and repressed. The music and the message live on through Rapso Take Over’s stripped back rhythms infused with steel and strings, all carried by the voice of resistance.
Dedicated to the memory of Bro Resistance 1954 - 2021
Full Tracklist:
A1 Star Warz Rapso
A2 Wars In Space Dub
A3 Dancin Shoes Rapso
B1 Ring De Bell (Part 1)
B2 Children Of Soweto
B3 Rapso Take Over
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Customers who bought this also bought this
1
Masako Ohta, Matthias Lindermayr - A1) Trudelutt
2
Masako Ohta, Matthias Lindermayr - A2) Oli's Balloon
3
Masako Ohta, Matthias Lindermayr - A3) All Good Things Are Four
4
Masako Ohta, Matthias Lindermayr - A4) Tolv
5
Masako Ohta, Matthias Lindermayr - A5) Sora
6
Masako Ohta, Matthias Lindermayr - A6) Kogia
7
Masako Ohta, Matthias Lindermayr - B1) Ayet
8
Masako Ohta, Matthias Lindermayr - B2) Penguin
9
Masako Ohta, Matthias Lindermayr - B3) La
LP
Special remarks:
180g
Tracklist:
A1) Trudelutt 05:03 min
A2) Oli's Balloon 02:22 min
A3) All Good Things Are Four 05:04 min
A4) Tolv 03:13 min
A5) Sora 03:45 min
A6) Kogia 05:39 min
B1) Ayet 08:49 min
B2) Penguin 04:29 min
B3) La 04:23 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr's music flows in gentle waves, moving with ease between every theme they imagine. Their music is largely improvised, embracing chance and following sound down winding paths. Their debut collaborative album, MMMMH, highlights this loose process through its relaxed pace, surprising turns, and drifting style. The album presents small vignettes that each encapsulate their free-flowing motion and tranquil melodies, drawing from simple ideas to create a fully bloomed, radiant sound.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Special remarks:
180g
Tracklist:
A1) Trudelutt 05:03 min
A2) Oli's Balloon 02:22 min
A3) All Good Things Are Four 05:04 min
A4) Tolv 03:13 min
A5) Sora 03:45 min
A6) Kogia 05:39 min
B1) Ayet 08:49 min
B2) Penguin 04:29 min
B3) La 04:23 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr's music flows in gentle waves, moving with ease between every theme they imagine. Their music is largely improvised, embracing chance and following sound down winding paths. Their debut collaborative album, MMMMH, highlights this loose process through its relaxed pace, surprising turns, and drifting style. The album presents small vignettes that each encapsulate their free-flowing motion and tranquil melodies, drawing from simple ideas to create a fully bloomed, radiant sound.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Masako Ohta, Matthias Lindermayr - Hatsuhinode (06:54 min)
2
Masako Ohta, Matthias Lindermayr - Agora (02:38 min)
3
Masako Ohta, Matthias Lindermayr - Ostinato (03:56 min)
4
Masako Ohta, Matthias Lindermayr - Hibari (04:59 min)
5
Masako Ohta, Matthias Lindermayr - Maya (06:55 min)
6
Masako Ohta, Matthias Lindermayr - Shizuku (04:40 min)
7
Masako Ohta, Matthias Lindermayr - Niwa (04:06 min)
8
Masako Ohta, Matthias Lindermayr - Tio (08:03 min)
LP
Special remarks: 180g
Tracklist:
A1) Hatsuhinode 06:55 min
A2) Agora 02:39 min
A3) Ostinato 03:56 min
A4) Hibari 04:59 min
B1) Maya 06:55 min
B2) Shizuku 04:40 min
B3) Niwa 04:07 min
B4) Tio 08:04 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'.
The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope.
The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form.
Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Special remarks: 180g
Tracklist:
A1) Hatsuhinode 06:55 min
A2) Agora 02:39 min
A3) Ostinato 03:56 min
A4) Hibari 04:59 min
B1) Maya 06:55 min
B2) Shizuku 04:40 min
B3) Niwa 04:07 min
B4) Tio 08:04 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'.
The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope.
The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form.
Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Territories: Worldwide no restrictions
Format Notes: Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Hot Heels 2:50
A2 It's Gospel 2:49
A3 Steam Heat 2:59
A4 Fly Away 2:45
A5 His Name Was 2:35
A6 Swing Over 2:18
A7 Touch Of Warmth 2:40
B1 Voice Force Nine 2:13
B2 Very Fine Fellow 1:58
B3 Shades-Tones 3:27
B4 I'm Feather 2:09
B5 Drifting 2:24
B6 Take Off 1:58
B7 Fly Paradise 2:18
Release Notes:
Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.
Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.
The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.
In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.
The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Hot Heels 2:50
A2 It's Gospel 2:49
A3 Steam Heat 2:59
A4 Fly Away 2:45
A5 His Name Was 2:35
A6 Swing Over 2:18
A7 Touch Of Warmth 2:40
B1 Voice Force Nine 2:13
B2 Very Fine Fellow 1:58
B3 Shades-Tones 3:27
B4 I'm Feather 2:09
B5 Drifting 2:24
B6 Take Off 1:58
B7 Fly Paradise 2:18
Release Notes:
Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.
Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.
The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.
In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.
The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Poeji - Akin (02:51 min)
2
Poeji - Cathedral (05:45 min)
3
Poeji - Whoo (04:45 min)
4
Poeji - Anirugui (04:33 min)
5
Poeji - Buuwein Duu (02:11 min)
6
Poeji - Ybbs (04:16 min)
7
Poeji - Tunneling (03:32 min)
8
Poeji - Ipê (05:36 min)
Special remarks: 180g
Tracklist:
A1) Akin (02:51 min)
A2) Cathedral (05:45 min)
A3) Whoo (04:45 min)
A4) Anirugui (04:33 min)
B1) Buuwein Duu (02:11 min)
B2) Ybbs (04:16 min)
B3) Tunneling (03:32 min)
B4) Ipê (05:36 min)
Info:
Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist:
A1) Akin (02:51 min)
A2) Cathedral (05:45 min)
A3) Whoo (04:45 min)
A4) Anirugui (04:33 min)
B1) Buuwein Duu (02:11 min)
B2) Ybbs (04:16 min)
B3) Tunneling (03:32 min)
B4) Ipê (05:36 min)
Info:
Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Mad Professor - Avianca Dubs - Dub 1
2
Mad Professor - Avianca Dubs - Dub 2
Mad Professor is a dub legend. We can't say much more about this release other than it's two dubs of a beautiful record and all time classic and there will be more to follow...
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Steve Hiett - Blue Beach - Welcome To Your Beach
2
Steve Hiett - Never Find A Girl (To Love Me Like You Do)
3
Steve Hiett - By The Pool
4
Steve Hiett - Roll Over, Beethoven - Out Of The Beach
5
Steve Hiett - In The Shade
6
Steve Hiett - Looking Across The Street
7
Steve Hiett - Long Distance Look
8
Steve Hiett - Hot Afternoon
9
Steve Hiett - Crying In The Sun
10
Steve Hiett - The Next Time
11
Steve Hiett - Miss B.B. Walks Away
12
Steve Hiett - Sleep Walk
13
Steve Hiett - Standing There
World excluding Japan
2024 repress
LP Format Notes:
First re-issue since its original release in Japan in 1983, remastered from the original masters, 140g vinyl, gatefold sleeve, 16 page photography book with liner notes.
LP Track List:
A1 : Blue Beach - Welcome To Your Beach
A2 : Never Find A Girl (To Love Me Like You Do)
A3 : By The Pool
A4 : Roll Over, Beethoven - Out Of The Beach
A5 : In The Shade
A6 : Looking Across The Street
A7 : Long Distance Look
B1 : Hot Afternoon
B2 : Crying In The Sun
B3 : The Next Time
B4 : Miss B.B. Walks Away
B5 : Sleep Walk
B6 : Standing There
Release Notes:
For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.
A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.
In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.
Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.
Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
2024 repress
LP Format Notes:
First re-issue since its original release in Japan in 1983, remastered from the original masters, 140g vinyl, gatefold sleeve, 16 page photography book with liner notes.
LP Track List:
A1 : Blue Beach - Welcome To Your Beach
A2 : Never Find A Girl (To Love Me Like You Do)
A3 : By The Pool
A4 : Roll Over, Beethoven - Out Of The Beach
A5 : In The Shade
A6 : Looking Across The Street
A7 : Long Distance Look
B1 : Hot Afternoon
B2 : Crying In The Sun
B3 : The Next Time
B4 : Miss B.B. Walks Away
B5 : Sleep Walk
B6 : Standing There
Release Notes:
For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.
A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.
In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.
Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.
Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Al Hirt - Honey Pot
2
Al Hirt - Mess Around
3
Al Hirt - Calypsoul
4
Al Hirt - Long Gone
5
Al Hirt - Sweetlips
6
Al Hirt - Girl
7
Al Hirt - Love Ya' Baby
8
Al Hirt - Sunday-Goin' To Meetin' Time
9
Al Hirt - Snap Back
10
Al Hirt - Harlem Hendoo
11
Al Hirt - Ludwig
Format Notes: 2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Ezra Feinberg - A1. Future Sand (feat. David Lackner)
2
Ezra Feinberg - A2. Soft Power (feat. David Lackner)
3
Ezra Feinberg - A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
4
Ezra Feinberg - A4. Flutter Intensity (feat. Russell Greenberg)
5
Ezra Feinberg - B1. The Big Clock (feat. David Moore, Britt Hewitt)
6
Ezra Feinberg - B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
7
Ezra Feinberg - B3. Get Some Rest (feat. Mary Lattimore)
1. LTD LP - Territory: WW Minus UK/Eire,Usa, Canada
- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Alternative / Experimental / Ambient
3. TRACKLISTS: see next page
Please add track lists for all listed formats.
A1. Future Sand (feat. David Lackner)
A2. Soft Power (feat. David Lackner)
A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
A4. Flutter Intensity (feat. Russell Greenberg)
B1. The Big Clock (feat. David Moore, Britt Hewitt)
B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
B3. Get Some Rest (feat. Mary Lattimore)
4. SHORT INFO:
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
5. VITAL SALES POINTS:
- PR + Radio campaign by Five Worlds (UK/USA) / Dense PR + Radio campaign (EU)
6.
Ezra Feinberg - Previous Press / Quotes
"Invites you to a world so vivid and intricately textured that you might feel like you are part of it"
- Pitchfork
"Gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime"
- Aquarium Drunkard
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Alternative / Experimental / Ambient
3. TRACKLISTS: see next page
Please add track lists for all listed formats.
A1. Future Sand (feat. David Lackner)
A2. Soft Power (feat. David Lackner)
A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
A4. Flutter Intensity (feat. Russell Greenberg)
B1. The Big Clock (feat. David Moore, Britt Hewitt)
B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
B3. Get Some Rest (feat. Mary Lattimore)
4. SHORT INFO:
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
5. VITAL SALES POINTS:
- PR + Radio campaign by Five Worlds (UK/USA) / Dense PR + Radio campaign (EU)
6.
Ezra Feinberg - Previous Press / Quotes
"Invites you to a world so vivid and intricately textured that you might feel like you are part of it"
- Pitchfork
"Gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime"
- Aquarium Drunkard
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Yasuaki Shimizu - Suiren
2
Yasuaki Shimizu - Kakashi
3
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
4
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
5
Yasuaki Shimizu - Kono Yo Ni Yomeri #2
6
Yasuaki Shimizu - Yune Dewa
7
Yasuaki Shimizu - Umi No Ue Kara
8
Yasuaki Shimizu - Utsukushiki Tennen
Repress!
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Brian Bennett - Image (4:29)
2
Neil Richardson - The Little Orphan (2:27)
3
David Gold / Gordon Rees - Paradise Island (2:19)
4
David Gold / Gordon Rees - Forbidden Fruit (2:19)
5
David Gold / Gordon Rees - The Enchantress (2:56)
6
David Gold - Phenomena (2:41)
7
John Scott - Infinite Expanse (1:46)
8
John Scott - Static Objects (2:31)
9
John Fiddy - Metamorphosis (2:37)
10
Neil Richardson - Cubist Pictures (2:12)
11
Neil Richardson - Analysis (2:04)
12
Neil Richardson - Crystal Ball (2:38)
13
Steve Gray - Gliding Through Clouds (2:55)
Territories: Worldwide no restrictions
Format Notes: Part of Be With x KPM Library Reissue Campaign, 2024 first time vinyl reissue, 140g vinyl
Track List:
A1 Brian Bennett – Image 4:29
A2 Neil Richardson – The Little Orphan 2:27
A3 David Gold / Gordon Rees – Paradise Island 2:19
A4 David Gold / Gordon Rees – Forbidden Fruit 2:19
A5 David Gold / Gordon Rees – The Enchantress 2:56
A6 David Gold – Phenomena 2:41
B1 John Scott – Infinite Expanse 1:46
B2 John Scott – Static Objects 2:31
B3 John Fiddy – Metamorphosis 2:37
B4 Neil Richardson – Cubist Pictures 2:12
B5 Neil Richardson – Analysis 2:04
B6 Neil Richardson – Crystal Ball 2:38
B7 Steve Gray – Gliding Through Clouds 2:55
Release Notes:
Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…
Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.
Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.
As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: Part of Be With x KPM Library Reissue Campaign, 2024 first time vinyl reissue, 140g vinyl
Track List:
A1 Brian Bennett – Image 4:29
A2 Neil Richardson – The Little Orphan 2:27
A3 David Gold / Gordon Rees – Paradise Island 2:19
A4 David Gold / Gordon Rees – Forbidden Fruit 2:19
A5 David Gold / Gordon Rees – The Enchantress 2:56
A6 David Gold – Phenomena 2:41
B1 John Scott – Infinite Expanse 1:46
B2 John Scott – Static Objects 2:31
B3 John Fiddy – Metamorphosis 2:37
B4 Neil Richardson – Cubist Pictures 2:12
B5 Neil Richardson – Analysis 2:04
B6 Neil Richardson – Crystal Ball 2:38
B7 Steve Gray – Gliding Through Clouds 2:55
Release Notes:
Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…
Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.
Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.
As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Sarter Kit - Time Got Relative (04:50 min)
2
Sarter Kit - Schillernde Schillerlinge (05:20 min)
3
Sarter Kit - Laughter As Faith (06:34 min)
4
Sarter Kit - Egolos (06:14 min)
5
Sarter Kit - Talk (05:47 min)
6
Sarter Kit - Kerzenklang (04:13 min)
LP
Special remarks: 180g
Tracklist:
A1) Time Got Relative 04:50 min
A2) Schillernde Schillerlinge 05:20 min
A3) Laughter As Faith 06:34 min
B1) Egolos 06:14 min
B2) Talk 05:47 min
B3) Kerzenklang 04:13 min
Info:
As the leader of new outfit Sarter Kit, saxophonist Tara Sarter is creating a unique form of minimal, experimental jazz drawing on humanist principles and shared experiences. Her uncluttered and emotionally heavy debut album 'What I am and What I'm Not' creates an open, instrumental soundworld, where breaks and silences command equal gravitas as the notes and beats.
The masterful drumming of Lukas Akintaya dances between oblique patterns in odd meters, into rolling grooves and afrobeat inspired rhythms. On keys and synth, Elias Stemeseder creates tension and releases, with lingering chords and fragile melodies. Stemeseder's synthesizer work throughout the album is subtle yet masterful. Stalking the silence between the sax, drums and piano, creating a haze of digital textures within the margins of the music. Much of the album was recorded live, preserving the raw, unedited energy of their performances.
Beyond its musical qualities, 'What I am and What I'm Not' is a reflection of Sarter's belief in the power of music as a form of human connection. For Sarter, music is not about proving technical prowess but about creating something meaningful, something that transcends barriers and speaks to the shared experience of being human.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Special remarks: 180g
Tracklist:
A1) Time Got Relative 04:50 min
A2) Schillernde Schillerlinge 05:20 min
A3) Laughter As Faith 06:34 min
B1) Egolos 06:14 min
B2) Talk 05:47 min
B3) Kerzenklang 04:13 min
Info:
As the leader of new outfit Sarter Kit, saxophonist Tara Sarter is creating a unique form of minimal, experimental jazz drawing on humanist principles and shared experiences. Her uncluttered and emotionally heavy debut album 'What I am and What I'm Not' creates an open, instrumental soundworld, where breaks and silences command equal gravitas as the notes and beats.
The masterful drumming of Lukas Akintaya dances between oblique patterns in odd meters, into rolling grooves and afrobeat inspired rhythms. On keys and synth, Elias Stemeseder creates tension and releases, with lingering chords and fragile melodies. Stemeseder's synthesizer work throughout the album is subtle yet masterful. Stalking the silence between the sax, drums and piano, creating a haze of digital textures within the margins of the music. Much of the album was recorded live, preserving the raw, unedited energy of their performances.
Beyond its musical qualities, 'What I am and What I'm Not' is a reflection of Sarter's belief in the power of music as a form of human connection. For Sarter, music is not about proving technical prowess but about creating something meaningful, something that transcends barriers and speaks to the shared experience of being human.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Guy Pedersen - Indian Pop Bass (2:35)
2
Guy Pedersen - Prélude À Une Angoisse (2:20)
3
Guy Pedersen - Patio Bass (2:30)
4
Guy Pedersen - Tension Nerveuse (2:10)
5
Guy Pedersen - Amour, Délices Et Contrebasse (2:30)
6
Guy Pedersen - Percussion Bass (2:50)
7
Guy Pedersen - Obsession Diabolique (2:02)
8
Guy Pedersen - Les Copains De La Basse (2:32)
9
Guy Pedersen - Doucement La Basse (2:22)
10
Guy Pedersen - Bass Session (2:25)
11
Guy Pedersen - Bass After Love (2:06)
12
Guy Pedersen - Ballade Pour Une Basse (2:02)
13
Guy Pedersen - Cosmic Bass (2:55)
Territories: Worldwide no restrictions
Format Notes: Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Indian Pop Bass 2:35
A2 Prélude À Une Angoisse 2:20
A3 Patio Bass 2:30
A4 Tension Nerveuse 2:10
A5 Amour, Délices Et Contrebasse 2:30
A6 Percussion Bass 2:50
A7 Obsession Diabolique 2:02
B1 Les Copains De La Basse 2:32
B2 Doucement La Basse 2:22
B3 Bass Session 2:25
B4 Bass After Love 2:06
B5 Ballade Pour Une Basse 2:02
B6 Cosmic Bass 2:55
Release Notes:
Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.
"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.
Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".
The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Indian Pop Bass 2:35
A2 Prélude À Une Angoisse 2:20
A3 Patio Bass 2:30
A4 Tension Nerveuse 2:10
A5 Amour, Délices Et Contrebasse 2:30
A6 Percussion Bass 2:50
A7 Obsession Diabolique 2:02
B1 Les Copains De La Basse 2:32
B2 Doucement La Basse 2:22
B3 Bass Session 2:25
B4 Bass After Love 2:06
B5 Ballade Pour Une Basse 2:02
B6 Cosmic Bass 2:55
Release Notes:
Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.
"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.
Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".
The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore