Vinyl

On this 5 track EP LA based duo Qui demonstrate skillfully their ability to shape different elements and genres into their own brand of off-the-wall pop music. From the ballad-like acoustic guitar fingerpicking and pitch perfect vocal harmonies on ‘Treason’ to the almost manic math-rock on ‘Dad’, in a world full of copycats it’s refreshing to find a band so inimitable.

Qui formed in 2000 by Paul Christensen (drums/vocals) and Matt Cronk (guitar/vocals). From 2006 to 2013 David Yow (ex-Scratch Acid, The Jesus Lizard) ) joined them as vocalist. The band released three albums and several EPs and singles so far, on labels including Three One G and Ipecac Recordings.

‘How to Get Ideas’ was Produced by Deaf Nephews, mixed by Toshi Kasai, mastered by Pete Lyman at Infrasonic Mastering. Features guest percussion and vocals by Dale Crover. The cover art, "Unicorn Peeing On Baby," was done by Nicole Orchard.

Bass legend Mike Watt and his Secondmen are back with another split 7” release, this time with Italian punk band Chronics. The two bands cover each other’s songs for this intercontinental collaboration. The 7” comes on blood red color vinyl and is limited to 1,500 copies worldwide.

1. Mike Watt + The Secondmen "Microwave Up In Flames"
2. Chronics "I Backed Up Into Myself"

Sun Ra’s Arkestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles. Although no precise date is given, these five cuts are thought to have been documented circa 1967-1968 by Sun Ra (piano) and his Arkestra in New York City, where the band was in residence at the time.

First released in a limited edition color vinyl for Record Store Day 2014, this title is now widely available on audiophile-grade black vinyl, pressed at Pallas Group in Germany. It’s a must have for any serious avant garde jazz fan.

1. Somewhere There
   
2. Outer Spaceways Incorporated
   
3. Saturn
   
4. Song Of The Sparer
   
5. Spontaneous Simplicity
   

Pressed at Pallas in Germany on 180 gram vinyl. Mastered at Bernie Grundman Mastering.

1. Taffy Twist
2. Flirtbird
3. Smada
4. What Am I Here For
5. Take The 'A' Train
6. I'm Gonna Go Fishin'
7. Boo-dah
8. Black And Tan Fantasy
9. The Feeling Of Jazz
10. Jump For Joy
11. I Let A Song Go Out Of My Heart/Don't Get Around Much Anymore

Born in Mississippi, “Big Bill Broonzy” – the name refers to his 6’ 6” physical stature – remains largely unsung as far as a household name, despite recording several hundred songs, many of which he wrote. From the late 1920s through the late 1950s, this immensely prolific blues performer won over fellow musicians and “race music” fans alike. As mentor to Muddy Waters and a major influence on artists like Eric Clapton, Keith Richards, and Rod Stewart, Broonzy’s impact on music cannot be understated. This solo performance captures Big Bill’s affable personality and ability to hold the attention of an appreciative audience with his storytelling, acoustic guitar licks, and a strong singing voice that leaves an indelible impression that this man had experiences in the fields, the factories, and the railroads. The record was mastered from original analog tape by Dave Gardner at Infrasonic Mastering, and pressed at Furnace Record Pressing. Liner notes by Larry Jaffee.

Mike Watt, (whose massive resume spans from the Minutemen and fIREHOSE to the Stooges) seems to have an endless supply of new, interesting projects, which find him collaborating with an eclectic group of musicians across a variety of genres. On one of his newer projects, Ocampo, Ocampo + Watt, he teams up with Devin and Renata Ocampo. Devin hails from Dischord band The Effects. The trio performed together for the first time at DC venue The Black Cat’s 25th anniversary show. Their debut 7” was previously released for Record Store Day 2019, and is now widely available. Half of the pressing, randomly shipped, comes on electric blue color vinyl, the other half in standard black vinyl.

A1 Apparatus
B1 Better Than a Dirtnap

Würm was a sludge metal band started in 1973 by bass player Chuck Dukowski, who would later join Black Flag. Without Würm, the genres of punk rock and hardcore would never have been the same. The band’s practice space, the Würmhole – a hangout for musicians in Hermosa Beach during the mid-late 70’s – is where Keith Morris and Greg Ginn met Dukowski and ultimately formed the original Black Flag line-up. The band’s only album, Feast, was released in 1985 after the band’s demise. With the help of Chuck Dukowski, the long-out-of-print LP is being “exhumed” and reissued, along with a second LP featuring unreleased tracks, demos, and more. The package comes complete with retrospective liner notes from Dukowski himself, plus never-before-seen photos from the early days. Previously released on limited edition blue color vinyl for Black Friday 2019, this double LP release is now widely available on black vinyl.

A1 Feast
A2 Should We Be Proud
A3 98 Da
A4 Bad Habits
B1 Padded Cell
B2 Where Will We Run
B3 Nailed To The Wall
B4 Song For Jimmy
B5 Robin Doggin
B6 Death Ride
C1 I’m Dead
C2 We’re Off
C3 Time Has Come
C4 Modern Man
C5 Black Swan
D1 Sewer Rock
D2 Daily Dose
D3 Guitar
D4 Depth Charge
D5 I’ve Heard It Before

The Spiritual, a free jazz album recorded by the Art Ensemble of Chicago in 1974, finds the group of stellar musicians at their creative peak. With various types of percussion, though the absence of a traditional drummer, the ensemble is able to create vivid, freeing compositions without the confines of conventional structure. The quartet, consisting of Joseph Jarman, Roscoe Mitchell, Lester Bowie, and Malachi Favors, explore the depths of Avant-Garde Jazz through a means that has yet to be touched on in a comparable capacity. Previously released on red color vinyl exclusively for Record Store Day, The Spiritual will now be widely available on 180gram black vinyl. Mastered by Dave Gardner at Infrasonic Mastering. Pressed at Pallas Group in Germany.

• A1 Tor
• A2 Lori Son
• A3 That The Evening Sky Fell Through The Glass Wall And We Stood Alone Somewhere?
• B1 The Spiritual

T.S.O.L.'s fourth studio album, Revenge, was issued on Enigma Records in 1986. This 30th anniversary reissue pressing is limited to 2,000 copies worldwide.

A1 "No Time" 2:39
A2 "Nothin' For You" 2:31
A3 "Memories" 3:10
A4 "Colors (Take Me Away)" 4:13
A5 "Madhouse" 3:55
B1 "Revenge" 3:08
B2 "Change Today" 2:18
B3 "Still The Same" 3:49
B4 "Your Eyes" 3:47
B5 "Everybody's A Cop" 2:36

The Ad Libs, a phenomenal yet under-appreciated American vocal group hailing from Hudson County, NJ, had their first and only smash hit within their first year as a group, with ‘The Boy From New York City.’ Though several other singles from the doo-wop group landed on the Billboard R&B chart’s, The Ad Libs never released a full length album. Presenting The Ad Libs is the group’s debut album that never happened. A collection of singles, b-sides, and unused studio cuts come together to show the 1960’s soul singers in a whole new light. The tracks were remastered for vinyl at Infrasonic Mastering and pressed at Pallas Group in Germany on purple color vinyl.

Way Out Yonder is the second live release from Terry Riley & Gyan Riley, the duo comprised of iconic American composer and minimalist pioneer Terry Riley and his guitarist/composer son Gyan Riley. The album is comprised of spontaneous improvisations and compositions by both Terry and Gyan, captured during three performances in Canada, Japan and the US, and features the elder Riley on piano, voice, melodica and electronics. The album artwork was created by Barbara Falconer, who also painted the cover of Riley’s landmark 1978 release, Sri Camel.

Released on the heels of her critically acclaimed 2018 album, With the Sun, Sunny War’s new album finds her a little bit older, a little bit more mature, but looking back on the rocky roads of her past with a surprising amount of nostalgia. Shell of a Girl was written in a burst of creativity in Los Angeles, and marks a new transition period, with Sunny moving from the Venice Beach boardwalk, where she first made her name, to the streets of downtown Los Angeles.

Recording again at Hen House Studios on Venice Beach with producer Harlan Steinberger and her musical collaborators Micah Nelson (Particle Kid), Aroyn Davis, Milo Gonzalez, Tato Melgar, Lesterfari Simbarashe, and Edith Crash rounding out the cast, Sunny moves freely between musical genres, anchored by her virtuosic, self-taught fingerstyle guitar work. Playing on a temperamental Guild acoustic guitar, that she’s named Big Baby for its tendency to squall and feedback, Sunny’s guitar work is as dazzling as ever, notes cascading out of the guitar in Art Tatumish flourishes.

Mastered by Bernie Grundman Mastering Studio.

1. Shell
2. Where The Lost Get Found
3. The Place
4. Drugs Are Bad
5. Love Became Pain
6. Off The Cuff
7. Soul Tramp
8. Rock N Roll Heaven
9. Got No Ride
10. The Likes Of You
11. XO

Teamed up with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert "Tootie" Heath for a club date at Copenhagen's Montmartre in 1967, the great tenor saxophonist Johnny Griffin really stretches out on four numbers: "The Man I Love," "Hush-A-Bye," "Blues for Harvey" and a memorable version of "The Masquerade Is Over." Griffin shows why he was early on billed as "the world's fastest tenor" although he also displays warmth on "Sophisticated Lady." A fine example of Griffin's underrated talents. The album was remastered for vinyl from original analog tapes by Bernie Grundman, and pressed on audiophile-grade vinyl at Pallas Group in Germany.

1. The Man I Love
2. Hush-A-Bye
3. Blues For Harvey
4. The Masquerade Is Over
5. Sophisticated Lady
6. Wee

1. C Section
2. We’re Going Where
3. Mindwalk
4. Cassandra
5. Apt Mess
6. Found Lost
7. Forgot To Smile
8. Beseech
9. Minds Dying

1. The Edge of Forever Scene I
2. The Edge of Forever Scene II
3. The Edge of Forever Scene III
4. The Edge of Forever Scene IV
5. The Edge of Forever Scene V

[Limited edition vinyl includes a special booklet insert with synopsis, libretto, photo documentation, and text by the librettist, composer and The Industry's Artistic Director Yuval Sharon. This release will harken back to opera recordings of the 1960’s – a collector’s item appealing to those interested in the best quality recordings and documentation of music.]

The Edge of Forever is a chamber opera in five scenes inspired by the ending of the Mayan Long Count Calendar. It is a time-responsive opera, written for one moment in time and performed once on December 21, 2012, the final day of the Mayan Calendar.

The Edge of Forever explores the nature of consciousness and its relationship to time through a prophecy of divine love. It is the story of an ancient astronomer and a distant beloved, a cosmic union that will begin a new, undocumented era of time. Pesacov's score manifests his journey from dark emotional states of yearning to the warm glow of infinite love. The sound world balances imaginary ancient and future musics, from conch shell to electronic oscillations: Deep earth sounds ripple, murmur and surge into shimmering ritualistic music.

To remain true to the concept and experience of the work, this recording is the only documentation of the production. It is comprised of both live and post-performance studio recordings, produced by the composer with the utmost sensitivity to creating the best possible representation of the live experience.

The Edge of Forever was site specific to the historic Philosophical Research Society, a Mayan Revival architecture style building in Los Angeles. The audience entered the opera in Act III, at that present moment in time on December 21, 2012 at 8pm—an event that has been recorded in stone since the 9th century by the Mayans as the end of their calendar. The opera was staged as an immersive experience that begins with a procession of chorus members leading the audience into the theater with their voices. Once inside, the audience was immediately transported to the cenote where the action is already taking place. credits

Music by Lewis Pesacov
Libretto by Elizabeth Cline


Produced & mixed by Lewis Pesacov
Engineered by Nick Tipp, Lewis Pesacov & Clinton Weelander
Mixed at Sunset Sound, Los Angeles, CA
Additional mix engineering by Clinton Weelander
Mastered by Reuben Cohen at Lurssen Mastering in Los Angeles, CA

Scenes I & V recorded at Ahata Sound Studios, Los Angeles, CA 8
Scenes II, III & IV recorded live at the Philosophical Research Society,
Los Angeles, 12/21/2012 O

La'akan: Ashley Faatoalia 8 O

Scribes, Scene I: Abby Fischer 8
Scribes, Scene II, III & IV : Jessica Basta O, Tany Ling O, Christine Morse O, Argenta Walther O
Scribes, Scene V: Ariel Downs & Lauren Davis 8

Conductor: Christopher Rountree 8 O
wild Up:
violin, Andrew Tholl 8 O
violin, Javier Orman O, Andrew McIntosh 8
viola, Andrew McIntosh O, Linnea Powell 8
cello, Derek Stein 8 O
conch shell, Allen Fogle 8 O
conch shell, Jonah Levy 8 O
soprano sax, Kathryn Olson O, Brian Walsh 8
english horn, Claire Brazeau O, Claire Chenette 8
percussion, Yuri Inoo O
percussion, Corey Fogel O percussion, Derek Tywoniuk 8 O percussion, Matthew Cook 8 oscillators, Richard Valitutto 8 O