Abstract Tribe Unique - South Central Thynk Taynk - Red - VINYL LP

In the '90s, Jad Fair had five favorite bands and songwriters Daniel Johnston, The Pastels, Sonic Youth, Teenage Fanclub, and Yo La Tengo. It's a good list, sure, but what's most remarkable about it is that, in the course of a dozen years or so, Fair made music with all of them in one form or another. Jad Fair has been prolific for half a century now, long before the Internet could create a simultaneous and seemingly eternal archive of everything someone with his predilections made. He's been involved in several hundred titles, at least, many of them out-of-print on tiny labels that do not exist anymore. In fact, one of those collaborations that Fair made in the '90s-Strange But True, with Yo La Tengo-has been hard to find, despite it's stateside on October 20th 1998, by Matador Records. For the first time, the album is being reissued on vinyl by Joyful Noise and Bar/None.By the time Fair played a party with Yo La Tengo in the mid-'90s, they were all friends, fans, and collaborators, having worked on or released records together. When Fair suggested they all head into the studio, the trio bit. The result, Strange But True, is as wonderful, varied, and wild as some enormous lawn of native grasses. This collaborative album showcases the aritsts' uncanny range, bringing us back to a time when indie rock was still free to be as weird and unruly as it's makers wanted it to be.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, 'it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?Inch MLDE seeks to break this connection.Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition. Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel. The and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music. Adding the icing to the cake, master

Stunning new album from Chicago's finest electronic futurist Hieroglyphic Being, aka Jamal Moss, newly released on Soul Jazz Records. This is his third album for the tag, following on from The Acid Documents (2015), and African With Mainframes (w/ Noleian Reusse) K.M.T. (2016).Born and based in Chicago, Moss's music embodies two of the cultural foundation blocks of the city's musical lineage; that of Chicago's original Acid House sound (c. 1986) - Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61, and the equally pioneering work of The Art Ensemble of Chicago in the 1960s and 70s.'Outsider House Afro-Futurist Rhythmic Cubism', Moss's near indescribable sound plays testament to the notion that he is perhaps the last of the line of producers directly influenced by Ron Hardy at the Music Box, uniquely qualified to write a new chapter of Chicago's rich musical history.Red Notes is the prolific artists new revelatory and unique project' in his own words' homage to the Blue Note Jazz sound of Thelonious Monk, John Coltrane, Herbie Hancock' fused together with the classic Chicago House and Acid sensibilities of Larry Heard, Armando, Adonis et al, into a newly imagined futuristic and barrier-less musical landscape. Featuring organic and synthetic electronic instrumentation, Hieroglyphic Being here fuses real-time live instrumentation and over-dubbed technologies to dramatic effect, as analog and electronic worlds collide.A1. Youth Brainwashing and The Extremist Cults2. The Melody Lingers3. The Seduction SyndromeB1. Awake and Energize2. Video JazzC1. The Red Notes (Original)D1. The Emotional Listener2. The Red Notebook3. The Tone Bather