The Fall of Communism as Seen in Gay Pornography is the original soundtrack to the film of the same name by WILLIAM E. JONES. Our first release in the seven-inch format, the record comes with original texts by WILLIAM E. JONES and JARETT KOBEK. 100 copies, numbered.
MUSIC by Jean-Pierre Bedoyan
Neutron orange vinyl[26,68 €]
William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.
Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.
According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.
A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.
Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.
On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'
The well-known FRL saga continues, this time with one of William Rosario's best works! Double Density - The E.P. is a split record that features 3 house tracks on the A side and a B side with Hip Hop influences. After more than 30 years since its original release, it's still something essential to have and love! Now full remastered on FRL Classic Edition!
Acclaimed Stirling-based group Constant Follower, led by Stephen McAll, and renowned folk guitarist Scott William Urquhart have today announced their forthcoming collaborative album, ‘Even Days Dissolve’, which will be released on 14 April 2023.
The album follows on from Constant Follower’s lauded debut long-player ‘Neither Is, Nor Ever Was’, which was released in 2021 and nominated for the 2022 Scottish Album of the Year (SAY) Award.
‘Even Days Dissolve’ is an enchanting, deeply absorbing, and meditative album, the product of a musical affinity between two thoughtful and uniquely talented Scottish songwriters and musicians.
The songs that make up ‘‘Even Days Dissolve’ were inspired by ‘the grand old man of Scottish poetry’, Norman MacCaig (1910-1996), whose work is characterised by its gentle humour, precise observation and love for the natural world, which forms another key theme for the album.
MacCaig’s poetry holds great significance to McAll, as it formed a major source of comfort and support to him during a long period of recovery following a violent and unprovoked attack that left him with catastrophic head injuries, partially paralysed and unable to write or play guitar.
‘Even Days Dissolve’ is McAll’s nod of respect to McCaig, and the great man’s unmistakable words and inimitable voice feature on two of the tracks - single ‘Wildlife Cameraman’, and ‘Comes A Silence (Basking Shark)’ – sensitively set over the backdrop of beautiful and exquisitely crafted songs.
Scott William Urquhart’s masterful acoustic guitar playing is a stunning centrepiece of the album, imbuing the songs with a moving sense of atmosphere, and sounding at once both elegant and robust. Urquhart’s unassuming yet compelling vocals also feature throughout ‘Even Days Dissolve’.
Speaking about ‘‘Even Days Dissolve’, Stephen McAll said: “The magic in music for me is all about collaboration. Finding people who inspire me to make better music, then working with them and creating something between us that’s better than what either of us could have made alone. It’s been an honour to work so closely with Scott William Urquhart on this album. He’s someone whom I’ve admired for some time - unquestionably up there with the best acoustic guitarists at the moment in Scotland, and such a beautiful writer of songs.
“Bringing two of these songs together with the voice of our beloved Norman MacCaig has been a real highlight of this project. His poetry was introduced to me by my high school teacher Mrs Tatarkowski, and it was the first prose I was able to read and understand when I was recovering from a traumatic head injury. So his work holds a deep space in my heart. I don’t think any poet or songwriter has matched his ability to capture the space and wonder of the natural beauty of Scotland.”
In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.
'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet
Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.
Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General
Recorded live at the Jazz Cafe 19/03/2018
In 1982, Bukky's path led him to London, where he became one of the forerunners in the Acid Jazz scene. A young A&R man named Gilles Peterson signed him to the newly formed Acid Jazz label and his first release "Rejoice In Righteousness" went straight to the heart of the Acid Jazz world, reaching number 1 in the rhythm and blues, dance and jazz charts. The follow-up album "River Nile" led to a nomination at the US African Music Awards in New York. There he became acquainted with the legendary, late tenor saxophonist Joe Henderson who invited Bukky to his home in San Francisco.
Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller Laurie Anderson describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.”
The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”
red vinyl[30,46 €]
Coke Bottle Green Vinyl[26,68 €]
Black Vinyl[26,68 €]
Black Vinyl[26,01 €]
Black Vinyl[17,23 €]
Remasterte 15-Jahres-Jubiläumsedition des 2008er Studioalbums »The Sparrow And The Crow« von US-Singer / Songwriter William Fitzsimmons, mit dem ihm der Durchbruch gelang (u. a. iTunes US Best Singer / Songwriter Album 2008). Erweitert um die Vinylerstveröffentlichung der »Derivates« EP (2010) mit 7 elektroakustischen Bearbeitungen von »The Sparrow And The Crow« Albumtracks sowie dem Kate-Perry-Cover »I Kissed A Girl«. Farbiges (Crystal Clear & Yellow) Doppelvinyl im Gatefold.
