STEVE REICH - 'DRUMMING'

Formats

• SV097 - 2xLPs

  855985006970

• SV097CD - 2xCDs

  855985006659

Details

Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing—pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City—first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made—and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974. This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

Tracks

1. Drumming (1:22:47)

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Audio & Video

THE HEADS - 'RKT!'

Formats

• ROOSTER25CD - 2xCDs

  5060446122297

• ROOSTER25 - 3xLP

  5060446122280

Details

*VINYL RESTOCKED, WAREHOUSE RTN FROM U.S.*Timely reissue of the first 3 releases The Heads put out on the ROCKET label, form their first split 7” release (with Lilydamwhite) in 1998 to their much lauded SESSIONS 2 freakout 12” from 2002… compiled here in their remastered glory, the Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning ROCKET Label.. Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free… psychedelic sprawling morass or sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go… LP and CD both come with booklet. The Heads have reconvened in 2018 for Roadburn and some more dates soon to be announced.. Turn it up, fly on….

Tracks

side 1 spliff riff(conga'd out)
neu75!
disappear into concrete and meat (lp edit)

side 2 filler
jellystoned loop

side3 planet suite
side4 long goner
side5 krt pt1
side6 krt pt2

cd 1)spliff riff(conga'd out)
2) neu75!
3) disappear into concrete and meat
4) filler
5) jellystoned loop

cd2 1) planet suite
2) longest gone
3) krt (all of it)

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Audio & Video

OVER GAIN OPTIMAL DEATH - 'MORE HEARING'

Formats

• CC-03 - LP

  5060446121306

Details

Creepy Crawl has unearthed another heavy jewel from the underground - Over Gain Optimal Death from LA - Since first stumbling on a cassette some years ago and being BLOWN AWAY – I was determined to release something by this band - ploughing the same ground as the Japanese masters like High Rise, Mainliner and Les Rallizes Dénudés, mainman David Jasso has just completed a US tour playing with Narita of High Rise fame - expect heavy riffs and LOUD solos, vocals screaming to be heard above the maelstrom - classic power trio vibes. Numerous and unforeseen delays have dogged this release, hence the now overtaken catalogue number, Creepy Crawl now finally unleashes the debut 12" vinyl from this heavy psychedelic beast, Featuring 5 cuts of unrelenting heavy fuzz rock, eschewing fashion and trends – this is guitar abuse on a Vox teardrop, not to be confused with 'psych' or 'psyk' or any other namby pamby tag you can think of - limited to 500 copies on BLACK vinyl

Tracks

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Audio & Video

PROSTITUTES - 'ALUMINIUM GARAGE'

Formats

• LSSN057 - 12"

Details

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes – has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres. In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers – a white noise solo, warped sample piano chords straight from 1986 – into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes’ music as “austere” with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It’s both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio. On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we’re at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn’t let up. With a ramped up BPM we’re in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It’s sweet oblivion and we’ve earned it.

Tracks

Born Wanderer
Jah Elegant
Errant Seagull
Shroud Of Celephane

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Audio & Video

BAD TIMES - 'STREETS OF IRON'

Formats

• 146GONE - LP

  600385279314

Details

In 1998, things were going south for friends Jay Reatard, Eric Oblivian, and King Louie Bankston. In between broken relationships, shattered homes, dissolving bands, and feeling low down, a collaboration was proposed. Jay and Eric trekked down from Memphis with some songs and ideas for songs, listening to Funkadelic and bad Killed By Death-styled punk songs for the six hours to see Louie in New Orleans. One day was spent learning songs, one day recording songs. Eventually they played one show in Normal, IL, opening up for Guitar Wolf. The result of this recording was a blast of punk, garage punk, and psychedelic mayhem. Indeed, the hours listening to Funkadelic did pay off. Jay stole some lyrics and some heavy fuzz solo style from George Clinton and the gang. Eric stole a couple songs from Japanese punk legends Friction and Texaco Leather Man, and tried to mention his favorite sumo wrestler Konishiki whenever possible. Fittingly, when Jay and Eric returned to Memphis, Jay found all his belongings—clothes, guitars, amplifiers—out on his front lawn, as his mom had returned to their house and kicked him out while he was away. Bad Times, indeed! A release on Sympathy For The Record Industry combined tracks from this session and from their one live show, and has become a cherished collector’s item going for top dollar on the secondhand market. This edition restores the original tracks from the recording session—Eric’s “Wrong Way To Love” and Jay’s “Lick On My Leather,” eliminating two live tracks. A new track order provides a punchy new way to experience the music as well, and the music has been carelessly remastered from a dub of the original cassette. Behold the final product—this is how the Bad Times was meant to be heard!

Tracks

1. Streets Of Iron 2. Over You 3. Trapped In the City 4. Jim Miller Bounce 5. Glitter Boys 6. You?re So Lewd 7. Wrong Way To Love 8. Lick On My Leather 9. Sometimes She Wants It 10. Listen To The Band 11. My Momma Told Me So 12. Bad Time 13. Crazy Dream 14. Whatcha Gonna Do About It

Press

? Recordings of legendary 1998 one-off band featuring Jay Reatard, Eric Oblivian, and King Louie Bankston

Audio & Video