TENGGER - 'SPIRITUAL'

Formats

• EN002 - LP (COLOURED)

Details

**Clear Vinyl, Gatefold Sleeve - last remaining copies** Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul’s experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as “meditative synthesized vistas.” Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta’s transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least in part to the channeling of krautrock-influenced rhythms. Their recognition is sure to increase after their November European tour, which kicks off with a performance at the Le Guess Who? Festival in Utrecht, having been invited by Moon Duo to play their specially curated stage. Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul’s Euljiro district, the city’s heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger’s “Breathe In, Breathe Out” on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band’s vision, the gatefold sleeve features rich landscape motifs that evoke Tengger’s commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

Tracks

Press

"Tengger have the potential to be a major force... Their music is conceptually rich and frequently rewarding."
- Pitchfork

Audio & Video

SABA LOU - 'NOVUM OVUM'

Formats

• EJRCKK162 - LP

  0600064796217

Details

*BACK IN STOCK - CHECK THE VIDEO* 2nd LP from Berlin based Saba Lou - Daughter of King Khan, Pop Chanteuse, Singer Songwriter since age 5. A new songwriting direction with bigger arrangements and some soulful 60s strut…..Saba Lou was born in the year 2000 in Kassel, Germany. She moved to Berlin with her family in 2005. She began her recording career at the age of 6, putting out a 4 song 7-inch on Atlanta’s Slaughterhaus/Rob’s House Records. Two years later she recorded “Good Habits (and Bad)” which was then used for the end credits on Cartoon Network’s “Clarence” TV show. The song was also released in 2012 on the “Until The End” 7-inch on Seth Bogart’s (aka Hunx) label Wacky Wacko records. Saba Lou recorded her debut album “Planet Enigma” at the age of fifteen. Ryan Sambol, of the Strange Boys, makes a guest appearance on “Our Fate”. Erin Wood from the Spits also sings back ups and provides some space synth on “Planet Enigma”. The album was recorded at Moon Studios, Berlin in late 2015/early 2016 where Saba Lou currently lives. Its simple, innocent modesty reflects well on the tenderness of early teenhood. She sketches, writes and rehearses, loves ferns and mosses, coconut and mango. With three different versions of the show she allows no boredom. Solo, Duo (feat. Oska Wald of Chuckamuck) and a full band (feat. Oska Wald, Amit Alcalai-Duvnjak of The Gondors and Chuckamuck and Omri Gondor of The Gondors). This second album titled “NOVUM OVUM” (lat. a new egg) stands in strong contrast to the first and features the full four-person band. It was recorded in 2018 at Big Snuff Studio in Berlin. And now, a message from its composer: “The title song was inspired by a specifically painful ovulation (credits to Endometriosis) that happened on-stage, I wrote the lyrics as a bad mood poem to vent my frustration the day after. Especially lyrically this album is very dear to me as I feel I’ve expressed myself more freely and abstractly, it’s a collection if things that popped into my mind, while I feel the first was more of a ‘testing-the-waters’ type thing, though just as honest at that time. A time during which I would not have felt at liberty to write a song from the perspective of Gracie, the pregnant whale from Star Trek IV: The Voyage Home (final song, Humpback In Time”) as Spock mindmelds with her. It came very naturally to me, the lyrics are more or less first thoughts I had during that scene. My bandmates give the pieces so much, Oska, who I’ve been playing with for over three years now, can read my thoughts with his lead lines. He comes from a rougher rock’n’roll background and adds a sharp edge. Amit and Omri, who have played together and been best friend for ages, originate from the Tel-Aviv jazz scene and play with an ease I can’t begin to describe. Omri can adapt to anything, an intuitively steady base. Amit’s versatility on the keys is ridiculous and the synth bass, of which I personally am very fond, adds a fluidity only a pianist can achieve. We are all close friends and working in such a familiar environment is a blessing. It’s important to me that the full band isn’t viewed as a ‘step up’ but rather like an alternative. I intend to record a solo version of the album in the style of the first as I don’t want to lose the living room quality, though the band’s company, of course, is priceless. It is with great pride and (Klingon) honor that I present this work to the world, this morsel of my mind. In hopes it will stir you and incite honesty and love, I bade you farewell. Live long and prosper, Saba Lou Khan” (it should come as no surprise that music this could should come from the offspring of the esteemed King Khan!!)

Tracks

Press

Plays on Lauren Laverne Breakfast Show, **** MOJO review

Audio & Video

THE FLAMIN' GROOVIES - 'I'LL HAVE A...BUCKET OF BRAINS'

Formats

• GUWDM0006 - CD

  9346948040069

Details

Grown Up Wrong! Records is thrilled beyond belief to announce two forthcoming releases by quite possibly our favourite band in the world, THE FLAMIN’ GROOVIES. Announcing an upgrade reissue of the longlost Flamin’ Groovies collection I’ll Have A… Bucket Of Brains. Documenting the band’s stint with United Artists Records in London 1972. Grown Up Wrong! have reissued the 1995 EMI collection I’LL HAVE A... BUCKET OF BRAINS, which collects all the recordings the band made for United Artists in England in 1972 - primarily with Dave Edmunds at Rockfield in Monmouth, Wales - including “Slow Death”, “Married Woman”, “Tallahassee Lassie”, and two songs that would remain in the can until later in the decade, “Shake Some Action” and “You Tore Me Down”. This is the period that saw the band transition from punky R&B and rockabilly-inspired roots rockers to flashy Stones-types, on their way to becoming Beatles/Byrds/Stones-inspired power pop greats. This long-lost collection supposes the 1972 Groovies album that never was, and this reissue comes with greatly expanded packaging, including the original liner notes by Groovies superfan and Bucketful of Brains publisher Jon Storey alongside a new essay by fellow Groovies superfan and Barracudas guitarist Robin Wills. As an extra bonus, we also include a reprint of an over-the-top original Nick Kent feature on the band, first published in 1972 in the UK underground paper Frendz and never-before reprinted.

Tracks

1. Shake Some Action
2. Tallahassee Lassie
3. Married Woman
4. Get A Shot Of Rhythm & Blues
5. Slow Death
6. You Tore Me Down
7. Little Queenie
8. Shake Some Action (95 Mixdown ?Original Speed)

Press

Audio & Video

THE FLAMIN' GROOVIES - 'BETWEEN THE LINES: THE COMPLETE JORDAN / WILSON SONGBOOK 71-81'

Formats

• GUWDM0008 - CD

  9346948040083

Details

That one release alone would have us jumping over the moon, but our next announcement has us flying out of the solar system. A labour of love that will be a true godsend for longtime Groovies and newcomers alike, BETWEEN THE LINES: THE COMPLETE JORDAN/WILSON SONGBOOK ‘71-81 compiles, for the first time ever, all the original songs written by Groovies Cyril Jordan and Chris Wilson in the classic second version of the band. Announcing new FLAMIN’ GROOIVES compilation. Ditching the covers and focusing on the Groovies’ original songs of the era. New Flamin' Groovies compilation, BETWEEN THE LINES: THE COMPLETE JORDAN/WILSON SONGBOOK ‘71-81 compiles, for the first time ever, all the original songs written by Groovies Cyril Jordan and Chris Wilson in this classic second version of the band. The Groovies gave themselves a major reboot in 1971 when a then 18-year-old Chris Wilson replaced Roy Loney as the band’s frontman and Cyril Jordan’s writing partner. This was the formation of the group that made that journey to England at the behest of UA – helping set the scene for punk - and which, with a couple of line-up changes along the way, ended up signing to Sire Records and making three brilliant albums - Shake Some Action, Now, and Jumpin’ In The Night - before eventually running out of steam following Wilson’s departure in 1981. It’s the incarnation that headlined over the Ramones in London on July 4 1976 in London, but which then had to settle for being a massive influence on the nascent form of both power pop and all manner of ’60s influenced groups after the dictates of a post-punk world decided that their glorious rock’n’roll was not going to be the next big thing. The significant point here is that this collection features, for the first time, just the band’s original material from this era. A big part of the criticism mounted against the Groovies Sire albums has always been the number of covers the band recorded. This collection by-passes that criticism to include every single Jordan/Wilson original the band recorded during the era. And what a collection of originals it is. Everybody knows the brilliance of the song “Shake Some Action”: not for nothing did esteemed rock critic Greil Marcus describe the song as “more the thing itself than any other record I know” in his book The History of Rock’n’Roll in Ten Songs. What will surprise many however is the depth of quality, variety and originality of the band’s other material. The Groovies took elements of their beloved Beatles, Byrds and Stones and created an array of highly individual and superb original songs. Sure, a couple sound like the Beatles, but the rest of them are very much the Groovies and no one else. Along with the 25 originals in question – which also include the three Jordan/Wilson tunes recorded in drummer Danny Mihm’s apartment in 1971 that eventually saw release on Skydog Records in 1973, and the B-side of the band’s final single in 1981 - BETWEEN THE LINES: THE COMPLETE JORDAN/WILSON SONGBOOK ‘71-81 comes with a previously unpublished Chester Simpson portrait on the front cover of its 28 page booklet. That booklet includes extensive liner notes by Grown Up Wrong! Records and Ugly Things magazine’s David Laing, a reprint of a short but telling piece on the band by Ed Ward from a 1975 issue of Creem magazine, and an interview with Marc Zermati of Skydog Records, who played a crucial role in the band’s development in the ’70s.

Tracks

1. Let Me Rock
2. Dog Meat
3. Blues From Phyllis
4. Shake Some Action
5. You Tore Me Down
6. Shake Some Action (Capitol Demo Version)
7. When I Heard Your Name
8. Yes It's True
9. Please Please Girl
10. I'll Cry Alone
11.Teenage Confidential
12. I Can't Hide
13. Between The Lines
14. Take Me Back
15. Good Laugh Mun
16. Yeah My Baby
17. All I Wanted
18. Don't Put Me On
19. Jumpin' In The Night
20. Next One Crying
21. First Plane Home
22. In The U.S.A.
23. Yes I Am
24. Tell Me Again
25. So Much In Love

Press

Audio & Video

ANNE MULLER - 'HELIOPAUSE'

Formats

• ERATP128LP - LP

  3700551782673

• ERATP128CD - CD

  3700551782666

Details

Berlin based cellist and composer Anne Müller, announces the release of her long awaited debut solo album Heliopause, on November 22. Heliopause follows several Erased Tapes releases featuring Anne, including her celebrated collaboration with Nils Frahm titled 7fingers, appearances on Ólafur Arnalds & Nils Frahm’s Collaborative Works, Nils Frahm’s All Melody and his acclaimed soundtrack for the film Victoria, Lubomyr Melnyk’s Fallen Trees, as well as the two bespoke solo pieces Walzer für Robert and Bel Tono for the label’s 5th and 10th anniversary box sets. In fact, a glance at Müller’s Discogs boasts credits on over 60 releases since she began recording in 2007. Classically trained at Frankfurt University of Music and Performing Arts under the renowned cellist and conductor Michael Sanderling, Anne Müller performed as a cellist in many of Berlin’s symphonies for some time before choosing a different path with her music and focussing on novel approaches to classical instrumentation. A profound believer in the power of artistic collaboration, Anne’s skilled cello playing and instinctive composition became extremely sought after. Following her work with Nils Frahm, an enduring partnership with singer-songwriter-composer Agnes Obel ensued, touring for five years together and featuring on two albums (Philharmonics and Aventine) and most recently, working with multiinstrumentalist Markus Sieber (aka Aukai) on his 2019 album Reminiscence. In between all this, Müller also co-founded the progressive live project Solo Collective along with violinist/singer Alex Stolze and pianist/conceptual artist Sebastian Reynolds, releasing Solo Collective Part One in 2017. A solo record in every sense of the word, Müller wrote, recorded, arranged and produced Heliopause. The album is named after the boundary where the sun’s wind ceases to have influence. It is ultimately, the border of our solar system. The name struck a chord with Müller since the two voyagers sent on an exploratory mission 42 years ago, recently crossed the Heliopause, entering into interstellar space and losing power from our own sun. Müller recognised herself in this moment, not only approaching the same age, but also breaking new ground; having relied on collaborating with so many other stars and now venturing into the unknown with her first solo statement; “Heliopause marks the end of a long journey but also the start of voyages to explore strange new worlds” Boldly opening the album with Being Anne, it sees Müller embrace her new found freedom with the most experimental piece on the record, placing the cello in a completely new context. Playing the strings of a broken down piano with a plectrum and scratching parts of the key mechanism to produce a rhythm, the once lost instrument is given a new lease of life among looped cello drones and drums. “I used the sounds of a tiny piano I got from my mother that she bought when she was a student and didn’t have any money. Later it stood for years in our little summer garden house, where I practiced on it constantly for my piano lessons. Even though it’s old and not in the best shape, I love the way it sounds and call it my little circus piano”. The atmospheric swells of noise on Being Anne are juxtaposed beautifully with the most stripped back and exposed song, Solo? Repeat!. The J.S. Bach and Gaspar Cassadó influenced piece sees Müller go solo in its purest form: unaccompanied cello. Lead single Nummer 2 is so titled as it’s the second piece Anne ever wrote. A mixture of old sounds and newer structures, its repeated arpeggio conjures drama and displays Müller’s dexterous production abilities. Drifting Circles meanwhile provides the album’s climax, amid an orchestra of looped cellos and vocals. Referencing the minimalism of contemporary composers such as Steve Reich and Philip Glass, it builds to a crescendo of harmonics, allowing the cello to sore as it crosses the border from minor to major. Both as the closing title track and album as a whole, Heliopause crosses these physical and invisible borders throughout, sending the cello as a typically classical instrument to exciting new and uncharted territory.

Tracks

1. Being Anne
2. Solo? Repeat!
3. Nummer 2
4. Aarhus / Reminiscences
5. Drifting Circles
6. Heliopause

Press

Audio & Video