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Artist: DISEÑO CORBUSIER Title: El Alma de la Estrella Format: LP Label: Vinilisssimo Country: Spain Price: $26.00 |
| "In the mid-80s, Granada was a small redoubt of avant-garde resistance. While Madrid bragged about being the capital of the new wave scene -- the much-trumpeted Movida madrilène -- away from any media interest, the Andalusian city was part of a European-wide network where the free circulation of ideas and knowledge could be linked to the current CopyLeft movement -- an international scene where musicians were editors and the artists were equally fans. They exchanged music following that do-it-yourself philosophy in which the cassette had an ideal role as the vehicle of music diffusion. Ani Zinc would become an expert amateur of such activities. As a child, there were no records in her home in Andújar, but radio gave her company. It was her only contact with music. She received her first shock listening to "Remember Love," the repetitive song by Yoko Ono. She later found out about Llorenç Barber. Only when she arrived in Granada to study psychology did she discover that she wasnt the only one that liked a kind of music that didnt resemble anything. Granadas proximity to Africa made it possible to tune into Arabic, flamenco and pop radio stations. She would record those sounds with a radio cassette and with her own hands she would cut and paste the magnetic tape. Unable to get that Yoko Ono song out of her mind, she started discovering the possibilities of her voice. Diseño Corbusier was born out of that obsession and also out of the electronic explorations of Javier G. Marín, then a first-year law student. They had met in 1981 after an ad in the music magazine Vibraciones. "If youre into bands like Cabaret Voltaire or Flying Lizards, call me," wrote Marín. If their first record (Pérfido encanto, 1985) was a vibrant experiment where the rhythms werent yet muscled up, with El Alma de la Estrella the duo took a step ahead. They renovated some electronic equipment and signed a distribution deal between their own label, Auxilio de Cientos, and one of the most prosperous Spanish independents of the 80s, Nuevos Medios, who were working with labels such as Factory at the time. Marín had been advised: if the rhythm cant be danced to the records wont sell. It was 1986 and he was constantly listening to DAF. El Alma de la Estrella gathered all of Zincs obsessions. On "Chiquillo" she imitated the angry womens voices which filled the streets of the poor neighborhood where she had grown up. "Ritmo 21" cant hide her admiration for Yoko Onos vocal register and "El Club del Ruido" came about as a fragmented document of an interview they did on the radio show of the same name. Marín created rhythm structures with which to organize the material. This time, he replaced an archaic Korg synthesizer with a powerful Roland SH101, and the tiny drum machine Boss DR-55 with a German-built one that used real percussion sounds: the MFB-512. Rather than electronic or even industrial music, Diseño Corbusiers second album was a vibrant piece of domestic craftwork. Very few got to hear it, but you get to hear it now. On 180 gram vinyl with insert. Limited, hand-numbered edition of 500 copies." -Vinilisssimo. |
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Artist: DISEÑO CORBUSIER Title: Perfido Encanto Format: LP Label: Vinilisssimo Country: Spain Price: $28.00 |
 "180 gram vinyl reissue with insert. 1982: Dragged by decades of international isolation, Madrid and Granada performed, unaware and in their own way, the same roles that London and Sheffield had assumed during the punk explosion in the UK. While the capital grabbed headlines and considered itself the epicenter of modernity, 400 kilometres southwards, Granada developed an experimental scene despite the scarce resources available. Pérfido Encanto is Diseño Corbusiers first contribution to a European-wide scene where electronic instruments rose up against the media domination of guitars. They first got together when Ani Zinc, a psychology student without any previous musical experience, met two law students obsessed with the power of machines but with different approaches. Rafael Flores believed in the extreme noise of bands like Throbbing Gristle as a source of endless energy. Javier G. Marín had a sexier concept of synthesizers. The outcome was natural: Marín and Ani Zinc amicably parted ways with Flores, who would have a remarkable career under the alias Comando Bruno. Under the name Auxilio de Cientos, Maríns intention was to provide distribution to those unclassifiable projects he knew through fanzines, radio shows and record trading. Anis intention didnt go beyond spending time manipulating her voice on the cassettes she recorded. But one of her collage tracks reached national radio. Signed as by Neo Zelanda, "Paso hambre," consisting only of a treated, menacing and magnetic vocal, was played one night and the calls brought the radio station to a standstill. The record label DRO quickly signed her. The deal was for two singles: one with said track and another one for Diseño Corbusier. The latter never happened, so Marín decided his humble distribution company would become a label. And its first release would not be a single but an LP. The Korg synthesizer was the perfect tool for those who didnt know how to play and would never go to music school. The Boss DR-55 rhythm machine had a sweet appearance but a devastating character. A radio cassette player plugged into a Revox was the recording studio. And finally, Ani Zincs microphone: naivety made intention. Pérfido Encanto quickly sold its 500-copies run, more than half outside Spain." -Vinilissimo.
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Artist: FOWLEY, KIM Title: Outrageous Format: LP Label: Vinilisssimo Country: Spain Price: $26.00 |
| "Reissue of this 1968 wild masterpiece and third album by one of rocks true mavericks, Kim Fowley. Fowley played with many bands throughout his career -- Mothers Of Invention, Family, Soft Machine, Cat Stevens and Manfred Mann, to name just a few. On 180 gram vinyl, housed in a gatefold sleeve." -Vinilisssimo. "Though its Rent-a-wreck homage to the Doors, the Mothers and Jimi Hendrix is immensely satisfying in a Teddy & His Patches sort-of-way, it wasnt the music on Outrageous which still leaves 21st century listeners gasping. No no no, the genius of this 1968 album is all contained in the dizzyingly portentous and truly whacked-out vocal delivery which Fowley chooses to foist upon us, And its a delivery which, I might add, entirely pre-empted 70s Iggy Pop and must have (at least temporarily) kicked Jim Morrisons dick into the dust. And hearing the various members of Steppenwolf trying to keep up with Fowleys heart attack vocalese is mesmerizing in itself. And all this at a time when iconoclastic recording acts were commonplace enough to be almost expected." -Julian Cope. |
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Artist: SONIC BOOM Title: Spectrum Format: LP Label: Vinilisssimo Country: Spain Price: $27.00 |
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"Reissue of Sonic Booms first solo album, recorded between 1988 and 1989 while Spacemen 3 were still active and with the participation of its band members. A captivating, gentle space-rock masterpiece, which includes amazing covers of Doc Pomus "Lonely Avenue" and Suicides "RocknRoll Is Killing My Life." Reissued on vinyl for the first time. The beautiful gatefold sleeve is an op-art wonder with two swirly plastic discs. Limited edition of 1,000 copies." -Vinilisssimo.
SOLD OUT
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Artist: SPECTRUM Title: Soul Kiss (Glide Divine) Format: LP Label: Vinilisssimo Country: Spain Price: $26.00 |
| "After the break-up of Spacemen 3, Sonic Boom formed Spectrum with guitarist Richard Formby and bassist Mike Stout, along with a number of collaborators. Their 1992 debut LP, Soul Kiss (Glide Divine), explored Sonic Booms trademark sound further into a soulful, blissed-out state and stands as one of the highlights in his discography. Reissued on vinyl for the first time. Limited edition of 1,000 copies on 180 gram vinyl." - Vinilisssimo. For all the fucked-up chillwavers of this world... |
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Artist: VAINICA DOBLE Title: Taquicardia Format: Double LP Label: Vinilisssimo Country: Spain Price: $29.00 |
| "180 gram vinyl reissue of one of Vainica Dobles strongest and most experimental albums. Folk, jazz, pop and traditional Spanish music create a beautifully haunting and captivating LP. "In 1984, the Spanish Movida movement was in full bloom and the people taking part in it professed the same devotion to Vainica Doble that British punk displayed towards teen idols such as Marc Bolan. But it would be hard to find a record from those years more impervious to the Movida than Taquicardia, the authors of which seemingly didnt know about such admiration or didnt care about it. Eternal dilettantes, it wasnt strange that the career of Gloria van Aerssen (born in 1932 in Dos Hermanas, Seville) and Carmen Santonja (San Sebastian, 1934) moved forward, most of the time, due to the encouragement of a fan. But this jump without safety net, as Mario Pacheco described it, only could have happened on a label as pathologically respectful towards its artists as Pachecos Nuevos Medios imprint, and at a vital point such as the one the duo were going through during the middle of the decade. It was his enthusiasm which took them out of their silence to record their sixth album and the end of a cycle, as their later recordings would finally be an epilogue of what culminated here magnificently. Elegant, classic, austere and, nevertheless, sounding at times like genuine avant-garde, Taquicardia is the reflection of a critical stage in the life of its authors. Disillusioned by the poor repercussion of their two previous albums for Guimbarda, the outstanding El Eslabón Perdido (1980) and El Tigre De Guadarrama (1981), Gloria and Carmen had found themselves at the peak of mature age and empty-handed. The duo delivers here their most personal, introspective and bitter work, which surprisingly becomes, as if by magic, a superb collection of calls to chaos, libertarian fables and exultant love songs. Passion becomes idolatry, gallant coplas (Spanish popular songs) are touched by grace, pieces of marital bitterness, all of which culminates in an anthem of incredible beauty such as Sígueme, clean, stripped, overwhelming. Gloria declared being so ashamed of the tracks almost pastoral tone that she refused being credited for it. Of course, its her voice which will make the song remain forever. Stripped of the glitz they had displayed in the preceding years, its harder to find here the source of popular and academic music which could usually be heard in their music. But that clarity allows us, more than ever, to enjoy the boldness of many of their song structures and, of course, their vocal harmonies. These two pieces of vinyl contain their most refined work." --César Sánchez aka Fulgencio Pimentel; Liner notes in English and Spanish by César Sánchez." -Vinilissimo. |