Filed under: Newsworthy
We’re still a month away from the release date of Express Rising (2), but Dante Carfagna wanted to floss his vintage cave postcard collection and we thought ya’ll deserved another sip of the juice.
Fuck it. We’ve got this live on our website right now on CD/LP/Download. You need this.
Filed under: Newsworthy
Our friends at Stranded in Oakland recently sent us their own handcrafted bin divider… it’s pretty impressive. We love it when anyone has to employ carpentry skills to display our oeuvre. However, for those less inclined or more sawdust-allergic, we have created our own. (For those paying attention, this is the second time we’ve done this, but those old ones are long gone.)
An image already bandied about on the cover of our slick new catalog seen in the finest record retail locations around the world. This bin card expands on it… a collection of all and sundry logos connected with the Numero universe… a glimpse at the weird one-shot brands and defunct companies conceived by our independently-minded artists. They’re already being shipped to record stores around the country, but the most serious Numero archivists will have the Numero catalog titles filed together in their collection and a custom divider can add perfect flair to showcase their collection. With this in mind, we put a few extras on sale. These bincards are limited as hell. Do not delay.
Kid Is Gone is the unquiet portrait of primal Unwound. Before 1993’s Fake Train ripped through, they’d been Giant Henry, Supertanker, and Cygnus X-1, short-lived black holes gathering dark material into something built to explode. From Justin Trosper, Vern Rumsey, and Brandt Sandeno’s first restive years, “Crab Nebula” might’ve best prepared the indie-sphere for what Unwound became, had Sandeno’s split not stalled their planned debut. Part 1 in Numero’s 4-part reissue project, Kid Is Gone documents signal chaos in Olympia’s fertile scene before Unwound’s turbulent noise hit stride, in unrevealed period photos, 34 tracks, and three LPs—cassette-only demos, early 7”s, a KAOS radio broadcast, material tracked live in a local basement, and all of what became 1994’s Unwound, on which the band’s prehistory plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
In honor of our latest entry into the Good God! series being released today, we’ve bought air time in a handful of minor markets in hopes of penetrating the real gospel music world. If you’re not living in Birmingham, AL, Chattanooga, TN, Shreveport, LA, or Gulfport, MS, and not awake between the hours of 3 and 4 AM, your best bet at catching the spot is by tapping the play arrow on the screen above.
A raw cry from the dark night of one man’s soul. cloistered away from the popular culture of 1982, rural Illinois priest Tony Trosley painted a pastoral refraction of early 1970s Laurel Canyon watercolors with this stand-alone set of songs. The Sixth Station—named for a grim New Testament tableau in which Veronica washes the tortured face of Jesus—managed to avoid overtly Christian themes in favor of a mystical Humanism that resonates timelessly, and to any sort of listener. This Deep Night is as profound and eerie as the images conjured by its title.
During the 1960s and early 1970s, guitar-wielding men of the cloth came somewhat into vogue. Brother Juniper, Father Tom Belt, and the St. Louis Jesuits each found modest success with their takes on liturgical folk music. Born in 1951, Father Tony Trosley trod out of this tradition to arrive in quite a different place. Raised in the St. Louis area, Trosley entered the seminary immediately after high school. It was there that he took up guitar and set out on a musical sojourn that would result in an LP more than a decade later.
Assigned to a parish in Peoria, Illinois, Trosley charted his long course toward Deep Night, adding crew along the way to fill out the recordings. Deep Night’s title cut is its purest moment, featuring Trosley alone and transparent, his 12-string tone shaped by a phaser pedal. The entire album, tracked in a tiny chapel with rented equipment over one extended evening, was mixed live with only a handful of overdubs. A few disastrous live performances around Central Illinois sealed the album’s fate as a one-off, though producer Scott McDaniel proposed a second LP. Father Tony Trosley, cloistered as he was from popular music culture of the day, could hardly avoid recording a folk and rock anachronism, but the sound of Deep Night defies placement on any timeline, aural or historical. It’s every bit as darkly profound and eerie as its name implies.
We’ll bring Father Tony’s opus back from the darkness on June 4th. Until then, click here for a sip of the juice:
Filed under: Eccentric Soul 45s, JR., Newsworthy | Tags: James Dockery, Rokk
A debut album that never was, Rokk’s I Want To Live High is that rare misshapen pearl clenched tightly between the shells of a music industry shucked long ago. Too soulful for its disco-era release date, the sextet’s 1976 Tollie-issued 45 “Patience” (as featured in Eccentric Soul: Omnibus) tracked well in Rokk’s hometown of Los Angeles, but was withdrawn before patience ran out with the spring rains of 1977. Tracked simultaneously was this entire shelved album full of Rokk’s mid-tempo grooves, flute-lead funk, sultry female backing vocals, slap bass, chorus-drenched guitars, and lyrics about getting baked and eating baked apple pie. Jazzy, with plentiful slices of Broadway, Innervisions, and Rokk’s own stoned brand of horn-rock, had I Want To Live High ever gotten so high as actual record store shelves circa late 1977, it would’ve surely sobered up to the commercial onslaught of saturday night disco juggernauts and the pummeling forces of earth, wind, and fire.
In keeping with our recent Lewis Connection, Shoes, Syl Johnson, and Circuit Rider reissues, we’ll be issuing this title only on vinyl as part of our Jr. line, and at a price even a broke college kid can afford. Quality nuts, we’ve got you covered: Tip on jackets, 150 gram vinyl, and lacquers cut from the original master tapes
This early August release will mark our third foray into the tape archives of James Dockery, owner and proprietor of the Soul Craft label. The second will find its way to market in late May as we repress his “My Faith In You Is All Gone” b/w “Giving You The Love You Need” on 45 as part of our ongoing Eccentric Soul subscription series. We’ll be pressing the original red label version of that single, but for fans of their ’70s design.. fear not! We’re using the blue and yellow “Come Trip With Us” label for the Rokk LP. Maybe we’ll make a few shirts too.
As The Fader “reported” earlier today, we are making our first forays into ambient music this June. The full draft of the press release is as follows:
In 1989, professor Joel D. Funk, at the psychology department of Plymouth State College in New Hampshire, found that the music of Iasos bears striking resemblance to that which people hear during near-death experiences—at the very precipice between life and death, the mundane and the infinite.
By the mid-1970s—prior to ambient’s “musical furniture” and the coming age of New Age—Iasos had his hands on his first synthesizer and had made in-roads into both aborning genres. In dialogue with Vista, a benevolent music-maker from a distant dimension, Iasos conducted groundbreaking experimentation with tape reversal, feedback, and the electronic processing of acoustic instruments (phase-shifted flute, echoplex), working with some of the first commercially available synthesizers, and inventing innovative visual effects for his own mind-expansive live sets. In translating the tones of his galactic muse for the ears of Earth humans, Iasos helped midwife new genres into existence and utterly transform the compositional possibilities for every contemporary musician—all while living the life of a poor pirate eccentric in the Marin County dock system’s only telephone-equipped houseboat.
Spotlighting selections from the first decade of Iasos’ inter-dimensional output, Celestial Soul Portraits (a 2LP or CD career overview) features a bevy of never-before-seen photos and never-before-heard tracks, a 4,000-word history of Iasos, and an insight into the life and “crystal giggling energy” of Iasos, the other Greek god of ’70s exploration into music’s electronic stargate.
Listen to “Rainbow Canyon” below, then go buy a wind chime and enroll in a yoga class.