Pere Ubu's troubles with record companies are legendary within certain underground rock circles. In perhaps the most bizarre turn of events, the group's collected works of 1978-1982 – after being out of print for nearly a decade – were reissued by Geffen as a five-disc box set, Datapanik in the Year Zero. Named after the group's 1978 EP, the set is arranged chronologically and occasionally substitutes live versions for studio tracks, but that hardly matters – nearly every song the band recorded during the five-year time span is included.
The first recordings from an artist with a gift for interpreting original blues from Robert Johnson to Memphis Minnie to The Carter Family. Williams’s unmistakable sound is powerfully direct and filled with melancholy and passion. 43 minutes. "The quintessential recording of Lucinda Williams…. An unbelievably soulful…vocalist."–Montana State University Exponent.
In January 2016 Tindersticks will release their new album The Waiting Room, a milestone not just numerically, but musically and creatively. Their first studio album since 2012 s critically acclaimed The Something Rain' is the most ambitious, diverse and elaborate album you ll have heard from Tindersticks in recent years. 2 decades into their musical voyage these masters of restraint and poetic human emotion, are a band now confidently making the best songs of their career. The Waiting Room' breathes gravity and features guest appearances by Jehnny Beth of Savages and a particularly poignant duet with long time friend of Stuart Staples and Canadian legend, Lhasa De Sela.
2008 digitally remastered two-fer from the Canadian power trio led by the exceptional guitar playing of Frank Marino. Mahogany Rush IV was originally released in 1976 and was the band's first album for Columbia. World Anthem followed one year later.
Commissioned by the city of Mannheim (Germany) for its 400th anniversary, UTP was co-composed by Carsten Nicolai (aka Alva Noto) and Ryuichi Sakamoto. The work, whose title is deducted from the word "utopia," is scored for electronics, piano, and chamber ensemble, the latter being Ensemble Modern. It consists in extremely slow-paced tableaux of stretched out octaves and skeletal motives, a Butoh-like performance. The piece is solemn and entrancing, like Morton Feldman's music – more elegant, perhaps. It marks a new step in the evolution of Nicolai and Sakamoto's music, together and apart, as neither of them had yet concocted something this sparse, this naked.