Uncanny ASMR

Available on our online shop:
https://invisiblecityeditions.com/products/accura-five-x-five-ice-019

Also available on Bandcamp:
https://invisible-city-editions.bandcamp.com/album/five-x-five

Invisible City continues to celebrate its 10th anniversary as a record label by reissuing the overlooked 1994 UK LP Accura - Five x Five!

The best records make you want to grab the steering wheel and feel the sunny coastal drive.  Frank Ed’s unique blend of genres on his LP “Five x Five” does exactly this by melting G-funk, smoothie Rnb and NYC Disco a la Larry Levan, a genre he coined “Street Jazz”. 

A Ghana expat inspired by the endearing levity of the sounds of Hi-life along the Gold Coast, Frank Ed fuses downtempo keys and throbbing basslines on the opener “The Vibe”. Taking turn on the sunny coast, “Groove Control” is a euphoric minimal disco gem teasing the padlocked grooves of Gwen Guthrie and the West End setting sun into a fiery Loleatta sample that sparks into a fiery vocal  “You got me burning up”. Dervish vibraphones, inspired by the Jazz-Funk renaissance, mesmerize the interlude “Ghetto Strings”. The punchy sampledelic psychedelia of conscious hip hop continue with the car sounds of “Jazz Maiden” opening with a screeching car halt, alongside MCs Cap D and Darkstorm rapping about a girl on the town, before being snapped and interjected by a female vocal chiming in“Excuse Me!” “Freestylin’” is a top down portamento G-funk glider, a nod to everything from the West Coast hip hop highway. “The Good Times'' -  a CD-hidden only cut - is the real jewel here, emblematic of Frank Eds distinctive style. Expect low slung, nasal rapping and sine wave G funk grooves paired with lyrics about baggy jeans and Kangol kits that land with the chorus: “ I walk the walk I pay the price of this hip hop rhyme.” The pacific highway drive continues with “Summer Jazz” a breezy cruiser with the line, “Just move your body and slow…Summer Jazz.” You can feel the sun and wind in your hair as the keys trill along the reverb vocals of “I Feeeel It.” 


This pressing Includes two other CD-only releases featuring the NHB remixes of “Feelin Jazzy” and “Summer Jazz.” An essential LP, lovingly remastered and adjacent to the African diaspora genre UK Street Soul and the fervent UK RnB explosion of the early 90s. Glimmering with the disco ball of The Paradise Garage and the simmering smoothness of bumpin’ West Coast hip hop. Official Limited Pressing made in collaboration with Frank Ed and Toronto local selector Matt Stein. Not to be missed!

Production: Accura Sound Productions. Co-ordination: Eddie Aidoo / Jim Udo-Affia. Original Design / Artwork: Jim Udo-Affia. Photography: Eddie Aidoo. Restoration & Mastering by Wouter Brandenburg. Lacquer cut at Dubplates & Mastering. Reissue Executive Producers: Gary Abugan & Matthew Stein. Layout: Laura Schütte.

Accura - The Vibe (ICE 019)

And In The Darkness, Hearts Aglow

God Turn Me Into a Flower

Lachrymae Odyssey - Act I

Available on our online shop:
invisiblecityeditions.com/products/tribal-earth-interaction-reaction-ice-021

Also available on Bandcamp:
invisible-city-editions.bandcamp.com/album/interaction-reaction

Tribal Earth is an ongoing project created by Canadian artist Michael Bennett. Tribal Earth's 1983 recording "Interaction/Reaction" features a fusion of post-punk, DIY mutant wave and minimal synth-pop that is backed by infectious funk and dub elements alongside Linn Drum machine rhythms. Heavy basslines and synths swirl, stab, and ring alongside Bennett’s smooth vocal delivery into 3 timeless art-avant pop gems “Interaction/Reaction,” “Got To Move,” and “Who Are You (In The Movies).” This 40th anniversary edition is remastered directly from the master tapes and is a collaboration between Invisible City Editions and Michael Bennett. For fans of 99 Records, This Heat, and Lifetones. An underrated one of a kind IC fave. Limited Pressing.

Side A
A1 Interaction/Reaction

Side B
B1 Got To Move
B2 Who You Are (In The Movies)

℗ 1983 Shape Records
© 1983 Michael Bennett
℗ 2023 SHAPE RECORDS, Invisible City Editions
© 2023 Michael Bennett
All Rights Reserved

ICE 021
A Shape Record in Association with Invisible City Editions

Tribal Earth - Interaction/Reaction (ICE 021)

"Blue Boy" by Mac Demarco

Spinning

A newly recorded, and newly mastered, version 'O Come O Come Emmanuel' is available to stream at http://smarturl.it/marika-hackman

It'll be released as part of her 'Wonderland' EP out 2 December 2016

This version was first released in 2015 for Coppafeel's Christmas compilation.

Marika Hackman - O' Come, O' Come, Emmanuel

Girl, so confusing featuring lorde

Moon, Don't Come Up Tonight

MAYA – SYNTHEZOID HEARTBREAK / DISTANT VISIONS
Touch Sensitive Records | TSR005

A late night voicemail from Cherrystones: “Phone me! I’ve got something killer! It might not make sense at first but it’ll suck you in...”
After hearing the outsider psych of ‘Distant Visions’ we are suitably hooked and the wheels are in motion to reissue the music of Maya from 1975.

It’s at this point we realise we ain’t even heard the A-side yet! Turns out it’s the heaviest heartbreak jam going…

Following on from 2015’s acclaimed Critical Mass compilation, Cherrystones and Touch Sensitive come together again to proudly present a lost masterpiece from the U.S. hard rock and psychedelic underground.

Fully remastered and faithfully reproduced on limited 7inch vinyl with additional insert featuring lyrics and notes from Burk Skyhorse Price (Maya) and Cherrystones.

Two tracks of timeless, heartfelt outsider music.

“In the drying up world of unknown homemade underground rock sounds, there never fails to be at least one scurrying rodent running for cover; bug-eyed under the flashlight of the modern-day sonic adventure seeker. Nearly all the LPs have been brought to the surface. More recently rabid fuzz and loner sound explorers are rubbing elbows with Northern Soul speed-freaks in the deep cold, hour-eating world of coverless 45s to seek out what could be seen as the final frontier of no budget, big dream and no fan base homemade local vulnerable Rock ’n’ Roll.

So what do we have here? A UK discovered and repressed Ohio private nuclear soul bomb by Burk Skyhorse Price with his Maya unit from the shadows of Cincinnati Ohio, in the music-world turmoil years of 1975.

The single has all the ingredients: songs about heartache, bubbling synths, alien feelings, proto-punk, backwards feedback, isolation.

Two lengthy songs of two different moods: “SYNTHEZOID HEARTBREAK” a "Fuck You!” to all partners that want you to join the Real Estate game and turn in your misfired Envelope pedals for a suit and tie; rendered musically in a raging underground punk damage mode.

But I think the small band of freaks that have heard Maya’s lone 45 agree that its the pro-Alien sad dirge of “DISTANT VISIONS" that gets the pen scratching the history books for another legendary entry. This reflective afternoon delay lurker makes me wonder what happened AFTER the fade out to "Visions”. 
Maybe the homemade air siren blew out the studio?
Regardless, here is a big dreaming band that left quite a brief one-two punch to the face of the industry that had no place for their punk and lonely sound poems. Funny but fitting how they have finally found a home forty years later and many continents away. Solid homemade damage here, touching AND sensitive, albeit crushingly loud.”

John Olson (Wolf Eyes / American Tapes / Third Man Records) Michigan, 2016.
_______________

Tracklisting:

Side One: Synthezoid Heartbreak	
Side Two: Distant Visions

Touch Sensitive Records | TSR005 | 7inch / Digital
Release Date: Friday 26th February 2016
Mastering / Restoration: Stephen Quinn, Analog Heart 
Cut: Mike Grinser, Dubplates & Mastering

Label: info@touchsensitiverecords.com


Maya - Synthezoid Heartbreak

Normandie by Ligature

Föllakzoid started playing together three years ago in Chile when they were 20 years old. They were an eclectic group as far as musical taste, having dabbled in everything from classic rock to punk. The first time they jammed together they played nonstop without speaking for two hours and were seemingly over taken by a trance without any clear reference point. After they played their first show they began to delve into 60’s German krautrock while cultivating their love of and simultaneous propulsion towards motorik beat.
Recorded by: BYM Records
Released by: Sacred Bones Records
Release/catalogue number: SBR-044
Release date: Feb 8, 2011 

IV, III, II, I

"v4" is a stand alone single & DIY release nudging an introduction to the upcoming BEA1991 debut album. However like previous surprise track "wdsg?" the track isn't on the actual album. Sneaky drips... <3

Dean Blunt - 'The Narcissist' (ft. Inga Copeland)

Rome - One Lion's Roar

01 - Sleep

Fleetwood Mac cover from "Rumours Revisited" Mojo compilation Nov 2012

Gold Dust Woman

from the album 'sour cherry bell' available 9/18

Sour Cherry Bell

mj guider 'fm secure'

from the album 'because of a flower' available 11/13

because of a flower

ana roxanne 'suite pour l'invisible'

https://cameronknowlereliwinter.bandcamp.com/album/anticipation

The Trans-Pecos is a land of stark beauty, dotted with javelinas, ghost towns and small mountain ranges. There’s Marfa, known for its lights and minimalist art, and Terlingua, a tight-knit community of old-timers near the Texas-Mexico border; Alpine, 12,000 strong, is the region’s center. The winter holidays of 2018 found Cameron Knowler and Eli Winter touring through that part of the state. Each night they played solo and duo sets, interpreting traditional folk songs and showcasing their own, unifying seemingly disparate approaches to the guitar. Anticipation, the first album of gorgeous duets by the two young gun guitarists, is the product of this trip, documenting a musical juncture between desert and city, Chicago and the Southwest, folk traditions and America's musical avant-garde.

At first, Knowler says, their collaboration “seemed insurmountable conceptually.” Knowler, a Houstonian by way of Yuma, Arizona, came to bluegrass guitar through an obsession with Norman Blake, teaching himself over years of practice sessions 12 to 16 hours long. Since then he's gigged at bluegrass festivals, house shows, hoedowns and honky-tonks, working as a session musician, sideman and teacher, and honing a measured approach to the guitar informed as much by wide-ranging folk cultures as the silence of the desert. Only 23, Winter (named an artist to watch by The Guardian and “generational talent" by NYCTaper) has developed a moving command of the instrument like that of his inspirations Daniel Bachman and Jack Rose, with an energy and confidence honed from extensive touring and performances with Chicago experimental music touchstones (Ryley Walker, Sam Wagster, Tyler Damon).

The bulk of the record was composed and recorded in Houston, in a marathon nine-hour session completed on the eve of Winter's return to Chicago last year. Several recordings, including the bookends, are first takes. Album opener “Strawberry Milk,” which emerged fully-formed, sets the tone: sweet, inquisitive, daring. It's not unlike “Parapraxis of a Dragonfly,” which moves from lush, constellate harmonies to enigmatic, spiralling progressions and harmonics suggesting Derek Bailey.

The circumstances of the session forced the two to play outside of their comfort zones, building a new vocabulary of playing. This is most clear on freely improvised piece “Sippin’ Amaretto,” which crafts melodies from dissonance, pivoting between power chords and comical, stupefying licks, as if Charlie Christian were running on three hours of sleep. But it's true of the gentler "Cumberland Application,” a playful, pointillist arrangement of folk song "Cumberland Gap." Western suggestions run throughout: on "And So I Did,” Knowler renders Winter’s bracing Weissenborn tune into a dusky cowboy noir. Later, he complements his sensitive rendition of Michael Chapman's “Caddo Lake,” after the lake bordering Texas and Louisiana, with dizzying contrapuntal runs. Their rendition of Tut Taylor’s "Southern Filibuster," sourced from the homecoming show of the aforementioned Texas tour, is rousing and comforting, like a bear hug from an old friend.

The record’s centerpiece is "A White Rose for Mark," a tribute to late fingerstyle guitarist Mark Fosson, with whom Winter and Knowler played his last concert before his death. Knowler lays the foundation for Winter's harmonies, simultaneously recalling orchestral voicings and Nigerian highlife; the song, spontaneously composed, opens over three sections like a flower from a seed. It often feels as if they're playing one guitar.

Their willingness to set distinct conventions in conversation with each other advances guitar music, resulting in a record experimental, learned, eager and uniquely their own. Anticipation nods to its forebears while staking out its own ground, further establishing Knowler and Winter as musicians to watch.

Uncanny ASMR

Henrik Sputnes