LER 1033: Poetical Licence - Footprints.

Poetical License was a brief project uniting Scottish born and Aotearean (New Zealand) musician Mark Airlie and keyboardist and vocalist Keri Ansley after the duo met in New Plymouth. The solitary 7” came together in 1986, recorded at the infamous Auckland studio, The Lab.

The A side’s fragile Footprints is as utterly charming as it is drenched in melancholia with a delicate glockenspiel lick and Ansley’s ethereal delivery of the vocals. On the B Side, Room 101 pivots to wonky rock and a more post-punk approach to composition. The two tracks shine brightly among an abundance of outsider gems made in Aotearoa during the 1980s.

Purchase direct: https://poeticallicence.bandcamp.com/album/footprints

Poetical Licence

For our 35th release we are retuning with an album by Respuesta Alternativa, or the Alternative Response, which was the project of Spanish musician Jesús Mª Catalán, the tracks from this compilation were not released at the time and the tapes only found recently, which had been lying dormant in a shoebox since their creation from the period 1987-1990.

As a proud Asturian, Jesús was influenced by and payed homage to his surroundings, in particular the Cantabrico de Asturias Sea. His music incorporating lush breezy passages, which echo calm ocean days and others reflecting sudden turns in conditions.

Available for preorder now: https://respuestaalternativa.bandcamp...

https://www.discogs.com/release/30026...

Respuesta Alternativa – Del Silencio

Only a decade ago Leong Lau remained a well-hidden Malaysian-Australian treasure, known only to small circles of Australian record collectors. In 2013 we met Leong in person at the Brisbane state library, where after a long and somewhat transcendental ‘conversation’, received his blessings to re-release his music.

In 2014, we reissued his sophomore album ‘That Rongeng Sound’ and later in 2021, his sole single ‘late Night Flyer. In 2024, we are going back to finish the triangle of Leong releases, with a repress of his debut 1976 album ‘Dragon Man’. A raw and electrifying album that continues to stand the test of time.

Dragon Man might best be described musically as psyc/rock, however the significant use of soul/funk and jazz melodies adds a unique musical depth that makes it hard to categorise. However, what truly sets Leong apart is his distinct vocal style, delivering half sung/half spoken lyrics in a stereotypical Aussie accent that comes across more like a sermon than what might be conceived as ‘traditional’ songs.

Moreover, in a time where the Australian music industry and its performers’ musical styles were dictated by major labels, Leong began to break down those barriers by self-releasing his music. This rewarded Leong creative control, where he was able to dictate the musical and cultural themes, with songs like ‘Dragon Man’ and ‘Deep In The Jungle’ that both pay homage to his unique Chinese/Malay heritage. That said, Dragon Man is both a significant musical and cultural statement that’s just as poignant today as it was then.

Pre-order here: https://leonglau.bandcamp.com/album/dragon-man

** Includes fold out colour poster (40cm * 20cm), replicating the insert included in the original '76 release **

Leong Lau – Dragon Man

LER 1037: Tim Gruchy- Jungles (Original Full-Length Version) / Michael Krilich - Arnhem Land (Extended Version)

ORDER HERE: leftearrecords.bandcamp.com/album/jungl…arnhem-land

For our next release we’ll be delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honouring them with a split 12” release

Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane

The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths . A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation

This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals

Side B: Michael Krillich’s Arnhem Land began its journey in 1982, in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record

In 2018, via record we were introduced to Michael’s Arnhem Land and instantly decided to pursue a vinyl release. Our search to uncover the sample’s origins led us to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region. After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle

Album release date:
25 April 2025

Tim Gruchy, Michael Krilich – Jungles / Arnhem Land

LER 1038: Al Mati - Some Shit
.
Pre order direct: https://almati.bandcamp.com/album/some-shit
.
Al Mati was the pseudonym of Portuguese-born, Dutch-based artist Alberto Mesquita. The name means ‘Alberto Friend’, with ‘Al’ short for Alberto and ‘Mati’ meaning ‘friend’ in Surinamese
.
Alberto’s story reads like a mythical character from a European Kerouac novel. Instead of a book he put his adventures into a record, with music and comic-style art. Alberto both the story and the character inside it
.
Raised under Salazar’s regime in Lisbon, where all men were conscripted to Africa, he refused, a pacifist, putting him at odds with his father, born in Angola and a lawyer tied to the dictatorship. The rift forced him to flee Portugal as a deserter, leaving everything behind
.
In Paris he met Bruno Scoriels. The pair busked to get by, then roamed Europe. On a trip to Barcelona they crossed the Pyrenees on foot through a five kilometre train tunnel not knowing if they would make it out, later echoed on the cover of Some Shit
.
In Belgium he met Jolanda, who became his wife and features on the album. They lived in The Netherlands, then back to Belgium to marry, before returning to Portugal under false pretences. The regime promised deserters immunity, it proved untrue, and he fled again using Bruno’s passport to reach The Netherlands
.
They settled in the Gliphoeve flats in Amsterdam’s Bijlmermeer, a vibrant immigrant community that sparked his music. He set up a studio where musicians from Suriname, Angola, Brazil, Mozambique and Portugal came and went, forming bands including Albatros, Comoção and Mati Africa, playing across Europe and at venues like De Melkweg and Paradiso
.
Being an immigrant was tough; he was stateless for years, drifting between countries. Some songs voiced his frustration with the Portuguese regime, others love notes to his wife and kids. He passed away in the Netherlands in 2021, leaving Some Shit open to interpretation. Picture Europe in the 1970s, the politics, the upheaval, and his need to connect people across cultures, and you hear an artist shaped by contrast, pouring experience, feeling and love into music
.
Distro through @rhd_rushhourdistribution or direct in the Antipodes

AL Mati

Rainbow Generator are Australia’s first true experimental electronic music group. The Sydney squatters consisted of David Labuschagne AKA Mojo, and Rob Greaves AKA Ras and released their sole LP 'Dance of the Spheres' in 1978.

Availablenow: rainbowgenerator.bandcamp.com/album/danc…he-spheres

Starting in the mid-70’s, the pair took it upon themselves to begin exploring the possibilities of the sonic dimension and with an ‘open mind’ began investigating the interface between psyche and sound.

In 1978, with little resources, or any form of distribution they released their sole LP ‘Dance of the Spheres’. As Mojo puts it, “we were intent on making music with whatever we could beg, borrow, buy, and liberate. Albeit with scant regard for the rules or conventions or niceties of the game. Ultimately, it was all an act of love, of joy. Not just an adventure; it was a musical odyssey”.

Twenty five years after the fact we're glad to be able to offer a remastered re-release; including a bi-fold insert with archival images and detailed liner notes.

www.discogs.com/release/27292794-…ce-Of-The-Spheres

06 Essence

01 Polyploid Spex

Poetical Licence - Footprints

Poetical Licence - Room 101

De Puntillas

Asturtxal

Chintofono

Del Silencio (Playa De Gavieiro)

Old Bass

Originally released in 1980 by pioneering Trinidad artist Andre Tanker. Basement Party is deep party groove mixing reggae, disco, calypso flavours. Limited edition 12" vinyl reissued by Left Ear Records. See www.leftearrecords.com

Andre Tanker - Basement Party

Only a decade ago Leong Lau remained a well-hidden Malaysian-Australian treasure, known only to small circles of Australian record collectors. In 2013 we met Leong in person at the Brisbane state library, where after a long and somewhat transcendental ‘conversation’, received his blessings to re-release his music.

In 2014, we reissued his sophomore album ‘That Rongeng Sound’ and later in 2021, his sole single ‘late Night Flyer. In 2024, we are going back to finish the triangle of Leong releases, with a repress of his debut 1976 album ‘Dragon Man’. A raw and electrifying album that continues to stand the test of time.

Dragon Man might best be described musically as psyc/rock, however the significant use of soul/funk and jazz melodies adds a unique musical depth that makes it hard to categorise. However, what truly sets Leong apart is his distinct vocal style, delivering half sung/half spoken lyrics in a stereotypical Aussie accent that comes across more like a sermon than what might be conceived as ‘traditional’ songs.

Moreover, in a time where the Australian music industry and its performers’ musical styles were dictated by major labels, Leong began to break down those barriers by self-releasing his music. This rewarded Leong creative control, where he was able to dictate the musical and cultural themes, with songs like ‘Dragon Man’ and ‘Deep In The Jungle’ that both pay homage to his unique Chinese/Malay heritage. That said, Dragon Man is both a significant musical and cultural statement that’s just as poignant today as it was then.

** Includes fold out colour poster (40cm * 20cm), replicating the insert included in the original '76 release **

Dragon Man

Soul Baby

Rhythm Pounding

Ghost Drums

The Atlas Revolution

Star Warz Rapso from Brother Resistance's - Rapso Take Over LP(1986).  Brother Resistance is synonymous with "Rapso", a style of music that Resistance describes as "The poetry of calypso, the power and riddum of the word". This rare LP that blends calypso, reggae, disco, funk and poetry is now reissued on vinyl for the first time by Left Ear Records

Brother Resistance - Star Warz Rapso

01 Tim Gruchy - Jungles

02 Michael Krilich - Arnhem Land

LER 1038: Al Mati - Some Shit
.
Pre order direct: https://almati.bandcamp.com/album/some-shit
.
Al Mati was the pseudonym of Portuguese-born, Dutch-based artist Alberto Mesquita. The name means ‘Alberto Friend’, with ‘Al’ short for Alberto and ‘Mati’ meaning ‘friend’ in Surinamese
.
Alberto’s story reads like a mythical character from a European Kerouac novel. Instead of a book he put his adventures into a record, with music and comic-style art. Alberto both the story and the character inside it
.
Raised under Salazar’s regime in Lisbon, where all men were conscripted to Africa, he refused, a pacifist, putting him at odds with his father, born in Angola and a lawyer tied to the dictatorship. The rift forced him to flee Portugal as a deserter, leaving everything behind
.
In Paris he met Bruno Scoriels. The pair busked to get by, then roamed Europe. On a trip to Barcelona they crossed the Pyrenees on foot through a five kilometre train tunnel not knowing if they would make it out, later echoed on the cover of Some Shit
.
In Belgium he met Jolanda, who became his wife and features on the album. They lived in The Netherlands, then back to Belgium to marry, before returning to Portugal under false pretences. The regime promised deserters immunity, it proved untrue, and he fled again using Bruno’s passport to reach The Netherlands
.
They settled in the Gliphoeve flats in Amsterdam’s Bijlmermeer, a vibrant immigrant community that sparked his music. He set up a studio where musicians from Suriname, Angola, Brazil, Mozambique and Portugal came and went, forming bands including Albatros, Comoção and Mati Africa, playing across Europe and at venues like De Melkweg and Paradiso
.
Being an immigrant was tough; he was stateless for years, drifting between countries. Some songs voiced his frustration with the Portuguese regime, others love notes to his wife and kids. He passed away in the Netherlands in 2021, leaving Some Shit open to interpretation. Picture Europe in the 1970s, the politics, the upheaval, and his need to connect people across cultures, and you hear an artist shaped by contrast, pouring experience, feeling and love into music
.
Distro through @rhd_rushhourdistribution or direct in the Antipodes more to come
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01 Se Foda

03 Lonely

13 Love You Baby

02 Pensar Em Ti

14 Autumn Comes

09 Neo Romantismo

04 Eu E O Dracula

07 A Day Will Rise

08 Sunshine City

12 Filhos da Puta

06 Rainbowball

11 Só Uma A Resolucão

05 Brigitte

Bongo Lumbo from 'Thesda's Spaced Out LP(1979). Only 100 copies of this rare jazz/funk LP were originally produced. The album is a cosmic journey blending jazz funk soul and disco flavours resulting in one of the most highly sort after LPs for record collectors. Reissued on vinyl and CD for the first time by Left Ear Records www.leftearrecords.com

'Thesda - Bongo Lumbo

Black Pepper from Guyanese artists Yoruba Singers. Amazing 1984 version of a track of the same name released in 1975. Super rare original 12" reissued for the first time by Left Ear Records.

Yoruba Singers - Black Pepper

Australia’s Shahara-Ja cut his sole record ‘I’m An Arabian Knight’ in Sydney back in ’89. A deep blend of electronic funk and Middle-Eastern keys. The mysterious Shahara-Ja was a regular on Sydney’s wedding and Nightclub scene when his record was originally distributed. Unfortunately, the release gained little momentum and subsequently most of the stock was destroyed. Fast forward 27 years and the release has quickly garnered cult status since being exposed to the international stage through a handful of mixes.

Shahara-Ja - I'm An Arabian Knight (Extended Funky Arabian Mix)

Antipodean Anomalies

Errol H. Tout - Metaphoric Allusions

Helen Ripley-Marshall - Green Chaos

Percussions Pour La Danse

Jean-Pierre Boistel / Tony Kenneybrew - Dans Le Secret & Clepsydre

Jean-Pierre Boistel / Tony Kenneybrew - Vas Y Peter

Lungile Masitha was the short-lived studio name for renowned SA artist Sello ‘Chicco’ Twala, who played with such iconic bands as Harari and Umoja. However, in the mid 80’s his name was under license to one of the major labels and in an effort for self-expression recorded under the name ‘Lungile Masitha’, here he linked up with long term friend Jimmy Mngwandi to co-write and arrange the two tracks ‘Vuyani’ & ‘Makoti’, both sung in his native Tsongan tongue. Vuyani is an upbeat tune that matches Chicco’s unique vocal style with percolating drums and distorted choruses to incredible effect, while Makoti is a mellower blend of floating keys and choruses sung by local kids in an effort to expose “emerging talent”. Due out Jan 29th, distro through Rushhour.

Makoti

Vuyani

Left Ear comrade and fanatical Uruguayan archivist Chris J. Morris was kind enough to put together an all Uruguayan mix to help celebrate our first Uruguayan release (LER: 1021), due September 16th. Chris' selections include an eclectic mix of favourites from his personal collection, with sources material ranging from Cassettes, CDs and of course records.  

Will be keeping the tracklist and comments section quiet for the time being, as some are in the process of being licensed. Hope to be able to share the details shortly.

Uruguayan Candombe Fusion & Experimental Pop: 1983-1993

Uruguayan Candombe Fusion & Experimental Pop: 1983-1993 (a mix by Chris J. Morris)

For LER 1023, we've put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. Phase III commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.
 
The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.
  
I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star  both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout.

Phase 3

All Is Bliss

Impossible Dreams

Impossible Dreams (Unreleased Full-Length Version)

LER 1022/MS03 - LITIA=LOE’s Each Dawn Every Dawn

A nearly-lost existential house anthem from Chicago’s second generation, heavily under the influence of Ron Hardy, European EBM, and the struggle of daily life in the city’s marginalised neighbourhoods.
LITIA=LOE (Life In The Insane Asylum = Life On Earth) formed in Chicago amidst the burgeoning house movement of the 80’s. 

Leon Williams, Daryl Wilson, and brothers Grant and Simeon Rogers would meet up every weekend to soak up the sounds at local clubs like Music Box, Medusa, The Power Plant, The Warehouse, and Frankie Knuckles’ Dance Palace, where DJs would mix everything from disco to new wave, industrial to house music. After the clubs closed, they would retreat to Leon’s basement to experiment with synths, inspired by what they had just witnessed at the clubs.

At the time, the record barely made it out of Chicago, but the group did have a chance at notoriety. Rocky Jones of D.J. International Records offered up a “Blood contract” for joining the label. The group declined and the group remained a mystery.

More than 30 years later Each Dawn Every Dawn will finally be available again (no blood contracts needed). Due out though Left Ear records and Mixed Signals,  on the 27th of March 2020. Distro through Rushhour, Seance Centre or Direct in the Antipodes

Each Dawn Every Dawn

For our 25th release, we'll be revisiting the work of singular Japanese musician Minoru ‘Hoodoo’ Fushimi. In 1983, a young Minoru was working from his home studio in Japan’s Kanagawa prefecture and determined his first release would be an ode to Japan’s musical heritage. Minoru had noticed the younger generation become increasingly disillusioned with traditional Enka songs and decided to breathe new life into the sentimental ballads of old. The multi-talented artist laid down the beat using a TR-606 and played all the additional instruments himself. 

The resulting tracks are two mutations from the energetic style of the originals into much darker and abstract versions, albeit managing to maintain the passion and spirit of the Enka genre. Minoru utilised a number of vocal distortions to honour the original vibrato singing style, executing the tracks in a way that was more of a mesh between early punk squelching of the late 70’s and Troutman’s funk-fuelled voice-box of the early 80’s. In true Minoru style, his vision overshadowed the accessibility and ironically the tracks fell short of their appeal to the younger generation he was aiming to inspire, yet resulted in two timeless renditions.

Minoru Fushimi - Hone Made Aishite (Love Me To The Bone)

Archival label based in Melbourne. No new demos please.

Left Ear Records

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