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Always working hard to bring you the best! While you are reading this lines the WAH WAH staff has the following releases ready for shipping. We are very happy we've had the chance of licensing these great goodies. All this albums are classic pieces in the collector's market, and of course an important part of the western culture's music legacy. We highly recommend that you give them a spin, we are sure you will like them all

Please note the prices shown are for retail sales. Contact us for wholesale orders.


All WAH WAH editions are available on vinyl format only unless CD format is stated.

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LPS138 THE SPOILS OF WAR (2LP + BONUS 7" EP)
BARCODE 4040824084769

After the successful reissues of the two Mormos albums on Wah Wah, we proudly present a fantastic double LP + bonus 7" EP with the works of Jim Cuomo's pre-Mormos band Spoils Of War. Jim had already served with instro-rockers The Cool Notes in Texas, along with future Big Brother & The Holding Co. founder and guitarist Sam Houston Andrew III when he moved to the University of Illinois to obtain his Master Degree in Music. It was in Illinois where The Spoils Of War were born in 1968, named after a musical instrument invented by Harry Partch - it's name coming from the fact it had actually been built from spent artillery shells. Alongside Jim, other members included Al Ierardi on guitar, Roger Francisco on bass, Frank Garvey on drums and James Stround on "live sound manipulation." Annie Hat would soon join on vocals, and last gigs were played with Charlie Braugham on drums.

The S.O.W. sound was an intelligent mixture of late sixties acid psych with electronic experimentation -in a similar way to what Joe Byrd was producing with The United States Of America or Cork Marcheski would explore with 50 Foot Hose- plus there's some very imaginative songs here that could put the band in the same league Frank Zappa & The Mothers Of Invention were playing. Exciting computer generated sounds mix into a cool psychedelic rock background. It is one of the early pioneering experiments of electronic music and drones on a rock band, made at a time when programming computer sounds was really an adventure, since electronic music was still a burgeoning phenomenon. The box that had been opened by the likes of Karlheinz Stockhausen, Pierre Boulez, Luciano Berio a.o. left a lot of things for Cuomo and his peers to explore - and they were not afraid of doing so!

Back in the day the Spoils Of War had little chances to publish their recordings. Only two small 33RPM 7" EPs were released, showcasing their talent and adventurous love for experimentation

Here are -collected in a gorgeous 2LP set compiled with the great cooperation of Jim Cuomo himself- their studio works, including previously unreleased recordings, some later work by Cuomo and Co. plus a bonus 7" reproduction of the first Spoils Of War original self-produced EP from 1969.

Reissued in a 500 copies limited edition double LP housed in a gatefold gimmick sleeve with inner pop-up, fratures a bonus 7" EP, a Spoils Of War sticker, comes with remastered sound and includes an insert with liner notes courtsey of Jim Cuomo himself and Klemen Breznikar (psychedelicbaby.blogspot.com), plus full colour photos.

ARTIST : THE SPOILS OF WAR
TITLE : S/T
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS138
FORMAT : 2LP + 7"
RETAIL PRICE : 35 EUROS



LPS146 ICTUS - S/T
(featuring ANDREA CENTAZZO, ARMANDO BATTISTON, FRANCO FERUGLIO)
BARCODE 4040824085148

Before his magnificent experiments with electronic music on Elektrictus (previously reissued on Wah Wah), Andrea Centazzo was already an accomplished musician who had issued his recorded works on the PDU and RCA labels. His first release was Ictus, a free-form avantgarde jazz oddessey on which he already started to experiment with electronic generated sounds.

Ictus was a band formed by Centazzo, Armando Battiston and Franco Feruglio, although back in the day the sleeve of the PDU release credited the work only to Centazzo, and as if Ictus was simply the title of the album. This was a big mistake that we have been asked to correct in our reissue.

A brave drummer and percussionist, on this album Centazzo also played flute, synths and sang. He was joined on some tracks by Franco Feruglio on bass and double bass and  Armando Battiston on keyboards. It has been compared to Soft Machine’s Third or Wolfgang Dauner’s Et Cetera.

It was originally released in 1974 and it gets its first ever vinyl reissue here, housed in a gatefold cover in a 500 copies limited edition.

ARTIST : ICTUS (ANDREA CENTAZZO, ARMANDO BATTISTON, FRANCO FERUGLIO)
TITLE : ICTUS
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS147
FORMAT : LP
RETAIL PRICE  : 20 EUROS


LPS150 SEASON  DOREMBUS-JACQ-ARONDEL-MICHALAKAKOS
BARCODE 4040824084783

Jay Alansky, a.k.a. Patrick Arondel, was one half of the duet who brought us that amazing Beautiful Losers' Nobody Knows The Heaven album in 1974, among many other works - he has been active in the music world for the last four decades producing various albums through the years under many different aliases. But our matter today is a faithful reissue of his earliest works. Season, done with band mates Christophe Jacq, François Dorembus and Michel Michalakakos was originally issued on Arondel's father's own label Monde Melody and sold in small quantities, mostly around their own high school classmates at the Lycée Voltaire, which according to Jay's own words in the liner notes to The Beautiful Losers CD reissue on Lion Productions / Martyrs Of Pop, was "known for its post-68 turmoil".

And certainly, the counter-culture elements of the late sixties, early seventies melt in a stunning folk-prog rarity from the French underground that has remained a well kept secret through the years! The average age of the musicians was 16 years old! And the album was recorded in just nine hours using studio time offered by Jay's father.

We have included the two songs of the rare Arondel / Dorembus / Jacq / Michalakakos Hello Life / Inside The Sacred Book 7" as bonus to round the reissue!

Reissued under license from Jay Alansky with the cooperation of Christopher Jacq, François Dorembus and Michel Mikalakakos in a 500 copies limited edition that respects the original artwork, comes with remastered sound, bonus tracks and includes an insert with liner notes by Jean-Emmanuel Deluxe.

ARTIST : SEASON
TITLE : DOREMBUS-JACQ-ARONDEL-MICHALAKOS
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS150
FORMAT : LP
RETAIL PRICE : 20 EUROS





LPS151 WOLFGANG ORSCHAKOWSKI - ZIPPO ZETTERLINK IN THE POOR SUN (LP + BONUS CD)
BARCODE 4040824085162

Wolfgang Orschakowski is one of the most free spirits of the krautrock underground. Hailing from Hamburg, he has been producing music, paintings and all other kinds of artistic projects for the past four decades, always active with dozens of new projects boiling inside his head. Zippo Zetterlink In The Poor Sun, originally released in 1971 as a self produced private pressing that is nowadays impossible to find unless you are ready to pay some amounts of money in the collector's market, was his first ever release. It is at last reissued in vinyl, a properly licensed edition done with the kind cooperation of Wolfgang himself and housed in an exact repro of its original sleeve.

The music contained could be taken as the seed to Orschakowski's music world : free-form underground sounds, a way-out trip through expansive guitar riffs and strumming, hypnotic bass lines, killer drum breakbeats and elusive percussion, plus the occasional vocal, some blues freak-out and psychedelic effects. It will appeal to fans of other kraut classics like Amon Düül's Psychedelic Underground, early Guru Guru and the likes.

The Wah Wah reissue comes with a fantastic bonus CD featuring another of Wolfgang's projects: the acid psych music of WoOZ! performing their Катюша / Katyusha, カチューシャ, red point on g-spot 10-song album.

Reissued under license from Wolfgang Orschakowski in a 500 copies limited edition that respects the original artwork, comes with remastered sound and includes a bonus CD by Orschakowski's psychedelic project WoOZ! housed in a fold-out poster sleeve with liner notes and photos.

ARTIST : WOLFGANG ORSCHAKOWSKI
TITLE : ZIPPO ZETTERLINK IN THE POOR SUN
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS151
FORMAT : LP
RETAIL PRICE : 20 EUROS


LPS156 HARDY KUKUK - ATEMNOT
BARCODE 4040824085148

One of the biggest rarities from the cosmische kraut underground scene has to be Hardy Kukuk’s lost 1981 top Berlin School electronic masterpiece Atemnot. Kukuk’s synth explorations take the adventures of masters of the genre like Tangerine Dream or Klaus Schulze one step further into the early eighties. Kukuk is joined on these recordings by Andreas Schneider on guitar and congas and Klaus Bloch (of A La Ping Pong fame) on guitar and tape effects.

After Atemnot Kukuk recorded a second LP, Timeless, before joining forces with Matthias Culmey in the early 2000’s to form the electronic duo Beatboys 2000.

The Wah Wah reissue comes with remastered sound and housed in a faithful reproduction of original private pressing sleeve. It also includes an insert with cool photos and liner notes. 

First ever vinyl reissue limited to 500 copies only!

ARTIST : HARDY KUKUK
TITLE : ATEMNOT
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS156
FORMAT : LP
RETAIL PRICE : 20 EURO

AVAILABLE LATE JULY:


LPS157 POPOL VUH - DAS HOHELIED SALOMOS
BARCODE 4040824085186

We start our second series of Popol Vuh reissues with the fantastic Das Hohelied Salomos, which takes it over from where Einsjäger Und Siebenjäger left it. It features the classic trio of Florian Fricke, Daniel Fichelscher and Djong Yun, plus the help of Amon Düül's Al Gromer. The theme of the album is taken from biblical passages, using verses from King Salomon's tales on The Old Testament. The music is superb, great guitar soloing, amazing percussion work and the mesmerizing voice of Djong Yun on nine songs that echo previous works, mostly Einsjäger..., but also Hosianna Mantra comes to mind here and there. A perfectly balanced record that merges progrock sounds, eastern influences through the use of sitar and tabla and spiritual meditation.

The Wah Wah limited edition will have three bonus tracks and come housed the beautiful original sleeve artwork printed on art type paper, as it was first released, and feature a triptic insert with liner notes.

It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

ARTIST : POPOL VUH
TITLE : DAS HOHELIED SALOMOS
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS157
FORMAT : LP + INSERT
RETAIL PRICE : 22 EUROS


LPS158 POPOL VUH - AGUIRRE
BARCODE 4040824085193

Werner Herzog's 1972 film Aguirre, The Wrath Of God  was the first collaboration between the famed director and Popol Vuh. Florian Fricke was approached by old friend Herzog to do the soundtrack for his third movie. Three years later, in 1975, after the international success of Herzog's film, Popol Vuh issued the LP Aguirre. It featured material recorded for the movie plus some other songs. Some of them recorded prior to 1975 - the Aguirre soundtrack ones, of course, plus there is the presence of the big Moog from Popol Vuh's early albums, and also contains Morgengruss II, an update of the Morgengruss song that had prevously appeared on Ensjäger Und Siebenjäger.

"Popol Vuh’s “hypnotic music” for Aguirre met with considerable acclaim. Roger Ebert wrote, “The music sets the tone. It is haunting, ecclesiastical, human and yet something else... The music is crucial to Aguirre, the Wrath of God..." AllMusic noted, “The film's central motif blends pulsing Moog and spectral voices conjured from Florian Fricke's Mellotron-related "choir organ" to achieve something sublime, in the truest sense of the word: it's hard not to find the music's awe-inspiring, overwhelming beauty simultaneously unsettling. The power of the legendary opening sequence of Herzog's film...owes as much to Popol Vuh's music as it does to the director's mise-en-scène.”

Herzog explained how the choir-like sound was created, "We used a strange instrument, which we called a 'choir-organ.' It has inside it three dozen different tapes running parallel to each other in loops. ... All these tapes are running at the same time, and there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie."

In 1975, Popol Vuh released an album entitled Aguirre. Although ostensibly a soundtrack album to Herzog's film, the six-track LP included only two songs ("Aguirre I (L'Acrime Di Rei)" and "Aguirre II") taken from Aguirre, the Wrath of God. The four remaining tracks were derived from various recordings done by the group c. 1972–1974. At the time of Aguirre, the band members were Fricke (piano, Mellotron), Fichelscher (electric guitar, acoustic guitar, drums), Djong Yun (vocals), and Robert Eliscu (oboe, pan pipe)." (Wikipedia)

Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films - for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS - and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979]

Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde).

There have been several different editions of Aguirre and each has varied slightly or quite a lot from the original issue. Several reissues change the last track (the 17 minute long Vergegenwärtigung) to include material from other Popol Vuh albums, even in cases the song is listed on the sleeve the music is from completely different sources. Thanks to the accurate archive work of SPV on offer here is the original version of the album as it was first released in 1975.

Limited edition featuring one bonus track, remastered sound and original artwork plus an insert with liner notes and photos.

It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

ARTIST : POPOL VUH
TITLE : AGUIRRE
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS158
FORMAT : LP + INSERT
RETAIL PRICE : 22 EUROS


LPS159 POPOL VUH - LETZTE TAGE, LETZTE NÄCHTE
BARCODE 4040824085209

Letzte Tage, Letzte Nächte is probably the most "rock" sounding work of Popol Vuh's production. Recorded by the classic trio of Fricke, Fichelscher and Yun, plus Ted de Jong on tamboura and Amon Düül members Al Gromer on sitar and Renate Knaup on additional vocals, its sounds seem to be more based on power than on ambient. Strong guitar passages emphasize this, with Fischelscher's playing being harder than the Conny Veit ethereal parts on earlier records. The title track is also the first time that Popol Vuh record English words on a song.

"With his blistering and emotional guitar work Fichelscher made his mark on many of the Popol Vuh albums. An album like ‘Letzte Tage, letzte Nachte’(1976) would not be possible without him. But also this album would be impossible without multi-tracking, a technique that Popol Vuh was heavily dependent on throughout their existence. This album shows Popol Vuh from its most rocking and dynamic side. But even here it is evident that a remarkable spiritualism defines the music. In a down-to-earth way Fricke wanted his music to be a ‘healing force’, an ‘uplifting experience for the human soul’. This spiritual quality is inherent and constitutive for all the music he made during his career. This proves Fricke was successful in communicating these intentions to the musicians involved." Dolf Mulder (www.popolvuh.nl)

Limited edition, featuring one bonus track not on the original vinyl and remastered sound, issued in a reproduction of its original sleeve and with an insert featuring photos and liner notes.

It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

ARTIST : POPOL VUH
TITLE : LETZTE TAGE - LETZTE NÄCHTE
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS159
FORMAT : LP + INSERT
RETAIL PRICE : 22 EUROS





LPS160/DE POPOL VUH - HERZ AUS GLASS
BARCODE 4040824085216

LPS60/FR - COEUR DE VERRE
BARCODE 4040824085223

Another classic soundtrack produced by Popol Vuh for a Werner Herzog film was Herz Aus Glass. Its music still retains the powerful emphasis given to the previous LP in certain passages, although it goes back to their more reflexive ambiental athmospheres yet presenting that concept one step further into more evolutive structures and even adding some touches of a certain folk music feel. Djong Yun is not present anymore, but Daniel Fichelscher and Florian Fricke can still count on the collaboration of Al Gromer on sitar, plus the addition of Mathias von Tippelskirch on flute.
   
Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films - for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS - and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979]

Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde).

On offer here two different sleeves to chose from. Half of the copies will come in its original blue cover, as it was originally issued in Germany, the other half will be housed in the beautiful French sleeve, originally released as Coeur de Verre. Audiophile fidelity remastered sound plus an insert with photos and liner notes.

WHILE COPIES LAST YOU CAN CHOSE WHICH COVER YOU PREFER, PLEASE INDICATE LPS160DE FOR THE ORIGINAL BLUE GERMAN COVER OR LPS160FR FOR THE ORIGINAL FRENCH VERSION.

It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

ARTIST : POPOL VUH
TITLE : HERZ AUS GLASS
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS160/DE
FORMAT : CLEAR VINYL LP + INSERT
RETAIL PRICE : 22 EUROS

ARTIST : POPOL VUH
TITLE : COEUR DE VERRE
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS160/FR
FORMAT : LP + INSERT
RETAIL PRICE : 22 EUROS


LPS161 POPOL VUH - NOSFERATU
BARCODE 4040824085230

The story of the Nosferatu soundtrack editions through the years appears a little caotic. Several editions, with several sleeves and completely different tracklists have appeared in different countries. What we tried to offer here is the definitive edition of Popol Vuh's works for this fantastic Werner Herzog 1979 tribute to the old Murnau classic. When asked for a new soundtrack for Herzog's project, Florian Fricke and Daniel Fichelscher came out with a magnificent album that once again, as it had happened with Hosianna Mantra, opened new paths to follow. The album, although having been recorded with the movie in mind, was not titled Nosferatu. Instead it was released as Brüder des Schattens - Söhne des Lichts, which can be translated as "Brother Of Darkness - Son Of Light". It first came out in 1978 featuring amazing new age / ambient escapades based on repetitive passages and instrumentation of incredible beauty, recorded with the help of Al Gromer (Amon Düül) on sitar, Bob Eliscu (Between) on oboe, Ted de Jong on tamboura plus a complete church choir ensemble from Munich. Brüder des Schattens..., also issued in other editions as Nosferatu, makes disc one on this gorgeous double LP set.

Disc two of the Wah Wah edition features the LP that was originally released as the Nosferatu Original Sound Track album, also known as On The Way To A Little Way. A 1978 release, although it contained material recorded prior to that date. Right in the middle of the film production, Herzog felt he needed more music and asked Fricke for obscure, scary material. He searched the Popol Vuh archives and compiled the great collection that Nosferatu / On The Way... is. It came out a varied selectionç where older Moog tracks mix with more reflexive material that already gives clues of what's to come in Brüder des Schattens... Nevertheless, despite all the variety -or maybe thanks to it,- Nosferatu / On The Way To... turned out to be a fantastic, classic Popol Vuh album. We have added one bonus track previously unreleased in vinyl format.

Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films - for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS - and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979]

Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde).

Collected in a gorgeous limited edition double LP set, first half of the edition issued in transparent red vinyl, are the two albums that relate to Werner Herzog's Nosferatu. Housed in a fantastic silver sleeve with the Klaus Kinski / Isabelle Adjani artwork from the movie poster as used for the 1979 PDU Italian issue. The gatefold cover artwork is completed with graphic material from On The Way To A Little Way plus photos from the movie kindly provided by Werner Herzog himself. A killer 50 x 70 cm full colour reproduction of the movie poster is included, as is an insert with detailed liner notes and one bonus track not on the original albums.

It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

ARTIST : POPOL VUH
TITLE : NOSFERATU
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS161
FORMAT : TRANSPARENT RED / BLACK VINYL 2LP + INSERT + POSTER
RETAIL PRICE : 35 EUROS

AVAILABLE AUTUMN 2015:


LPS162 CARLOS ALVARADO VIA LÁCTEA
Barcode 4040824085438

Mexican rock had a strong renaissance in the eighties, when most bands, majorly coming from the prog scene, turned to Spanish language again. One of the big acts from that era was Jorge Reyes' led Chac Mool. Chac Mool counted on its ranks with Carlos Alvarado, who was an accomplished musician on its own and who would record one of the most interesting electronic prog albums of the era, on which Reyes also collaborated. Originally released on mexican private label Momia in 1980.

"Carlos Alvarado's Via Lactea (Milky Way) is now reissued on vinyl 35 years later. Eurock was especially interested in electronic Cosmic Music exploring both the inner and outer spaces of sound and consciousness. Of all the great music I had heard from Germany’s Klaus Schulze to Tangerine Dream & Spain’s own Neuronium, the album by Carlos stood apart from the rest.
 
In a sense, it combines the best of worlds, celestial sonic exploration and deeply emotional spiritual listening. A concept album, the track titles convey the musical journey Carlos undertaking - The Structure of the Universe, Garden of the Divine Presence, Into the Light, Man in Eternity, Meditation Post Atomic & The Lark and the Virgin. He employs a vast array of classic electronic instruments - ARP, Korg, Yamaha,  synthesizers, Crumar Orchestrator, Mellotron, Piano, Flute & Tapes. The album also features notable guest musicians such as Jorge Reyes and Arturo Meza.
 
The music you encounter upon listening is not easy to describe. Simply listen, close your eyes and imagine yourself in a majestic Holy Shrine. The sound of the earth’s heartbeat is slowly pulsating in different rhythms; solar winds from out of the sky are alternately wafting then gusting through the open spaces. In accompaniment, elemental sounds of nature fill the air, comingling with melodies from the cosmic spheres and the warm tones of exotic analogue electronica. All of these elements ultimately alchemize into an immaculate creation, a galactic symphony of Birth, Life, Death & Eternity.
 
Via Lactea is a masterpiece, fusing the technological magic of early electronic tone colors with the spirits of the ancient ones beautifully. Since 1980, Carlos has continued making music as well as running his own label Momia Records. To date the label has released 12 albums by various groups, as well as projects documenting his various other diverse musical incarnations. Carlos’ latest release in 2013, entitled La Musica de los 7 Chakras, offers yet another transcendent musical listening experience."
 
Archie Patterson
www.eurock.com

The Wah Wah reissue, made under license from and with the help of Carlos Alvarado himself, comes with remastered sound and will include one bonus track not on the original LP. Like the original, it will be housed on a flapped envelope style cover, this time in luxury silk screened metallic copper cardboard. Features a colour insert with photos and notes, plus a bonus Momia sticker based on the one given on the original release. Limited edition, only 500 copies pressed!

ARTIST : VIA LÁCTEA
TITLE : S/T
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS162
FORMAT : VINYL LP + INSERT + STICKER
RETAIL  PRICE : 20 EUROS



LPS140 FLUTE & VOICE - IMAGINATIONS OF LIGHT + HALLO RABBIT
BARCODE 4040824085124

Formed by multi-instrumentalists Hans Reffert ('Flute') and Hans Brandeis ('Voice') in Mannheim in 1969, the Flute & Voice duo discographic debut was issued on Pilz in 1970. It featured a progressive mixture of ethnic influences and accoustic experimentations making it one of the most sought after pieces from krautrock's most underground scene. Hans Reffert was already considered one of the best guitarists in the Mannheim/Heidelberg area, having played banjo since the age of 12 and then studied with guitar master Siegfriend Schwab, and when he joined forces with Hans brandeis the two experimented with various instruments and voices to find their sound. Imaginations Of Light features a wide range of different tools to make a whole sound spectrum that melts psyched out folk with experimental jazz and world music. Flutes and voices, obviously, are joined by different types of guitars (acoustic, electric, dobro...), electric bass and sitar, all performed by the two Hanses, plus cello, violin and moroccan percussions courtesy of guest musicians Clemens Schuster (cello), Dorle Ferber and Julia Gallwitz (violins) and Guru Guru's Mani Neumeier (percussions - Reffert himself played some years in Guru Guru during the eighties).

Their second album, Hallo RabbitI, originally recorded in 1973, only saw the life as a test pressing that, at the time, was rejected by BASF for release. And so it remained in the vaults until Jack Wieber Records issued it on CD in 1995 as part of a 2 album CD (along with Imaginations Of Light). It shows a progression that some sources have noted to be a more direct and clearly structured sound, but obviously without any concessions to their principles of experimentation in sound, use of different instrumental textures, and their rich ethnic background.

"We were on a continuous search for something “new.” “This guy is cool, he’s got it...” or “That one is uncool...” were the two main criteria for us to distinguish two categories of musicians: the inventive, artistic creators of new sounds and the success-oriented plagiators of “commercial” mainstream music. Rarely did we accept other musicians as birds of the same feather, like e.g. the Scottish Incredible String Band or the American Oregon Ensemble – sometimes, but mostly never." (From Hans Brandeis website)

"It was our goal that all our musical compositions should differ from each other as much as possible. Therefore, we adopted elements and ideas from most diverse music traditions and styles – at that time, just like today, an attitude completely opposed to commercial interests." (From Hans Brandeis website)

"For special stage performances and recording sessions, musicians from very different lines joined us: soul and jazz saxophone player Thomas Böhmer, the Indian tabla player Bal Kulkarni who also had played with the Beatles sometime, Ron Martin, the black percussion player from the States, cellist and drummer Clemens Schuster and violin player Dorle Ferber, to name just a few."

"Our approach to music as well as the content of our song lyrics of that time clearly reflected the zeitgeist of the late 1960s: a growing awareness for the social aspects of music and the responsibilities of musicians, hippie values, mind-expansion... Regarding the music, however, we consistently fell between all stools: the jazzers would say that our music was rock, the rockers would regard it as jazz; the folk people considered it as avantgarde music, the avantgarde musicians, however, stated that “now – this is really nothing but pure light music,” and for the musical entertainers, finally, it was a “noble (but lost) art” – for many a one, our music was just too complicated, for others just too naive... Our concept, therefore, was more a kind of “anti-concept:” not wanting to move from one point to another, but to expand from one point into all directions." (From Hans Brandeis website)

"Compared to the general standard of central Europe, this is most remarkable" (Volker Kriegel said after hearing the duo play).

Krautrock meets world music, heady psychedelic jazz, ethnic explorations. As you can imagine, the band's sound is unique and unlike anything else you've heard, but it will appeal those into artists such as Magic Carpet, Oriental Sunshine, Saddhu Brand, Mick Softley's Sunrise LP, Bobby Callender's Rainbow LP, Sagram, a.o.

Fans of Magic Carpet, King Crimson's In The Court Of The Crimson King, Third Ear Band, Kalacakra, Oriental Sunshine, Bobby Callender, Clem Alford, Kali Bahlu or the "sitar side" of Popol Vuh will enjoy this one!

The Wah Wah edition is limited to only 500 copies, housed in the original psychedelic gatefold cover originally drawn by Hans Reffert and expanded with the inclusion of their second LP, Hallo Rabbit, issued in vinyl for the first time ever!

ARTIST : FLUTE & VOICE
TITLE : IMAGINATIONS OF LIGHT
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS140
FORMAT : LP
RETAIL PRICE  : 35 EUROS



LPS147 FLUTE & VOICE - DRACHENLIEDER
BARCODE 4040824085131

Formed by multi-instrumentalists Hans Reffert ('Flute') and Hans Brandeis ('Voice') in Mannheim in 1969, the Flute & Voice duo discographic debut was issued on Pilz that same year. Their second album was originally recorded in 1973, but it remained unreleased for 22 years until Jack Wieber Records issued it on CD in 1995 as part of a 2 album CD (along with Imaginations Of Light) and now available on vinyl LP format through Wah Wah. But some more material was composed in 1974/1975 and recorded, albeit never going further than the demo stage. Those old tapes showed a further evolution from the previous recordings. They had, of course, the same basic concept, but more intrincate structures and technical challenges were taken. When Brandeis and Reffert met in 1995 to prepare the reissue of Flute & Voice plus Hallo Rabbit on CD they rescued these tapes and thought of chosing the best tracks to re-record them in a proffessional studio. This was done between February and June of 1996 and the results conform Drachenlieder, an album that does not pale in comparison with its predecessors, and one that you wouldn't have thought it was recorded in the nineties if we haven't told you as it keeps the excitement, feeling and sound of their 70's recordings.

"We were on a continuous search for something “new.” “This guy is cool, he’s got it...” or “That one is uncool...” were the two main criteria for us to distinguish two categories of musicians: the inven
tive, artistic creators of new sounds and the success-oriented plagiators of “commercial” mainstream music. Rarely did we accept other musicians as birds of the same feather, like e.g. the Scottish Incredible String Band or the American Oregon Ensemble – sometimes, but mostly never." (From Hans Brandeis website)

"It was our goal that all our musical compositions should differ from each other as much as possible. Therefore, we adopted elements and ideas from most diverse music traditions and styles – at that time, just like today, an attitude completely opposed to commercial interests." (From Hans Brandeis website)

"For special stage performances and recording sessions, musicians from very different lines joined us: soul and jazz saxophone player Thomas Böhmer, the Indian tabla player Bal Kulkarni who also had played with the Beatles sometime, Ron Martin, the black percussion player from the States, cellist and drummer Clemens Schuster and violin player Dorle Ferber, to name just a few."

"Our approach to music as well as the content of our song lyrics of that time clearly reflected the zeitgeist of the late 1960s: a growing awareness for the social aspects of music and the responsibilities of musicians, hippie values, mind-expansion... Regarding the music, however, we consistently fell between all stools: the jazzers would say that our music was rock, the rockers would regard it as jazz; the folk people considered it as avantgarde music, the avantgarde musicians, however, stated that “now – this is really nothing but pure light music,” and for the musical entertainers, finally, it was a “noble (but lost) art” – for many a one, our music was just too complicated, for others just too naive... Our concept, therefore, was more a kind of “anti-concept:” not wanting to move from one point to another, but to expand from one point into all directions." (From Hans Brandeis website)

"Compared to the general standard of central Europe, this is most remarkable" (Volker Kriegel said after hearing the duo play).

Krautrock meets world music, heady psychedelic jazz, ethnic explorations. As you can imagine, the band's sound is unique and unlike anything else you've heard, but it will appeal those into artists such as Magic Carpet, Oriental Sunshine, Saddhu Brand, Mick Softley's Sunrise LP, Bobby Callender's Rainbow LP, Sagram, a.o.

Fans of Magic Carpet, King Crimson's In The Court Of The Crimson King, Third Ear Band, Kalacakra, Oriental Sunshine, Bobby Callender, Clem Alford, Kali Bahlu or the "sitar side" of Popol Vuh will enjoy this one!

First ever vinyl release, the Wah Wah edition is limited to only 500 copies housed in a cover drawn by Hans Reffert himself.

ARTIST : FLUTE & VOICE
TITLE : DRACHENLIEDER
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS147
FORMAT : LP
RETAIL PRICE  : 22 EUROS

AVAILABLE LATE 2015:




LPS149 ZWEISTEIN - TRIP · FLIP-OUT · MEDITATION
Barcode 4040824085445

TRIPLE LP IN GIMMICK COVER PLUS BONUS 7"!

Originally released on Philips in 1970, Zweistein's trippy kraut psych experimental masterpiece gets its first vinyl reissue ever. Even more experimental than Faust, Kraftwerk or Cluster, their only album was a triple LP housed in a marvelous double gatefold cover, all made in silver & gold cardboard, with the front embossed and featuring a small mirror on it. Electronically adventurous, the sounds give you what's promised in the title in the form of an avantgarde collage produced by Suzanne Doucet -a successful pop singer and TV guest then, and now a famous voice in New Age music- with the help of her sister Diane and sound engineer Peter Kramper, who besides his recognised work as a studio wizard starting with many German beat bands like The Rattles or The Blizzards and later remixing albums by the likes of Hawkwind a.o. He also played synthesizer in some Amon Düül albums an records by other krautrock travellers like Utopia's 1973's self titled LP.

At the time Suzanne didn't want to link the avantgarde experiments collected here with her succesful pop career, so she used a pseudonym and signed the production as Jacques Dorian, while the recordings were issued as being made by a whole band named Zweistein. The photo you see on the cover of their only 45, here included as a bonus, show the Doucet sisters surrounded by friends who where ask to play any instrument they could, be a tambourine, a flute or simply stomp their feet on the ground, on the sessions.

"My sister and myself were huge fans of Einstein (of course) therefore the ZWEISTEIN pseudonym."

"I was always into recording technology - starting when I was 14 to record songs with my first tape recorder... so I took all the recordings of ZWEISTEIN and transferred and edited them into a "piece" and it became 3 album length pieces. We took those to the studio to my favorite recording engineer Peter Kramper (who was also a producer and recording engineer for Liberty Records, I was signed to until 1970) and added effects and magically appearing sounds that came out of nowhere (you can hear those strange tones on the 3rd album in the beginning and end...) and they did fit perfectly with our 3rd album MEDITATION."

"The 3 albums were called TRIP, FLIP OUT and MEDITATION because that was in our opinion the logical evolution our generation was going through. We all had experimented with psychadelics and the first album is such a recorded TRIP. As a result many of us went into a psychotic state of mind, i.e. FLIP OUT (the world upside down, reverse all concepts and rules were off) and if you ever came out of that your only salvation would be spirituality MEDITATION. Maybe ZWEISTEIN became such a "cult" recording because it reflected the evolution of the mind of a whole generation. And if we accomplished that I would call that art!"

Suzanne Doucet (from "The Making Of Zweistein", krautrockgroup.blogspot.com)

The recordings were licensed to Philips, who had already signed Kraftwerk to their catalogue, and it managed to sell a number of copies before it was withdrown. In years to come it would be rediscovered to gather a cult status among collectors and afficionados, with original copies nowadays changing hands for small fortunes.

The Wah Wah reissue has been licensed from Suzane Doucet, comes with remastered sound and will include one bonus 7" reissue of their non LP single. Like the original, it will be printed over metallic silver & gold embossed cardboard, plus comes with an insert with liners and photos. Limited edition, only 500 copies pressed!

ARTIST : ZWEISTEIN
TITLE : TRIP · FLIP-OUT · MEDITATION
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS162
FORMAT : 3LP + BONUS 7" IN GIMMICK COVER + INSERT
RETAIL PRICE : 60 EUROS

ALSO IN PREPARATION:


LPS152 URBAN SAX - URBAN SAX 1
Barcode 4040824085452


Urban Sax was created in 1973. Gilbert Artman, the mastermind behind Lard Free -who has also participated in dozens of recordings by other artists of the French experimental scene that included Delired Chameleon Family, Clear Light, Komintern, etc.- developed an interest in the relation between space and sound. He organised a first experiment that took place in the town of Menton, in the South of France. Artman strategically placed 18 saxophonists, and their sound reverberated through all the village. As time went by the band increased and currently their performances count with up to 34 saxophonists, 1 bass player, 3 percussionists, 2 dancers and 8 vocalists, with a line up that varies depending on each particular project. You can find saxophonists playing over rooftops, or climbing down buildings or arriving in helicopters. It is a fascinating experience that can be hardly translated to vinyl, but through the years they have recorded some of their music and here we are proud to offer vinyl reissues of those works, including one previously released on vinyl format!

Urban Sax's debut LP was issued in 1977 on Cézanne / Cobra. It is the soundtrack of Urban Sax first architectural sound shows, but also a splendid work on its own, with a similar sense of musical experimentation and adventure to that of La Monte Young, Phil Niblock, Glenn Branca, Steve Reich, Terry Riley, a.o. Urban Sax's music is constructed over the concept of ""continuous sound", around which build and develop poly-rhythmic loops, modulated and nested in a partition and a principle of "distant sound" allowing to question the listening audience. It is about linking audio and visual performances. The music is semi repetitive, with evolving pieces of different colors. Entire saxophone family is represented: sopranos, altos, tenors and bass baritones..." (Wikipedia).

https://www.youtube.com/watch?v=2nYM_UyxIpY
https://www.youtube.com/watch?v=tizC7KjXD4I#t=48

16 saxophone players gathered to record the 1st Urban Sax LP, after several years of touring festivals and outdoor venues. They were perhaps reluctant to actually record their music events, hence reducing the spatial effects of musicians playing around and above the audience. I assume Gilbert Artman had to make compromizes to re-create the Urban Sax magic in studio, using studio trickeries and sound effects. For example, the extremely low rumbles on track #1 sound like slowed down, processed saxophone recordings. The music is not only live performance, then, but partly composed in the studio. Vocals starting 14:00 on side one add the pseudo-primitive, typical Urban Sax mood. The music gets uncompromizingly repetitive on side two, where a 5 notes loop on soprano saxophone (starting 3:45) is played endlessly to mesmerizing effects, on a background of sustained low notes by the 8 tenor players. The effect is hypnotic, and these enchanting sounds could go on for ever. This is where Urban Sax gets closer to LaMonte Young, and have been compared to Rhys Chatham or Glen Branca on saxophones. ‘Urban Sax 2′, part III, is available on this WFMU’s post.  From continuo.wordpress.com

The Wah Wah reissue reproduces the original sleeve artwork, comes in remastered sound and lacquer cut by Lex Van Coeverdeen @ The Vinyl Room for improved performance and features a booklet with photos and liner notes written by Gilbert Artman himself.

ARTIST : URBAN SAX
TITLE : URBAN SAX 1
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS152
FORMAT : VINYL LP + INSERt
RETAIL PRICE : 18 EUROS



LPS153 URBAN SAX - URBAN SAX 2
Barcode 4040824085469

Urban Sax was created in 1973. Gilbert Artman, the mastermind behind Lard Free -who has also participated in dozens of recordings by other artists of the French experimental scene that included Delired Chameleon Family, Clear Light, Komintern, etc.- developed an interest in the relation between space and sound. He organised a first experiment that took place in the town of Menton, in the South of France. Artman strategically placed 18 saxophonists, and their sound reverberated through all the village. As time went by the band increased and currently their performances count with up to 34 saxophonists, 1 bass player, 3 percussionists, 2 dancers and 8 vocalists, with a line up that varies depending on each particular project. You can find saxophonists playing over rooftops, or climbing down buildings or arriving in helicopters. It is a fascinating experience that can be hardly translated to vinyl, but through the years they have recorded some of their music and here we are proud to offer vinyl reissues of those works, including one previously released on vinyl format!

Urban Sax's music is constructed over the concept of ""continuous sound", around which build and develop poly-rhythmic loops, modulated and nested in a partition and a principle of "distant sound" allowing to question the listening audience. It is about linking audio and visual performances. The music is semi repetitive, with evolving pieces of different colors. Entire saxophone family is represented: sopranos, altos, tenors and bass baritones..." (Wikipedia).

https://www.youtube.com/watch?v=2nYM_UyxIpY
https://www.youtube.com/watch?v=tizC7KjXD4I#t=48

1978's Urban Sax 2, also on Cézanne / Cobra, is the continuation of their debut work. Actually it features parts 2 and 3 of the pieces contained on 1, again similarities with works by La Monte Young, Phil Niblock, Glenn Branca, Steve Reich, Terry Riley, a.o. are present, and it's the perfect companion to 1 as it is, basically, part two of that first album.

The Wah Wah reissue reproduces the original sleeve artwork, comes in remastered sound and lacquer cut by Lex Van Coeverdeen @ The Vinyl Room for improved performance and features a booklet with photos and liner notes written by Gilbert Artman himself.

ARTIST : URBAN SAX
TITLE : URBAN SAX 2
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS153
FORMAT : VINYL LP + INSERT
RETAIL PRICE : 18 EUROS


LPS154 URBAN SAX - FRACTION SUR LE TEMPS
Barcode 4040824085476

Urban Sax was created in 1973. Gilbert Artman, the mastermind behind Lard Free -who has also participated in dozens of recordings by other artists of the French experimental scene that included Delired Chameleon Family, Clear Light, Komintern, etc.- developed an interest in the relation between space and sound. He organised a first experiment that took place in the town of Menton, in the South of France. Artman strategically placed 18 saxophonists, and their sound reverberated through all the village. As time went by the band increased and currently their performances count with up to 34 saxophonists, 1 bass player, 3 percussionists, 2 dancers and 8 vocalists, with a line up that varies depending on each particular project. You can find saxophonists playing over rooftops, or climbing down buildings or arriving in helicopters. It is a fascinating experience that can be hardly translated to vinyl, but through the years they have recorded some of their music and here we are proud to offer vinyl reissues of those works, including one previously released on vinyl format!

Urban Sax's music is constructed over the concept of ""continuous sound", around which build and develop poly-rhythmic loops, modulated and nested in a partition and a principle of "distant sound" allowing to question the listening audience. It is about linking audio and visual performances. The music is semi repetitive, with evolving pieces of different colors. Entire saxophone family is represented: sopranos, altos, tenors and bass baritones..." (Wikipedia).

https://www.youtube.com/watch?v=2nYM_UyxIpY
https://www.youtube.com/watch?v=tizC7KjXD4I#t=48

"This is some amazing shit right hyah, folks. Imagine something like, say, a concert band playing outtakes from Magma's "Theusz Hamtaahk" trilogy. You'd possibly arrive at this." (...) "Everything starts with this massive (and I mean it...we're basically talking about something the size of an orchestra here) wash of sound, like something dropped wholesale out of the trippier parts of Ligeti's material in the "2001" soundtrack. Then we get swept into the primal repetition of a simple motif...very Magma-like, save for the obvious difference in forces. As the proceedings go on, it gets more complex; another wash, and then into another primal minimalist cycling with strange, otherworldly drones and choral voices in the background, chuffing percussion...and then a drift off into Ligeti-land again, with chanting vocals following, and huge gusts of wind from the sax players breathing thru their horns as some sort of Saturnian Sun Ra lullabye starts to course through the group. And that's just the first half. This is some potent stuff. It's very much 'ritual music', as one would expect with it being composed for Urban Sax's ritualistic performances. And it's quite trippy, especially for something largely acoustic (although there are four presumably electric guitars in the forces) with little electronic tinkerage to enhance the strangeness." (...) "There are some other recordings in Urban Sax's catalog, but this is perhaps the most amazing, most trippy of them all." Extracts from a review by Lugia from Julian Cope's Head Heritage website

Fraction sur le temps was originally released in 1986 on Celluloïd.

The Wah Wah reissue reproduces the original sleeve artwork, comes in remastered sound and lacquer cut by Lex Van Coeverdeen @ The Vinyl Room for improved performance and features a booklet with photos and liner notes written by Gilbert Artman himself.

ARTIST : URBAN SAX
TITLE : FRACTION SUR LE TEMPS
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS154
FORMAT : VINYL LP + INSERT
RETAIL PRICE : 18 EUROS


LPS155 URBAN SAX - SPIRAL
Barcode 4040824085483

Urban Sax was created in 1973. Gilbert Artman, the mastermind behind Lard Free -who has also participated in dozens of recordings by other artists of the French experimental scene that included Delired Chameleon Family, Clear Light, Komintern, etc.- developed an interest in the relation between space and sound. He organised a first experiment that took place in the town of Menton, in the South of France. Artman strategically placed 18 saxophonists, and their sound reverberated through all the village. As time went by the band increased and currently their performances count with up to 34 saxophonists, 1 bass player, 3 percussionists, 2 dancers and 8 vocalists, with a line up that varies depending on each particular project. You can find saxophonists playing over rooftops, or climbing down buildings or arriving in helicopters. It is a fascinating experience that can be hardly translated to vinyl, but through the years they have recorded some of their music and here we are proud to offer vinyl reissues of those works, including one previously released on vinyl format!

Urban Sax's music is constructed over the concept of ""continuous sound", around which build and develop poly-rhythmic loops, modulated and nested in a partition and a principle of "distant sound" allowing to question the listening audience. It is about linking audio and visual performances. The music is semi repetitive, with evolving pieces of different colors. Entire saxophone family is represented: sopranos, altos, tenors and bass baritones..." (Wikipedia).

https://www.youtube.com/watch?v=2nYM_UyxIpY
https://www.youtube.com/watch?v=tizC7KjXD4I#t=48

1991's Spiral makes its first ever appearance on vinyl format here. Previously it had only been available on CD, originally released on the EPM Musique label.

The Wah Wah reissue comes in remastered sound and lacquer cut by Lex Van Coeverdeen @ The Vinyl Room for improved performance and features a booklet with photos and liner notes written by Gilbert Artman himself.

ARTIST : URBAN SAX
TITLE : SPIRAL
LABEL : WAH WAH RECORDS SUPERSONIC SOUNDS
CATALOGUE NUMBER : LPS155
FORMAT : VINYL LP + INSERT
RETAIL PRICE : 18 EUROS


© Wah Wah Records Supersonic Sounds
C/ Riera Baixa 14 - 08001 Barcelona (Spain)
Phone +34 93 442 37 03 / Fax +34 93 442 23 25
E-mail
info@wah-wahsupersonic.com