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From Mother Sauce (UN-127), a reel-to-reel mixtape by Uncanned Music

Description: Mother Sauce could refer to the 5 French mother sauces that are the building blocks of classical cooking traditions or it could refer to a style of song so dripping with excess and redolent of sensuality that it makes same-side couples of us all. Deep, sultry grooves under warm, cooing evocations, this side of the tape pivots around Donna Summer’s epic 16-minute collaboration with Giorgio Moroder, 1975’s “Love to Love You Baby.” 

-- an analog tape production for Born & Raised, San Diego

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Someone could maybe press this.

Kalimist K Boog = Israeli G Boogie/Funk edits with some big flavor. 

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Blue House Recs Vol. 1

This mix is a tender ode to Kansas City. Recorded a couple days before I moved away and comprised of a few of my favorite house tracks discovered during my 2 years living there. Blue House was born in KC and it lives on here.

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Don’t you think I know

You’re only trying to save yourself

just like everyone else

“Save Yourself” / Sharon Van Etten / 2010

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See? People do this all the time. There’s nothing to worry about.

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This month, I had the distinct honor of interviewing Laraaji, master of meditation and composer of celestial ambiance. The link above contains a bit of language organized in an attempt to frame these ethereal sounds.

Vision Songs Vol. 1 by Laraaji

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This one has somehow evaded the Youtube upload annals thus far and is one of my favorites by South African singer/trumpeter Hugh Masekela who vacated his corporal trappings on Tuesday, January 23rd.

Taken from 1966′s The Emancipation of Hugh Masekela on Chisa Records.

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Not sure if this ever cycled around to the degree that it deserves to. This is most-righteous Japanese saxophonist Yasuaki Shimizu. Originally released exclusively in Japan in 1982, it’s finally made its way around the world in 2017 with a pressing from terrestrial -- Palto Flats -- and Swiss Brand -- We Release Whatever the Fuck We Want Records. It’s only been here 2 months but I would imagine this one will disappear quickly.

Pure transcendental electronic modal classical/avant/jazz vamp and it slays. I imagine this is just the beginning of our acquaintance with Shimizu.

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A new Album of the Day I wrote is up on Bandcamp Daily today detailing the debut collaboration between Peter Rehberg (Editions Mego) and Nik Colk Void (Factory Floor, Carter Tutti Void). 

You sort of initially get the sense of 33 33 as a deconstructed/disarrayed Factory Floor record, shattered and stomped on and reconstituted. It finds its own strange, snaking rhythms and is a thoroughly satisfying new entry in the experimental/electro/industrial vein. 

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A couple shindigs happenin’ as I stomp around Chicago this weekend. Come out and help me warm up these rooms. 

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It’s that season in which music’s healing power takes on a more direct therapy--easing the condition of the broken heart. With that, a brilliant ‘60s Thai psych take on Serge Gainsbourg’s classic romantic misanthropy.

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Some more smoke signals from the collector’s arm of the Kansas City music scene. 

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The Scotch Club in Aachen, Germany in 1965, an early residency of Giorgio Moroder.

"When I came from South Tyrol to Germany in the sixties, where did I perform? In discotheques like the "Scotch Club" in Aachen. The owner was the chairman of the DDO, the German Disc jockey organization. I was a member. Plates were cheaper than chapels and orchestra. I also firmly believe that disco was already invented in Germany back then. "     -G.M.

Reference: Aachener Untergrund Kultur

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My dear Bud.

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I can’t help but bubble over with the discovery of a piece from Charanjit Singh’s Synthesizing: Ten Ragas to a Disco Beat, originally released in 1982. At once an outlier, this work now stands as an early classic of the electronic dance era and premonitory of so many parties. Another stunning symbiosis between sonic exploration and movement.

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And, in one fell swoop, he totally redeems himself. 

The new and terrifically weird single from Montreal’s Timber Timbre, out 9/14/17.

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Not to be confused with ‘50s crooner and ex-husband to Elizabeth Taylor, this Eddie Fisher came along a bit later as a jazz guitarist with Albert King in the ‘60s and boldly envisioning how he wanted this album cover to look to the Stang Records art director circa 1977. 

The lyrics are thoroughly corny or at least safely thin (i.e. “Brain-strain” and “Music Makes Me Feel Good,” respectively) but the sessions are brilliantly funky. “Thump and Bump” is a B-side shard of wah-wah boogie blues that ratchets this LP right up there as peer to classic Shuggie and Little Beaver slabs.