Der TPK is short for Teenage Panzer Korps. Distorted aliens making disoriented lo-fi garage music in the basement cellars. A must for Siltbreeze fans.
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Fusao Toda of Angel'in Heavy Syrup and Maso Yamazaki aka Masonna have been pumping out psychedelic grooves as Christine 23 Onna since around 1993, in 2001 the duo started getting additional assistance at gigs from two other members allowing more room for Maso's vocals and led to the project being reborn as Acid Eater.
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So, more proof corporations running record labels are evil: this shit right here sat in the vault for a long, long time. Victim of a transition in Blue Note's ownership, Kofi didn't make it out until 1995, about 25 years after it was recorded, and fuck if it isn't Byrd's best record (in my opinion). Think about it as 're: In a Silent Way.' This has many of my favorite record's trademark sounds, but the playing is more "jazz" than rock.
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Here is the sum total of Gas, a great collection I just bought. This is some of the finest techno I've ever heard. This is the evolution (although stylistically I don't hear the connection) of Aphex Twin's first to Selected Ambient albums put together, but with what would become signature Berlin minimal. Pulses, vague string washes, and expanding time all come together to make these tracks breathe. Truly phenomenal.
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Here is the compilation I bought the other day, Pole's first three albums, titled '1 2 3' (each album was a number, so the first was '1' and so on). Here you have some of the coolest, deepest techno I've ever heard. It has been noted with the recent reissue spurt that these albums are canonical, and I'm not arguing.
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What we have here is a free jazz super group. I know that some of you have heard this, and really, if you're a fan of jazz at all, you will have heard of these names before, but since this is out of print, and since many of you have not rated this, I figured I would get a little closer to the beaten path of "new" classics (not quite an oxymoron) for a change.

First off, the least, as far as I know, member: Toshinori Kondo. My first introduction to Kondo was on his Tzadik release.
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"In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby, creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created - unexpected, nerve-racking and aggressive.
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A few weeks ago while my parents were out of town, I took all the money they had left me for food to go record shopping (obviously, my priorities are in order). In the very back corner of Encore Records in Ann Arbor, there is a noise section comprised mostly of Wolf Eyes (that probably has something to do with home-town spirit I'm guessing), but behind the countless the Wolf Eyes vinyls sits a little wooden crate of local and/or obscure as fuck recordings.
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With nuts and bolts, coins and cards Anthony Pateras transforms the piano into an entirely new instrument. This three part album showcases Pateras’ unique playing style as well and the hidden diversities in sound the piano has to offer. It is his first solo release having previously a number of solid albums in collaboration with others including one on the prestigious Tzadik label.
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