{"title":"No Wave","description":null,"products":[{"product_id":"glenn-branca-the-ascension-lp","title":"Glenn Branca - The Ascension LP","description":"\u003cp\u003eGlenn Branca's first full-length album \u003cem\u003eThe Ascension\u003c\/em\u003e is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions. Originally released in 1981 on 99 Records, \u003cem\u003eThe Ascension\u003c\/em\u003e effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock 'n' roll.\u003c\/p\u003e\n\u003cp\u003eOn \"The Spectacular Commodity,\" chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) \"never stops climbing skyward.\"\u003c\/p\u003e\n\u003cp\u003eWith artist Robert Longo's stark front cover that depicts Branca battling an unidentified man, \u003cem\u003eThe Ascension\u003c\/em\u003e is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint's \u003cem\u003eTweez\u003c\/em\u003e.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Default Title","offer_id":29238919565,"sku":"SV056","price":28.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1427\/6532\/products\/sv056_web.jpg?v=1526065815"},{"product_id":"teenage-jesus-and-the-jerks-s-t-lp","title":"Teenage Jesus And The Jerks - s\/t LP","description":"\u003cp\u003eDuring the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch's shouted lyrics matched by her non-conventional use of electric guitar. The group's self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids\/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it's an awesome disc that rebuffs punk's easy cliches and refuses to be categorized. This reissue also includes the \u003cem\u003ePre\u003c\/em\u003e EP and the tracks from the legendary \u003cem\u003eNo New York\u003c\/em\u003e compilation.\u003c\/p\u003e","brand":"Radiation","offers":[{"title":"Default Title","offer_id":45053208854825,"sku":"RRS216","price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1427\/6532\/files\/teenage-jesus-and-the-jerks-s-t-lp.jpg?v=1684183571"},{"product_id":"don-king-on-the-mediterranean-lp","title":"Don King - On The Mediterranean LP","description":"\u003cp\u003eDon King was the mid-'80s band from Mark Cunningham (post Mars), originally formed to play Thurston Moore's Noisefest at White Columns in 1981. The six concerts tour in 1986 were the last European appearances of the New York no wave band Don King, starting in Padua and following a wide arc around the Mediterranean, by train, through Switzerland over to Toulouse (France) and then down to Barcelona (Spain).\u003c\/p\u003e\n\u003cp\u003eThe original cassette was a selection of the best live recordings released by the historic Barcelona collective 4sellos. Featuring Lucy Hamilton (bass clarinet, guitar, vocals), Arto Lindsay, Duncan Lindsay, Toni Nogueira (percussion tape), John Erskine (producer, percussion tape), and Mark Cunningham (producer, trumpet). Photography by Catherine Ceresole.\u003c\/p\u003e","brand":"Nashazphone","offers":[{"title":"Default Title","offer_id":48025106153769,"sku":"NP050","price":30.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1427\/6532\/files\/don-king-on-the-mediterranean-lp.jpg?v=1712866576"},{"product_id":"mars-live-at-the-village-gate-1977-lp","title":"Mars - Live at the Village Gate 1977 LP","description":"\u003cp\u003e\u003cstrong\u003eEdition of 500.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"A common misconception about Mars is that their music was meant to be dark and nihilistic. That's not totally wrong: When their guitars sawed noise, rhythms lurched heavy and words came in howls, listening could be a harrowing experience, as suffocating as any of their apocalyptic No Wave counterparts. But the quartet's work was also energetic, joyful and buoyantly melodic. After all, they started by jamming on tunes by the Velvet Underground, pretty much the ur-band when it comes to sounding both dark and bright. As much as Mars stretched and remade that model into new wiry shapes, the spark of brightness sustained.\u003c\/p\u003e\n\u003cp\u003e\"It's easy to hear when listening to this set recorded in the summer of 1977 at a series of shows put on by the late Terry Ork at the Village Gate, a renowned jazz club in Greenwich Village. All eight songs have an urgent bounce, which is clearest in the caffeinated energy of the vocals, usually delivered in the pungent wail of either Sumner Crane or Connie Burg. Mark Cunningham's rubbery bass and the chopping guitars of Crane and Burg shoot flares as if they were running a fireworks display. Add Nancy Arlen's nonstop drumming – roughly echoing Mo Tucker if she had extra limbs and \u003cem\u003eLive at the Village Gate\u003c\/em\u003e becomes a dizzying rush of tunes that zooms by in a taut 24 minutes.\u003c\/p\u003e\n\u003cp\u003e\"Though Mars hadn't even recorded at this point, they were already what Burg called 'like a machine in a way – a really out of control machine.' Most of these songs were honed when the band was called China, a name they changed a few months before this gig after discovering other, potentially litigious groups bearing that moniker. In face these songs were so far along that when Mars did start recording, only '3E' would survive, none of the other seven would ever see the dank light of a studio. That's a shame, but it's also hard to imagine a studio capturing the same spilling ecstasy of what Mars managed live – from the chugging pre-Feelies slash of 'Cry' to the see saw sway of 'Compulsion,' to the absolute rhythmic mastery of '81 Warren Street,' with its slipping beat like thread darting through the eye of a needle.\u003c\/p\u003e\n\u003cp\u003e\"What would become the a-side for Mars' first single, '3E' plays out much differently here from what it later became. Cunningham's insistent bass and Crane's hyperactive yelps are firmly in place, but this version is longer and looser, not as tightly wound as it ended up on record. It's all the more exciting for it, as the band seems ready to collapse at any moment, only to steer the teetering ship back to safety every time. Like much of \u003cem\u003eLive at the Village Gate\u003c\/em\u003e, it's a perfect manifestation of what Burg often said she hoped for Mars. 'I wanted to see how far it could go and still be called music.'\"\u003c\/p\u003e\n\u003cp\u003e– Marc Masters\u003c\/p\u003e","brand":"Hozac","offers":[{"title":"Default Title","offer_id":53278304370985,"sku":"HZR237","price":24.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1427\/6532\/files\/mars-live-at-the-village-gate-1977-lp.jpg?v=1781881872"}],"url":"https:\/\/www.strandedrecords.com\/collections\/no-wave.oembed","provider":"Stranded Records","version":"1.0","type":"link"}