period MICHAEL YONKERS with the BLIND SHAKE

also picked up a brand spanking new copy of this LP today at End of an Ear...this LP is top notch! dirty, psych tinged garage rock from a legend and a great younger band from Minneapolis. S.S. Records released this beauty and continues to amaze me with some of the best releases lately! (if you don't have a copy of S.S. Records reissue of Prisoners Go-Go Band go to their website now and buy it, thank me later).

Michael Yonkers with the Blind Shake - Carbo Hydro by S. S./ Sol Re Sol Records

check out the track above for a little sample and then head over to the S.S Records catalog and get your copy! I'm sure there are only 500 or some small amount of these pressed so go get it!

song for JOSEPH JARMAN

picked up a real clean original copy of this LP today at End of an Ear. totally stoked. i've really been digging on a lot of Art Ensemble of Chicago and related material. picked up a copy of Roscoe Mitchell's Solo Concert recently reissued by Tizona Records and it is killer. but back to the LP at hand. i had a CD copy of "Song For" back in college and loved it but kinda forgot about it once I got rid of all my CD's. so it is a very welcome surprise to hear this again on vinyl.

the other really great thing about this LP is that it features some of the lesser heard from AACM dudes...Steve McCall and Thurman Barker on drums, Christopher Gaddy on piano and marimba, Charles Clark on bass (who really holds it down. seriously awesome bass playing) and the best surprise is getting to hear a young Fred Anderson (!!) and Billy Brimfield. the LP starts off with "Little Fox Run" which is a great mix of AACM style improv with Ayler style fire music of the time. the mix seems a little more ahead of it's time than a lot of jazz from this era. it was recorded in 1966 after all. "Non-Cognitive Aspects of the City" is a total slow soundscape/poetry tune in the style of future Art Ensemble of Chicago pieces. The B-side starts off with "Adam's Rib" which moves at a dirge like pace but has some really amazing solos (especially from Brimfield) and Clark's bass playing is incredible and seriously holds the entire track and band together. "Song For" closes the album on a really graceful and beautiful note...in the words of Jarman himself:

"SONG FOR is made of sound and silences from musical instruments, controlled by seven men; it's music that lasts 13 1/2 minutes, it's for itself, for love, for hate, & for the God within us all--it has no "meaning" outside of itself, the MUSIC."

this is a must have for any fan of AACM, Art Ensemble of Chicago or even Fred Anderson fans who want to hear some of his earliest recorded playing. listen to it here.

shinu toki wa betsu WHA-HA-HA

quite a score today at End of an Ear...an original pressing of Wha-ha-ha's 1981 album "Shinu Toki Wa Betsu." (check out this review from Pitchfork (!?!) from way back when in 2005 of a reissue of this record). i will admit the only reason I picked this LP up to check it out is because Akira Sakata is part of the group! Sakata's name may be familiar to some as he's recently gained some noteworthy acclaim from his playing with Jim O'Rourke and Chikamorachi (Darin Gray & Chris Corsano). He's released excellent CD's and LP's on the Family Vineyard label (Live at the Hungry Brain is pretty great) and an amazing double LP on Presspop outta Tokyo which features a qartet of Sakata, Jeff Parker, Nate McBride and John Herndon! video of the show that's on the record here:



i digress...back to the record at hand....WHA HA HA.

judging by those recent outings by Sakata you might not be expecting Wha-ha-ha to be what it is...which is to say it's out there in a great way. this is definitely a pop record, granted a very odd pop record that only early 80's Japan could produce. mix together 70's Zappa-esque prog sensibilities with early synth/keyboard pop and occasional weirdo free-jazz breaks and lots of scat singing on top. it's definitely a bit cheesy but in a great way. what's even weirder is that Sakata is not the only japanese jazz star on this record. drummer Shuichi "Ponta" Murakami has played with Yosuke Yamashita (where he met Akira Sakata in the early 70's) and keyboardist Shuichi Chino has played with Otomo Yoshihide among others.

although this might not be the most amazing LP you'll hear, it's pretty damned interesting and especially considering some of the people playing on the record. "Inanaki," the lead track is worth it alone, but the album as a whole stands as a really pleasant fun pop record from the early 80's japan. a lot of hip kids with synths would kill to make a record like this now. this is the real deal. listen to it here.

challenger BURNING STAR CORE

while on the subject of challenging records....Burning Star Core has made quite a few of them. the nom de plume of C. Spencer Yeh who has been released limited cassettes, CDR's and LP's since the very early 2000's. "Challenger" was released back in 2008 on Plastic Records (and CD on Hospital Records) and was his first LP to show a markedly different tone and direction. granted some of the noise is still in there but it's more composed on this record and is intertwined with slowly moving synth lines and other subtler touches. can't say I'm really surprised to see this direction from BSC considering his nonstop touring and collaborating, especially in the last 3-4 years with free jazz musicians and other non-noise dudes.

great record of more composed pieces. bought it a while ago but hadn't given it a full listen really and recently was looking at my LP's with artwork by Robert Beatty and thought I'd give this another spin. well worth it. check it out here.

new slaves ZS

quite possibly the best LP released in 2010 (or for a few years for that matter). Zs formed way back when in 2000 and have had multiple configurations from a sextet (2 saxes, 2 guitars & 2 drums) to everything in between and now for "New Slaves" (released in 2010 on Social Registry, with amazing cover art from John Dwyer of Thee Ohsees, Coachwhips, etc) they are a trio of sax, guitar and drums but you wouldn't know it from the sound of the album. This is the fullest, most confounding, genre-defying and challenging record they've ever made. it's also worth noting that longtime co-founder Charlie Looker left after their 2007 album "Arms" to focus on his project Extra Life which left just the trio would didn't even know if they'd continue making music as Zs....read here.

this LP is definitely not for everyone to say the least. but if you are even remotely interested in new experimental music you have to hear this record. most of the time you can't even tell who is actually playing what...to quote Ben Ratliff in his review of "New Slaves" from the New York Times, "the saxophone ends up sounding like an electric guitar and the electric guitar ends up sounding like a dentist’s drill. The drums sound like subway wheels heard from half a station away, or a clapping game." as a double LP this is definitely an endurance test but there are so many ideas and sounds crammed in here that it's hard not to listen to the entire thing at a time. in fact, I can't remember the last time I sat down to listen to this LP and DIDN'T listen to the whole thing. you almost have to take it in it's entirety just to get an idea of what's going on.

for example:


if that's not enough to convince you then listen to New Slaves right here and get hip. Zs are at the top of the vanguard of new music right now. LP and CD versions of this album are both out of print so if you happen to find it at a record store I recommend buying it.

oblique parallax SUN RA

when visiting Chicago there is a lot of good record shopping to be done. too much sometimes. i tend to stick to the obvious ones Permanent & Reckless with an occasional visit to Laurie's Planet of Sound among others. however on my last tour the dudes and i decided to stop by Dusty Groove where we found this exceptionally rare Sun Ra LP "Oblique Parallax."

it wasn't cheap but what an incredible LP. full of some of the most amazing & otherwordly synth/keyboard explorations. the LP was released in 1982 and features recordings from either '81 or '80 when the Arkestra was in residency in Detroit. what's most striking about this LP is that it is primarily solo synth/keyboard work completely different from his late 70's solo piano LP's. Sun Ra really wrestles some incredible sounds outta his keyboards that wouldn't be out of place on an LP by modern day synth travelers like John Elliot, Temporal Marauder, Rene Hell, Raglani, Keith Fullerton Whitman, hell even some of the less noisy Kevin Drumm stuff. Side A is mostly solo RA with some help from French Horn (by Vincent Chancey) and some percussion (by Eric "Samarai" Walker) on a couple tracks. Side B is one long track, "Journey Stars Beyond" that is the real treat of this LP. the majority again is mostly solo Ra exploring the cosmos on synth/keyboards but is joined for a small section in the middle by the entire Arkestra for some mindblowing free jazz stew (kinda similar to some of the Rob Mazurek/Exploding Star Orchestra stuff). from there it fades and closes out again with Sun Ra.

can't recommend this highly enough even for those who are quite familiar with Sun Ra. if you are lucky enough to locate an LP copy I would recommend it if you are willing to shell out some dollars. otherwise enjoy this beast right here. i believe Art Yard just did a CD reissue of this beauty too.

straight lines NEW MUSIK

Often I wake, still fully cloaked from dreams where I legitimately question the access my brain may have recently had to oxygen, in the hours questioned by many as post-brunch and I need- or strongly desire- an accompaniment to the oily oils of coffee and the itinerant, flappy fizzy aspirin dissolving before me. Like a tardy- often day late- phoenix with the combustible horsepower of a goat on W'butrin that's been poorly retrofitted inside a clapped out Mercedes (that happens to have been painted a comely shade) sitting outside European Autos, sometimes all I really need is a crispy blend of clever and cheeky New Wave synth pop. There's frankly no discretion to the enjoyment of this album for me. Part of me is really curious what other folks think of this album, while the other part wants to go to hell for eating popcorn with things like “reduced guilt” on the package. Here's to a middle ground.  Acquire this.

black silk stocking CHRISMA

From the husband and wife team, Chrisma- later changed to Krisma- is the exceptionally tidy record from 1977, “Chinese Restaurant”. Eminently Krauty (think Neu's Hallogallo motorik) on cuts like “C-Rock”, Klaus Nomi-y/mutant Chanson in their decadence on others like their charting “Lola”, psychically endearing on tunes like “Mandoia”, and the heavy hand of Vangelis's CS-80 drenched Bladerunner on "Lycee". The latter is not surprising being that V co-produced the record with his brother. I can't help but to think of Nancy Sinatra at other times or how well this song compliments one scene in Lost In Translation.  Get it here.

expectations KEITH JARRETT

so funny this is I've actually owned this LP twice. back in college when I was kinda a jazz snob (and hated rock music...haha) then eventually sold it at some point I think before when I moved away from Indiana. found it used a few months ago real cheap and decided to buy it again. and randomly I keep finding myself coming back to this one often.

this was recorded and released in 1972 right after Jarrett's stint in Miles Davis' electric band. and sorta features the birth of his american quintet (Jarrett, Charlie Haden, Dewey Redman and Paul Motian) plus a couple guests Sam Brown on guitar and Airto Moreira on percussion as well as large string and brass sections. there is a wealth of material here that spans all kinds of genre expectations (i'm guessing the title was kinda a play on jazz criticism at the time). from the beautiful string and piano opener "Visions" to the latin funk of "Common Mama" to the rock tinged "The Magician in You" and on and on including the amazing 17 minute "Nomad" which runs the gamut of jazz and features a lot of great sorta free jazz playing. I even love the tracks when Jarrett switches to soprano sax and duels with Dewey Redman on tenor, even though most critics would tend to pan Jarrett's soprano playing. throughout though you'll only find Jarrett playing piano and a little organ...at this point I think he's forsaken electric keyboards which he began to hate from playing with Miles' electric group.

all in all this is a stellar jazz record that kinda has it all, from free playing to straight ahead soul jazz and all in between. it's not mindblowing by any means but quite refreshing and holds up amazingly well compared to a lot of 70's jazz. listen to it here.

trancfer KLAUS SCHULZE

this is the other Klaus Schulze LP i picked up at Breakaway Records the other day. and it's a nice compliment to "Irrlicht" in that this one, "Trancefer" was released 10 years later in 1981 (also by Brain Records) and was the first Schulze album to feature digital recording and mixing.

this LP is a bit different from "Irrlicht" in that it features other musicians as well: percussion from Michael Shrieve and Cello by Wolfgang Tiepold. using primarily analog synthesizers through digital equipment gives it a different overall feel and ten years later we find Schulze more interested in sci-fi than kosmische. tons of arpeggiated synths float throughout with steady pulsing hi-hats and percussion. less space music and more sci-fi thriller. this is a few years after he did the soundtrack to Dune after all. and the B-side "Silent Running" is based on a recent sci-fi film of the same name starring Bruce Dern.

this kinda brings to mind how a lot of the earlier 70's/80's synth/space music seemed more foreboding and sinister. i mean we were in the beginning of the Cold War and Space Race and things seemed more threatening since space was such an unknown. i find it interested to see how a lot of this earlier music influenced a lot of current synth explorers yet the modern take on it is more etheral and lacks a lot of the dramatic feeling of the earlier stuff...

regardless this is yet another wonderful Schulze album, maybe not as mindblowing as "Irrlicht" but still highly enjoyable. listen to it here.

irrlicht KLAUS SCHULZE

occasionally i'll stop by Breakaway Records here in austin. though they tend to focus on rare soul/R&B and old 45's you can still find a wide variety of great vinyl. and on even better occasions like the other day I stumbled upon two really amazing original Klaus Schulze LP's and Can's "I Want More" 45 12" single. quite a score indeed.

"Irrlicht," released on Brain Records back in 1971 was his very first solo LP (the same year Tangerine Dream (with Schulze on drums) released "Electronic Meditations"). yes you could draw many parallels between the two LP's, and both hold up amazingly well over time, but Schulze's "Irrlicht" (translates as "erring light") is a real monster. Schulze was originally known as a drummer and founding member of Ash Ra Tempel and then went on to play with Tangerine Dream but this is the first solo LP and would kinda pave the way for the work for which he is most commonly known.

what's even more appealing and baffling about this particular LP is that it features no synthesizers whatsoever! All sounds are produced from organs, oscillators and electronically processed orchestral passages. the LP starts with a very intense and full on drone but slowly builds up the drama with grandiose organ chords and then really starts blowing you away with the phasing effects which at times sound almost Steve Reich-esque. it can be a bit dramatic at times but totally mindblowing all the same. unrelenting, pulsating, beautiful space music. highly highly recommended! Listen to it here.

the other side FRODE GJERSTAD TRIO

so incredibly excited to see the Frode Gjerstad Trio tonight in Austin at the Carousel Lounge (in my neighborhood!!). the show is being put on by one of my favorite non-profit austin organizations Epistrophy Arts. A big thanks to PG and Epistrophy Arts once again for bringing more amazing free jazz to Austin. Frode tonight will be joined by the one and only Paal Nilssen-Love on drums and Jon Rune Strom on bass.

Gjerstad has been a fixture on the European free jazz scene for 30 years playing with so many amazing people like John Stevens, Peter Brotzmann, Derek Bailey, Han Bennink, Evan Parker and more.

to get a little taste here is a trio album from 2000 featuring the amazing duo of William Parker on bass and Hamid Drake on drums. great stuff. can't wait for this evening! Listen to it here!

...and I await the resurrction of the pedal steel guitar SUSAN ALCORN

i've wanted to post this LP for a while now but keep forgetting. it's truly a thing of beauty from the music to the absolutely stunning LP gatefold artwork. this was released way back when in 2006 by the always wonderful Olde English Spelling Bee. i'm still surprised this hasn't gotten much attention to this day.

this LP was Alcorn's 5th solo LP, and I haven't heard much from her recording-wise since. I saw her perform in various improv groupings at the No Idea Festival here in Austin a few years ago. but unfortunately have never seen her solo. considering she makes a living playing mostly country & western gigs is a testament to her very different solo music and how unique and heartfelt it is.

about this LP in particular....Alcorn talks in the liner notes about how a lot of this music was inspired by hearing Olivier Messiaen's "Et Exspecto Resurrectionum Mortuorum" while she was driving down the freeway in Houston. the track "and I await...." even shares the first three notes with said Messiaen piece. her playing on that track and throughout the entire album shows a sense of Messiaen's tonal cluster floating chords mixed with a more contemporary free-improv aesthetic. the music moves sometimes at a very slow pace, but patience is rewarded greatly throughout the LP.

this is great improv music and exceptionally beautiful and moving. Alcorn turns the pedal steel into a much richer instrument than just country & western music. physical LP copies still exist at Mimaroglu and I highly recommend getting one because the artwork adds a whole other dimension to the music. listen to it here and then go buy one!

last vacuum demos vol. 1 OUTER SPACE

just got home from work and was so stoked to find this LP waiting at the door for me -- luckily it wasn't warped (considering it's been so goddamn hot here in Austin). listening to it now and it sounds so great on vinyl. from john elliot himself:

“the first in what hopefully could be a long line of low run vinyl documenting underground outsider music, "Last Vacuum Demos" are essentially volumes of previously released low run cassette jams w/unreleased recordings from the sessions. Tracks from the c60 series a while back and the unreleased material from that. Jeff Hatfield on his Moog and John Elliott on various synthesizers and electronics. Clouded out, space music..if you like "Lightyear Demonstrations" or "Pyramids on Mars" era Outer Space styles, you will surely enjoy this album. Limited to 200 hand-numbered, hand stamped, white label, "no test press, just bust" lps in thick recycled chipboard jackets. No repress for any of the upcoming ltd series lps. LPs from Watchword, Headboggle, Lilypad, and more coming later.”

if you like this kind of synth exploration hurry up and get a copy here at Mimaroglu. they still have copies available. Experimedia is sold out (but is still a great place to find small run limited stuff like this and lots of great experimental music). Get it quick it's gonna be gone in a heartbeat!!

for a little taste of similar sounds to this LP check out Outer Space -- Pyramids on Mars


here

this was part of a trio of Outer Space C60 cassettes that also included "Eastern Veil" & "Timespace Projection." completely essential listening.

an empty bliss beyond this world THE CARETAKER

i discovered this record via blogs myself. i kept seeing it at some really great blogs (Dayvan Zombear among others) that I frequent and eventually took a chance on it. The Caretaker is one James Leyland Kirby who has been around for a while under the moniker V/VM doing all sorts of electronic mash-up and sound collage work throughout the late 90's and early 2000's. Kirby created his alter ego The Caretaker throughout this entire time with his first album in 1999. he's been well know in the UK and Europe for some time now but is just kinda getting attention here in the US. supposedly The Caretaker project was inspired by the haunted ballroom scene in Kubrick's "The Shining." this is especially apt once you listen to his music.

honestly listening to this record can make you feel like you're in the middle of a 50's black and white movie. kirby takes old recordings of random classical/orchestral/big band music that always seems oddly familiar but completely new and piles on effects...and not noisy, bombastic effects....simple, lush, unobtrusive effects. a little delay here, a little static to make it hazier here. the record is at once completely beautiful but in that sorta archaic, romantic vision of a lost love or lost time. and even sonically sometimes it sounds like it's coming from an old victrola, the actual sound has this dusty and forgotten feel to it.

regardless of my attempts to sound erudite and explain all this. the LP is incredible. so hautingly beautiful. when this LP is playing it's hard to ignore it and that is a great compliment. very highly recommended! get it here.

a party tide CARL CALM

this is a pretty incredible and rather fascinating new tape from Carl Calm (aka Eric Lanham) who is also 1/2 of Caboladies. I'm still waiting for my copy of the new Caboladies LP to ship from Students of Decay (pressing plant was running slow due to the Ohio heat, guess they'd never press records in Texas). but luckily in the meantime I've got this new jam as well as the Palmetto Moon Electronic Group (also Eric Lanham, his other new solo alias) to tide me over.

both tapes were self-released in small quantities and both are quite essential. I don't know how these dudes do it but Caboladies and all the solo projects: Carl Calm, Flower Man & Palmetto Moon Electronic Group are putting out some of the most interesting music around right now.

So back to this particular tape at hand..."A Party Tide" is quite different from the last few Carl Calm releases (Dayglo Port & The Sag) in that it is almost a throwback to 90's IDM but somehow it doesn't sound cheesy and it isn't too abstract and heady. it's the perfect mix of musique concrete, IDM beats, pop hooks and weird synth sprawls. seriously it's kinda mind-blowing how well he pushes all these disparate elements into a cohesive whole without nodding too much in any one direction. basically creating some of the most original synth music going on right now.

you can listen to A Party Tide here. highest recommendation!

after you hear it, you'll know how necessary it is to grip a copy of it. which you can do right here at Mimaroglu!! while you're there pick up a copy of the Palmetto Moon Electronic Group tape too! Both are gonna be gone very shortly! Act fast!

also just so you know Flower Man (the other half of Caboladies) has a 10" one-sided LP coming out soonish on Austin's own Monofonus Press! If you don't know Monofonus Press yet I suggest you get to know them. They've had killer releases lately: Sun Araw, Expensive Shit/Shit & Shine split 7", The Rebel one sided 12" (!!) and much more! But yeah, I've heard the Flower Man 10" and it is mindblowingly good! Seriously the best thing I've heard from Flower Man yet. Be on the look out for that one....

it's about time TONTO

so i apologize for my lack of blogging the last couple months. been busy with house remodeling etc anyway i'm back with it so let's do this.

here is a pretty cool little album by Tonto (The Original New Timbral Orchestra) formerly known as Tonto's Expanding Headband. pretty much a synthesizer duo from the early 70's. their first album Zero Time (as Tonto's Expanding Headband) is pretty incredible and easy to find on the internet and well worth it. Where that one was a lot more psychedelic and kraut influenced, this album, It's About Time, is a quite a bit cheesier but not necessarily in a bad way. much more new age and poppy. but the B side "Pyramid Suite" is kinda incredible and definitely is an influence on some of the modern synth meisters and even sorta techno lite. pretty rad stuff.

so Tonto is also the name of the actual synthesizer that Malcolm Cecil (1/2 of the group) built. it was the first (and still the largest) multitimbral polyphonic analog synthesizer. crazy. also both members of the group Cecil and Robert Margouleff have worked with the synthesizer and produced a ton of Stevie Wonder's music from Music of My Mind all the way up to Jungle Fever!! Ha. Regardless....this is fun synth stuff that might not be groundbreaking but is still well worth a listen. right here.

Globe Unity -- ALEXANDER VON SCHLIPPENBACH

whoa. thanks to the awesomeness of the blog Free the Music! i found an LP copy of this album years ago and finally have found it on the internets. this was still credited to Alexander Von Schlippenbach as this is the very first incarnation of the Globe Unity Orchestra. This was recorded in 2 days way back in December of 1966 and it is just as earth shattering today in terms of the ideas explored. Pretty much the first attempts (outside of Ornette Coleman's Free Jazz, which is an 8 piece but not really an orchestra, more of a double quartet) to apply these ideas to a full orchestra sound.

what's really fascinating about this album as opposed to some of the other Globe Unity LP's is that while this features a lot of the mainstays that you'll see on further Globe Unity LP's: Manfred Schoof, Peter Brotzmann, Gerd Dudeck, Willem Breuker, Peter Kowald, etc....this one also features some vibraphone by the amazing Karl Berger and the two percussionists on this LP are Mani Neumeier and Jackie Liebezeit!!!! Yep that's right from Guru Guru and Can respectively! but don't expect to hear any motorik grooves anywhere. this is pure orchestra free jazz blowout. in fact this was recorded before Can and Guru Guru and the whole idea of Krautrock even existed! kinda crazy.

the music speaks for itself and is quite wonderful. each side is a full 20 minute piece. both are composed to a certain extent but don't worry there is plenty of out there improv. Spectacular archival find! necessary listening! check it out here!

split cs FLOWER MAN / RENE HELL

to keep with the Caboladies family here is a relatively recent (summer 2010) split tape from Flower Man (aka Chris Bush of Caboladies) and Rene Hell (jeff witscher who also runs the label that put this tape out, the always wonderful Agents of Chaos). this is a relatively short tape and given that both artists are used to stretching out a bit more each gives us a slightly different sound from what we've come to expect.

Flower Man's side has three tracks of drum machine workout with a lot of flanging metallic synths floating around. at times has a weird mid '80s sci-fi vibe that definitely is a bit of a departure from his Cabloadies world, but still works wonderfully.

Rene Hell goes for more of a kosmische/krautrock workout that he's definitely hinted at before in a lot of his work. here he fleshes the ideas out a bit more and although it's bit subdued from his normal mode it works amazingly well.

listen to the tape here. physical copies are long gone, although i just got myself a copy on eBay for pretty cheap. great work from two great artists.

split cs CABOLADIES / ONEOHTRIX POINT NEVER

found on copy of this tape about a year ago from the my absolute favorite record store Mimaroglu. i bought it mainly because i was in a big Oneohtrix Point Never phase and hadn't yet heard of Caboladies. little did i know it would set off my new love affair with Caboladies as well as my love for this incredible tape label NNA Tapes.

the Oneohtrix Point Never side is great and on par with any of the stuff he was putting out around this time (Zones without People, and right before Returnal). completely solid synth poly-arpeggiator mastery. but the Caboladies side is pure brilliance.

it was recorded back in 2008 when Caboladies was still a 3 piece before pairing down to a duo on most subsequent releases. their side of this release starts off in a drifting world with random percussion and synths that move more in a musique concrete manner. but about halfway through the piece shifts into one of the more beautiful moments i've heard in a long while. borders on Nuno Canavarro style beauty that isn't heard as often as i'd like in some of the modern snyth meisters. really incredible stuff as is most everything else Caboladies have done.

the dudes in Caboladies also have some great solo projects that are worth searching for: Flower Man and Carl Calm. slightly different from their work as a duo, but still great and compelling stuff.

there are still some copies of the tape floating around (think there are even a few left at Mimaroglu.) Support NNA and buy a copy!