kim doo soo vinyl lp mikami kan.jandek.smog.eels.psf

	£		26
	$		34

brandnew copy of this amazing LP.1st press "original" PSF label, unplayed very rare and collectable heavy gatefold sleeve + 2x180 gram  + book containing lyrics,obi strip, amazing record to have in collection ,this is a deluxe 2 x LP set , NO LONGER AVAILABLE /IMPOSSIBLE TO FIND.will always increase in value! collectors item
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"Another absolutely breathtaking album that's seemingly landed from out of nowehere and has completely captured our hearts, this album from Korean acid folk troubadour Kim Doo Soo really is an absolutely magical trip through the most sublime, heartfelt and out of the ordinary songs you could possibly wish for.Doo Soo first sprung to our attention last year, making a sizeable impression with his appearance on the office-favourite 'International Sad Hits' compilation. Compiled by US shoegazers Damon & Naomi this picked up tracks from the lesser heard purveyors of wrought emotion, and Kim Doo Soo was without a doubt the saddest of these international hit-makers. '10 Days Butterfly' is not Soo's first album but it is the first we've managed to get our hands on. 'Bohemia' was the song which captured most listeners' hearts, and in '10 Days Butterfly' we have twelve distinct paeans to the melancholy wonderment of our fair earth - from alcoholism and political oppression to suicide and seclusion. 'I am leaving to the road of the wandering wind/It is the floating empty void again' Soo sings and we are left to hang on every syllable - thankfully the English translations are included in this package so the less linguistically gifted among us can enjoy Soo's words unhindered by continental placement. There is a striking calm about his work, no doubt borne from his Eastern upbringing; a level headed, anti-positivist philosophy which reveals his far-flung roots. And although comparisons can easily be made with British folk poets such as Nick Drake or Bert Jansch this distinct over-arching oriental feeling, which can be connected straight back to the sagely words of Confucius himself gives '10 Days Butterfly' a spiritual resonance rarely heard in the acid folk genre. My most immediate thought might be towards the underrated work of Eddie Marcon, who similarly distilled the best of doomed British acid folk into something touched by the presence of cherry blossom and rosewater, but Soo has something unspeakable which defies such simple comparisons. Listen carefully to the mandolin-embellished ghosts at work on 'Songs of Pathless Time' and I challenge even the most stony-faced listener not to experience the spikiest of chills down the spine. This is emotion in its purest form, thankfully amputated from the sentimental sweet nothings the mainstream has foisted upon us in the hope we will all inherit the same views on 'love' and 'virtue'. Those of us with a true desire to hear music, lyrical, poetic and unflinchingly honest simply need to hear '10 Days Butterfly'; an album tailor made for the more reflective among us. Our highest possible recommendation..."

"Most western ears were first alerted to the intimate, melancholy soundworld of Korean folk-spirit Kim Doo Soo via Damon & Naomi’s International Sad Hits compilation, where his placement alongside Japanese underground balladeers Kan Mikami and Kazuki Tomokawa provided the kind of context that made his intensely personal guitar/accordion/violin/vocal creations seem a little more at home. Soo has a large following at home and this new album is actually his fifth to date, although the first to get a release outside of Korea. Kazuki Tomokawa is still the closest comparison, with that same emotional breadth and the ability to move from the most forlorn splinter of melody into massively iconoclastic dark folk splendour while factoring in influences that run from classic American primitive through the apocalyptic UK stylings of Bert Jansch, Nick Drake and Roy Harper and the delicate, acid-hymnals of Ben Chasny and Six Organs Of Admittance. But there’s a weight of execution to much of the music, a singularly hermetic emotionalism, that raises it above any single comparison and gives it the feel of a classic loner acid-folk album from the otherside of nowhere "