Forced Exposure new releases list

April 10, 2011

1043

FORCED EXPOSURE MAILORDER UPDATE NEW RELEASES FOR THE WEEK OF 04/11/2011
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3000 GRAD RECORDS (GERMANY)
	*SCHAUFLER & ZOVSKY: The Village* CD (3000GRAD 002CD) 15.50** This is the debut album by German electronic duo Schäufler & Zovsky, who realize that snugness and calmness are important ingredients for a fulfilled life and for entertaining dance music. As a result, The Village could be characterized as a cunning mixture of humor and relaxation matched with pushing dancefloor bounce. This unique sound reflects the stylistic background of the duo: the laidback and independent vibe of Mecklenburg, and the diverse, international influences of the electronic metropolis of Berlin. The Village is rhythmically fuelled by casual and lascivious house tunes with a warm and friendly character, supported by organic, dubby bass lines. Matching this positive and uplifting mood, light melodies, classically-styled filter modulations and unobtrusive vocal entries remind one of a sunlit Sunday outing.
	*GLITZ, THE: Remixed* CD (3000GRAD 003CD) 15.50** 3000 Grad Records presents an album of remixes of tracks from The Glitz. With previous releases on labels such as Ideal, Material-Series, Voltage-Musique and Pocketgame, it is no surprise that this is no common album: The Glitz are always different, always peculiar. Fabulous remixes by Daniel Steinberg, Nick Curly, Mihalis Safras, Kombinat100 capture the huge and small Glitz-hits, all pimped out with stellar reinterpretations. Blake Baxter delights with a Chicago-like smasher and tiny cheerful dub melodies by Soultek alternate with Nic Fanciulli’s technoid grooves. On Remixed you will find various facets of club music by The Glitz which take you on a journey through the dancefloors of this world. Other remixers include: Lemos, Basti Grub and Blake Baxter.
3024 (UK)
	*BASHMORE, JULIO: Batty Knee Dance/Ribble To Amazon* 12″ (3024 011EP) 11.50** “Two brand new tracks from Bristol’s emergent house prodigy. ‘Batty Knee Dance’ brings ultra syncopated 808s, neurotic synths and a mournful vocal refrain together in a tightly packaged low drag configuration. ‘Ribble To Amazon’ maintains the levels of 808 astro physics but heads for the great outdoors with subtly staggered pads and an impossibly delicate Lepidopteran melody basking in a 16:9 sunset.”
ACCORDS CROISES (FRANCE)
	*GHORBANI/DORSAF HAMDANI, ALIREZA: Rapture/Ivresses* CD (AC 142CD) 22.00** “Accords Croises presents Rapture — a disc that brings together Iranian singer Alireza Ghorbani and Tunisian singer Dorsaf Hamdani for the first time. It presents a unique dialogue between the Arabic and Persian worlds. The Rubaiyat, written by poet and Persian philosopher Omar Khayyam, is filled with mysticism. Nourished by the Sufi philosophy, it concerns an existential questioning about mankind, the enjoyment of living and the relation of men with the Creator. Khayyam’s verses describe a lover in search of the mysterious and forbidden secrets of life.”
ARPA RECORDS (JAPAN)
	*DJ SODEYAMA: Abyss* 12″ (ARPA 002EP) 12.00** DJ Sodeyama exhibits his range as one of Tokyo’s premier electronic music artists by releasing Abyss on Arpa Records. To showcase the talent from both home and abroad, DJ Sodeyama has picked out some of the most exciting artists within the electronic music scene today: Glimpse and Tokyo’s very own Ryo Murakami. Dropping some real bottom-heavy beats alongside some rhythmic percussion, this release will prove to be a future classic.
ASSOPHON
	*HENNEMAN, SIMON: Black Magic & Mustache* LP (ASSO 005LP) 15.00** Seattle-based Simon Henneman’s first solo vinyl release is here. Mr. Henneman has worn many hats in the musical vortex of the Seattle sub-underground, most “famously” as one of the Diminished Men, who released an LP on the Sun City Girls Abduction label in 2009. That LP gave the lucky few who procured a copy an idea of the talents of that great band. Here, Mr. Henneman strikes out on his own and creates a solo journey of a much more intimate palette. Playing every instrument on the record (guitars, bass, saxophones, clarinet, percussion, keys), Mr. Henneman evokes a mood and mystery unmatched. From the ethno jazz/noir played in a Turkish harem vibe to the soundtrack for flipping through a Raymond Carver novella illustrated by Raymond Pettibon, this LP slithers into the subconscious and throws you against a back alley wall to seduce you into making a real bad decision seem OK! Limited edition of 300 copies only.
AUM FIDELITY
	*JONES & MATTHEW SHIPP, DARIUS: Cosmic Lieder* CD (AUM 066CD) 13.00** Darius Jones: alto saxophone, compositions; Matthew Shipp: piano, compositions. “This momentous & beautiful duo project exists because of the mutual admiration that Darius Jones & Matthew Shipp have for one another’s prodigious musical gifts. Cosmic Lieder is a deeply emotional & illuminated narrative between two highly attuned & intelligent musical voices commenting on an alien world’s landscape as they are simultaneously creating it. The 13-song cycle ranges from entrancingly lyrical & gentle to intensely liquid flows of mushroomed jazz to pieces which defy any manner of common description.”
AUS MUSIC (GERMANY)
	*SCB: Loss/FutureUnknown* 12″ (AUS 1132EP) 12.00** SCB is a house/techno project by Paul Rose, better known as UK bass pioneer and Hotflush Recordings owner, Scuba. Loss/FutureUnknown, on Will Saul’s Aus Music imprint, is the first original SCB material to surface outside of Rose’s own circle of labels. “Loss,” with its spacey melodies and repeating vocal slices, builds into a slab of pure dancefloor joy. “FutureUnknown” fills out the atmospherics with dark stabs and driving rhythms which give way to an almost Scuba-esque brand of floating euphoria.
BADLY ORGANIZED/MILLE PLATEAUX (GERMANY)
	*AUGST/CARL: OBEN – Beltz Remixed* CD (MPBAD 001CD) 17.00** Matthias Beltz was a German comedian, author and TV/radio host until he suddenly died in 2002. Certainly a colorful and provocative mind, he left a collection of — partially yet unreleased — vocal recordings of his “lyrics.” These come here enhanced with experimental compositions, samples and even radioplay-like materials from Oliver Augst and Rüdiger Carl. Badly Organized is the new Mille Plateaux sub-label for avant garde, Dada and obscure music. Label owner/A&R Marcus Gabler broadens Mille Plateaux’s so far purely electronic range of genres with previously-unheard, odd sounds. This expansion allows for a new artistic freedom so far prevented by expectations, ambition and intellectual overhead. Or as Beltz would say: “Liberté, Égalité, Varieté!”
BASSHEAD
	*HULK: Booty Clap/Work It* 12″ (BASSHEAD 007EP) 11.50** “Hulk is a collaboration of Claw & Richie August, two creative minds that share a similar production style and enthusiasm for heavy bass driven music. Since the inception, Hulk has been catching the eyes and ears of artists such as The Glitch Mob, Dieselboy, Reid Speed, Reso, The GasLamp Killer, High Rankin, iwrestledabearonce and DJ Lord of Public Enemy, among others.”
BE AS ONE (ISRAEL)
	*ABER & DJ SNEAK, SHLOMI: After Touch* 12″ (BAO 028EP) 12.00** After his releases on R&S, Objektivity and Ovum, Shlomi Aber returns to Be As One. He does it again with a bang, inviting legendary house stalwart DJ Sneak. Aber’s original version of “After Touch” bears his own techno trademark — heavy, dark funk bass and snares, all looped up with a consistent drive and shaky groove. Sneak does his thing, bringing the perfect balance to this release with a housier version of chunky, raw and old school groove.
BELLA UNION (UK)
	*SPENCER & THE RARE BIRDS, HEIDI: Under Streetlight Glow* CD (BEU 249CD) 13.50** “A true-to-life troubadour and a self-described eccentric, the songs on Heidi Spencer & the Rare Birds’ Under Streetlight Glow are sparse. One can feel a chilling wind blow slightly through Heidi’s skeletal guitar while her warbling voice provides warmth for those cold nights the Milwaukee native knows so well. With comparisons to Joanna Newsom, whom Spencer naturally adores, she’s positioned to align herself among her idols as a true songwriting talent.”
BLACK BOX (UK)
	*DJ MADD & CHRIS SU: No Respect* 12″ (BLKBXXX 003EP) 9.00** “Etched one-sided disc. Having relocated back to Budapest after his time in the UK, Madd has taken the opportunity to team up with fellow countryman and veteran D&B producer Chris SU, with devastating results. ‘No Respect’ has been a permanent feature of Youngsta’s weekly show on Rinse FM and has all the hallmarks of a classic Yunx anthem — dark, tribal halfstep beats, menacing atmospherics and speaker-test bass manipulation — this is a reliable dancefloor weapon that won’t leave the bag for months!”
BPITCH CONTROL (GERMANY)
	*ALLIEN, ELLEN: Dust Remixes* CD (BPC 233CD) 14.50** BPitch queen Ellen Allien released her album Dust (BPC 217CD/LP) in the Spring of 2010. Since then, it has been impossible to get away from the strangely glittering fairy dust that graced the album’s cover. On your skin, your clothes, in your nose, and above all, in your ears. Dust truly left its mark. Anyone that had anything to do with techno in 2010 couldn’t avoid experiencing Ellen’s most personal and without a doubt, most mature reflection of her own being, a sparkling gem full of pop appeal and unexpected twists and turns. And why would they want to? It unites many facets into one — although the album, which was produced together with Tobias Freund, is extremely diverse and wide-ranging, it is also a coherent impression of a singular personality. A snapshot of an artist who was one of the first to begin hammering Berliner techno into stone. So it really comes as no surprise that these remixes are just as impressive as Ellen’s original LP, thanks to the multiple perspectives they provide. Placing the tracks in different (yet well-selected) hands was supposed to be a simple experiment, but what was originally intended to only be released digitally ended up being so impressive that a decision was made to turn it into the tactile experience of a silver disc. The result is 13 adaptations of the material on Dust which transition between multiple varieties of house, techno, disco, and ambient, as if the idea of different categories never existed. Here, a rigid structure takes a backseat to creative freedom. The artists selected for this project come from completely different stylistic camps, and can without a doubt be referred to as key players in today’s club sound. The remixes which stand out the most are probably the incredible cover of “Flashy Flashy” by Nicolas Jaar, the remix of “Should We Go Home” by John Roberts, as well as the remix of Ellen’s pop song “You” by Munk. Other remix artists include: Ripperton, Bodycode, Adultnapper, Tim Hecker, John Roberts, Aux 88, Fabrizio Maurizi, Shonky, Camea and Kassem Mosse.
BRAINFEEDER
	*PERALTA, AUSTIN: Endless Planets* CD (BF 014CD) 15.50** “The next album from Brainfeeder comes in the form of Endless Planets. Composed by the talented Los Angeles-based jazz musician Austin Peralta, this album is an example of true musicianship which will capture the hearts of jazz fans young and old.”
CADENZA (GERMANY)
	*PICONE, ALEX: Fahrenheit* 12″ (CADENZA 061EP) 14.00** Alex Picone’s first record under his real name is also his first release on Cadenza and is his most successful so far. The uplifting groove of “Inside Out” pushes the limits of contemporary house music, yet the heart of the track is the relentless bass line. With “Lost In Burning Man,” Picone fuses an old school electro groove into his house beats. With the rotary bass line and the playful jew’s harp on “Mandarin,” the EP ends on a comical note.
CIRCUS COMPANY (FRANCE)
	*JAAR, NICOLAS: Marks And Angles* 12″ (CCS 048EP) 12.00** 2010 single, repressed. Nicolas Jaar’s Marks And Angles EP marks his debut release on Circus Company, as well as another bold step forward for the musician himself. All three tracks are rooted in house music, but Jaar’s rich acoustic textures and elastic time-keeping lead to a far more personal place. They explore strange emotional registers, a co-mingling of melancholy and joy in a shadowy slow dance.
CLR (GERMANY)
	*TOMMY FOUR SEVEN: Primate* CD (CLR 010CD) 17.00** This is the debut album of UK-born and Berlin-based DJ, producer and sound designer Tommy Four Seven. Due to its unconventional and innovative production ethos, the record sets itself apart from the majority of contemporary techno productions. Tommy Four Seven did not use any of the traditional percussion and beat sounds, such as hi-hats, snares, rides, shakers or claps, nor did he choose to work with synthesizers. Instead, he used field recordings as the catalyst to shape rhythm and sound, many of which he recorded in his daily life in the city or on the road, and which are alienated beyond recognition. In addition to this, where most would use synthesizers, Tommy instead sculptured engaging vocal recordings, simply adding new and unusual textures to the sonic picture. Musically, Primate is deep and hypnotic, driving and exhilarating, with downright unorthodox beat structures and sequences. It delivers everything one could expect from a current techno production, without using a single cliché. When Chris Liebing first listened to it, he was immediately fascinated and amazed. This different avenue of techno seemed to be perfectly in line with the new, slightly more free-spirited and experimental CLR philosophy. That is why apart from offering to release the record, he even got involved with the finishing touches of the production, helping to make “the bass sound mega-hot” (as Tommy called it). Primate is a unique and uncompromising debut album from a young and promising techno pioneer. Awesome deluxe hardbound digi-book packaging.
COCOON (GERMANY)
	*SIENKIEWICZ, JACEK: On The Road* CD (COR 026CD) 17.00** Poland’s Jacek Sienkiewicz presents his first album for Cocoon Recordings since 2004’s Displaced (COR 008CD/LP). With over 30 releases behind him, and over a decade of running his own label, Sienkiewicz persistently follows his very own path, creating music that is impossible to define. Friendly, but not fraternizing, modest, but stubborn only in a positive way, Jacek is an individual with a clear, personal vision and an unorthodox approach to music — light years away from the hectic, utilitarian ethos of club-derived electronic beats. On The Road is complex and challenging, to be derived in recent years from the music formerly known as techno. This album successfully attempts to embrace virtually all aspects of modern electronic music — from rave-like club bangers, through Detroitish passion and deep house-like style, towards ambient soundscapes that are Mariana Trench-deep. Although “Departure” and “Arrival” are clearly marked, this is a journey without a beginning or an end, an endless peregrination in search of the lost chords, primal rhythms and melodies coming supposedly from another world. On The Road is also another collaboration with Cocoon — starting with Téchnè (COR 003CD), through the memorable Displaced, the cycle is now completed with one of the most experimental albums to appear on Sven Väth’s label to date. This record is not easy and definitely demands attention — but it’s also rewarding like no other. On The Road encapsulates Jacek’s journey to date — and is by no means its closing chapter. Quite the contrary — it’s a blueprint for an even more advanced attempt to create a truly timeless piece of art without denying its obvious, energetic and joyful roots. This is proper music — full of energy and life, impossibly complex yet light as a feather, dense, thought-provoking and playful at the same time. Balancing between dirty noises and angelic melodies, it is moving and at times simply breath-taking. From the opening drone, in a second turned into a whirlwind of sounds and noises, via robotic fanfares for the common traveler and muscular bass-driven anthems for still non-existent dancefloors, towards ambient-like bliss, we hear mature, totally original music. It’s not Detroit nor Santiago, not Sheffield nor Berlin, it’s not even the sound of Jacek’s hometown of Warsaw — this is the real music of the spheres.
DELSIN (NETHERLANDS)
	*DEHNERT, MIKE: Framework* CD (DSR 086CD) 17.00** Berlin-based new school techno producer, DJ and live performer Mike Dehnert releases his first album proper. In just three years, Dehnert has gone from unknown talent to underground hero with (as revered record store Hardwax calls it) his very own “raw techno” sound making waves on labels like his own imprint Fachwerk, hallowed Dutch outlet Clone Basement Series, as well as dub techno stable Echochord Colour, super reticent outlet MD2 and now Delsin, where he finds himself at home amongst the future music of talented cohorts Redshape, A Made Up Sound, Delta Funktionen and more. Framework, as you’d expect of a man who performs genuinely live for hours, often only ever calling on his own tweaked, edited and skewed productions — is an uncompromising album made up of pure techno tracks of the sort you’d expect to hear on the dancefloors of places like Berghain or Tresor. They go from pulsing and classic sounding to skipping and glitchy, through greyed-out and sandy via swinging and syncopated but always with a sense of restraint and control whether they are abstract, apocalyptic, atmospheric or whatever else. Drawing from a dusty, dirty toolbox of sounds, the echo-y, cavernous chambers and dusky warehouse aesthetics of Dehnert’s moody music betrays the purity and simplicity of his arrangements. Although his records are undeniably functional, at the same time, they are neither nondescript nor forgettable: somehow, through masterful sound designs and an accomplished knack for blending real tension and atmosphere with his obvious Basic Channel and Berghain influences, Mike Dehnert manages to lock you into whatever mood takes his fancy with apparent ease. Make no bones about it (he doesn’t) Framework is an album of tracks. Each one is made with various dancefloors in mind, and each is informed by the hundreds of hours Dehnert has spent working away in such places. The results are to-the-point without being unsubtle, each track has a job to do and does so efficiently. Whilst outlining a Framework for his many live sets to come, this debut album also makes for engaging listening and confirms Dehnert to be one of contemporary techno’s most exciting current incumbents.
DESOLAT (GERMANY)
	*GUTI: Patio De Juegos* CD (DESOLAT 004CD) 17.00** Argentina-born Guti releases his inaugural album on the label that has given his echoingly hypnotic jazz-infused house music a stable platform. The live performer effortlessly presents a collection of beautifully-constructed productions that demonstrate the convergence and symbiotic nature of his musical past and present. Classically-trained jazz virtuoso and national rock ‘n’ roll hero in his native Argentina, Guti is no stranger to music. A musical education that takes in Argentinean folk, blues, rock and jazz, Guti is currently enjoying a new chapter in his musical adventure within electronica. With his productions now being a regular feature in the record bags of DJs as diverse as Seth Troxler, Marco Carola, and Carl Cox, it is apparent Guti is enjoying a watershed moment in his long adventure. Patio De Juegos, which translates as “Playground,” is a wonderful multi-genre journey through the mind of an artist who is both on top of his game and on the rise towards the stars. Lashings of his ever-present South American heritage fuse with incredibly intricate and perfectly simple house structures that give the whole album its almost “child at play” ethos that is rarely found in electronic music. Future club hits such as “Wanna Be,” with its nod to the historical upbeat lineage of house music, and “All The Girls,” with its chugging rhythm, trickling piano loops and erotic vocals sit effortlessly alongside more experimental and jazz-inspired tracks such as the explorative “Still Here.” Another fine example is “Sun,” with its deep bass line punctuated with the sun-soaked synths and summer hi-hats that export listeners away to a warm utopia. Guti produces a number of tracks with high profile artists from both within and outside the DJ fraternity: Guy Gerber features on “We Shall Overcome,” with its rising synths complemented by a chunky beat. Ryan Crosson lends a hand on “No Promises” which has resulted in a truly driving dancefloor groove. And “My Whole Thing” features Anthea Marie Nzekwu whose uplifting vocals accompany a dreamy, chilled-out beat. Grünbox features on “Miraloo” — an example of Guti’s ability to collaborate with the world’s musical elite. Notably, and perhaps the biggest coup, is that of Daniel Melingo who features on “Lucio El Anarquista.” The Grammy-nominated tango singer and world-renowned musician is well known for his composition work on Pedro Almodóvar’s films, and he brings a rich musical education to a truly sublime track. Overall, Guti gives up a beautiful mixture of tracks that bridge the space between the club and the living room with consummate ease.
DIGIKILLER
	*MCWONER: Nuh Fire It/Higher Region* 10″ (DKR 037EP) 11.00** “Continuing in our campaign to re-release the jewels of the Channel 1 catalog which have not been back out since their original release, we bring you our first batch of 10-inches, the dubplate-style vinyl format introduced to reggae by Channel 1 in the early 1980s. After introducing the 12-inch discomix to Jamaica in the late 1970s, Channel was innovating again in the early 1980s, bringing out a barrage of 10-inches from their new New York base, featuring many awesome tracks. Among those was this double-sider from the man called McWoner (or Mac Warner). He didn’t seem to do too much recording, but what made it on to vinyl is mostly fantastic, and at the top are these tunes, ‘Nuh Fire It’ and ‘Higher Region’ (both followed by dubs).”
	*BROWN/ANGELA PRINCE, BARRY: Over Me/Joker Lover* 10″ (DKR 038EP) 11.00** “Round two of Channel One releases! Next is a pairing of two of our favorites – Barry Brown’s ‘Over Me’ and Angela Prince’s ‘Joker Lover.’ The Barry Brown cut is again, like our last batch of releases on the Flabba label, one of his finest tunes of the era. The Angela Prince is an often-overlooked tune, with mournful lover’s lyrics on top of one of Channel’s all-time heaviest riddims. Again, both tunes are followed by dubs. “
	*ANDY, HORACE: Why Oh Why/Satisfy Me* 10″ (DKR 039EP) 11.00** “DKR has left no stone unturned in the search for the forgotten by many, revered by some, and seldom or never heard tunes of the past, which for one reason or another, were never released, sold only on dubplate, or never played again after being committed to tape. And in turning over so many stones, we’ve managed to find some gold, and have dug up some things previously thought lost. So begins the Channel 1 Lost & Found series, unreleased material from 29 Maxfield Avenue, straight from master tapes. We’re kicking off this series with two monster releases. First, from the man called Horace Andy. After producing some tunes with Horace in the 1970s, Channel One went back to work with Horace in the early 1980s, releasing a fantastic showdown LP featuring Horace and Patrick Andy, via Sonic Sounds’ Thunderbolt label. But in addition to those tunes, another grip of equally great tunes was also made which didn’t end up on the album, and here’s two of the best. ‘Why Oh Why’ made the rounds on dubplate at the time, the riddim is heavy like lead, and you might recognize it from other released cuts. ‘Satisfy Me’ has Horace riding the same riddim as Barry Brown’s ‘Over Me,’ to equally great effect. Both tracks are followed by dubs. “
	*UNKNOWN: Rocks & Mountains/Dub Down Mountains* 10″ (DKR 040EP) 11.00** “Lastly, a tune that needs little introduction, the mighty ‘Rocks and Mountains,’ produced by Sly & Robbie at 29 Maxfield Avenue. While never officially released, this tune was made famous through play on UK sound systems. And while the vocalists of this tune have long been rumored to be the Mighty Travellers, who self-produced some tunes and cut an LP for Jammy’s, no one has been able to definitively confirm this. This recording has been sourced straight from a mastertape containing dubplate mixes of other released and better known Sly & Robbie productions from the early 1980s, but which bore no notation of ‘Rocks and Mountains’ presence at all. So decades later, the mystery endures, but the music finally comes into the light and speaks for itself. One thing is certain though, the mighty sound of Channel 1 still rules in 2011!”
DIGITALIS
	*CAROUSELL (RICHARD SKELTON): Black Swallow & Other Songs* LP (DIGI 020LP) 18.00** In the last decade or so, Richard Skelton has cemented his place as one of experimental music’s most favored sons. Through a multitude of projects (under his own name and otherwise) and his own Sustain Release label, there has been an absolute treasure trove of music to sink your teeth into. The first project of Skelton’s that the Digitalis label-head heard back in 2005 was Carousell (and the lovely A Dead Bridges Into Dust album) so it felt poetic to reissue the Carousell album, Black Swallow & Other Songs. Originally issued on Sustain Release in the criminally low run of 100 CDs, Black Swallow & Other Songs is a soft and sparse exercise in understated melodies. This is music rich in texture and heavy on the emotional impact it makes. The nine minute “Artery” opens the album and slowly coalesces from a fractured whisper to leave its marks on your skin. Blurry violin notes stretch to the breaking point while Skelton loosely strums and plucks his guitar into a warm, aural embrace. The title track continues with this theme, but adds a heavy dose of nostalgic melancholy to proceedings. It’s like you have to look back, accept things and head down the winding path to a new future. On the closing suite, “Owl Lanterns” and “The Clearing,” we get a full dose of hopefulness. A child’s laughter flickers by while the bowed strings add an unfaltering lightness. Skelton’s guitar plucks are floating on clouds, passing by with a buoyant spirit. As Autumn Grieve’s wordless vocals bring everything to a close there is nowhere else to go but up. Her voice is the exclamation mark, powerful and restrained as it leads the minimal bowed & plucked strings to rest. Black Swallow & Other Songs is a potent mix of darkness and light, expertly crafted by one of the UK’s premier composers. Vinyl cut at Dubplates & Mastering in Berlin. Limited to 700 copies only for the world.
DIRT CREW (GERMANY)
	*VA: Deep Love 50* 12″ (DIRT 050EP) 12.00** Dirt Crew Recordings celebrates its 50th release with this special compilation of diverse songs, ranging from disco to deep house and tech house. All tracks were made exclusively for this album. This is the vinyl edition with three of the best tracks taken from the 15 track album. Plan D’Aqua present an amazing deep disco monster and The Tortoise offers even more deep disco with a distinctive house sound. Iron Curtis digs the house sound even deeper.
DIYNAMIC (GERMANY)
	*STIMMING: Liquorice* CD (DIYNAMIC 006CD) 17.00** The second album on Diynamic from Hamburg-based producer Martin Stimming wasn’t initially planned to be an album. There was an intrinsic need for him to express what was going on in this period of life. Relationship problems led to a very punk, off-whack attitude to his producing. With seven tracks done and dusted, he figured the work was more than just a collection of weird shit; it was a whole new music experience — add another 5 months of studio work, and he named it Liquorice. Definitely hard to pigeonhole — call it minimal, stripped-back, dub, experimental — maybe “electronic free jazz” comes the closest. No sign of a typical 4/4 bass drum at all and Stimming has incorporated his trademark use of field recordings, from a marble run, a pizza slicer, a trashcan, a coffee machine, and an ice train shuttling past to name a few. The Stimming’esque percussion, which is even more radical this time, has been thrown in with all these facets in his massive melting pot, coupled with some dark emotions. “This time I didn’t use all the main events a groove normally has,” recalls Martin. “I kind of sneaked around the normal bass drum/clap or snare combination during the most productive time when I had to sleep on the couch in my 16 square meter studio — certain circumstances didn’t allow me to sleep at home… that was very, very intense.” It’s this loose, punk ethic that encapsulates the freestyle feel to Liquorice. Obvious bass and kicks have been stripped and replaced with eerie atmospheres, fluid percussion, found sounds and dystopian electronics in the search for something new. It’s this sideways approach that also gives the album its glue, bringing all 13 tracks together as a unique listening experience. From the opening chattering of loose-limbed and scene-setting orchestral instruments on “Cold Water” the first three tracks give an idea of what will happen, building slowly to “Cooking Coffee” and the introspective feel of “On A Grey Day.” The album’s emotional climax reveals itself on “Don”t Touch This,” and finally concludes on the beautiful closing track, “The Train.” Stimming further elaborates, “Even when I have all those strange sounds in it, it’s still very groove-based. I called it Liquorice because I simply love real liquorice-sweets and I have realized that it’s something someone loves or hates.”
	*H.O.S.H.: The Remix Sessions* 12″ (DIYNAMIC 047EP) 12.00** The back end of 2010 saw the release of Hamburg-based producer H.O.S.H.’s debut artist album Connecting The Dots (DIYNAMIC 005CD/LP) and this is the first remix EP. Tasked with reworking the tracks are 8Bit and Katchul boss Gorge, who breathes new life into the beautiful vocal number “Finally Mine” and Poker Flat chief Steve Bug, who leads you through a wonderfully deep, Hammond masterclass. Also features Misstress Barbara and Ost & Kjex.
DUB POLICE (UK)
	*ANTISERUM: Zephyr/Purple & Gold* 12″ (DP 051EP) 11.50** “San Francisco-based producer Antiserum steps up for Dub Police with two unique collaborations, featuring local producers Ill-Esha and 12th Planet respectively. His music is a masterfully crafted fusion of influences that results in a sound entirely his own, balancing light against dark and colour against pure bass pressure. Showcasing a deft musicality as well as an unrivaled talent for system shaking productions, Antiserum is taking the scene by storm. Releases on Narco.Hz, S.C.U.M and Argon amongst others have already propelled him to the forefront of the rapidly growing American dubstep scene, with plenty more still to come. On the A side, he is joined by Ill-Esha on ‘Zephyr’, a sick g-funk inflected roller. Skittering hi-hats and tough drums lay the foundations on this one, with the deep, smooth bass sweeping underneath. The vibrant synths weave in and out of each other with ease, swimming around the mix and swelling expansively through the speakers. On the flip he teams up with 12th Planet on the massive ‘Purple & Gold’. The g-funk influences continue to flow through this track, pinned down by a hard bassline and taut drums. The shimmering synths sliding over the top of the percussion and off into the atmosphere give the track an epic stop-in-your-tracks effect.”
ECHOCORD (GERMANY)
	*VA: Echocord Jubilee Comp.* 12″ (ECHO 050.1EP) 14.00** After 49 vinyl releases and 9 CD albums in 9 years, Echocord announces their anniversary project, Echocord Jubilee Comp. This first EP out of three contains tracks by Fluxion, Quantec and Deadbeat.
	*VA: Echocord Jubilee Comp. 2* 12″ (ECHO 050.2EP) 14.00** This second EP out of three contains tracks by Onmutu Mechaniks, Brendon Moeller, Luke Hess and Resoe.
ED BANGER RECORDS (FRANCE)
	*BUSY P & DJ MEHDI: Let The Children Techno* CD (BEC 5772801) 15.50** Ed Banger presents a special mix collaboration between label-head Busy P and French hip-hop and electro producer DJ Mehdi. On Let The Children Techno they have gathered their favorite newcomers, added a couple of old-timers, mixed them together and cooked the best electronic dish: a brand-new compilation of all fresh and unreleased music, down and up-tempo, love and dubstep, warm and cold beats, and more international than Jesus. CD digipack with 32-page booklet. Includes a download card for the unmixed tracks from the album. Artists include: Mr. Oizo, Busy P, Duke Dumont, Siriusmo, Para One & Tacteel, Breakbot, Sebastian, Mattie Safer, Telli, Gesaffelstein, Cassius, Neon Dreams, Djedjotronic, Discodeine, Feadz, Claude Violante, Brodinski & Tony Senghore, Bobmo, Zombie Nation, Riton, DJ Mehdi and Flying Lotus.
EDITIONS MEGO (AUSTRIA)
	*EVIL MADNESS: Super Great Love* CD (DEMEGO 018CD) 15.50** Evil Madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Jóhann Jóhannsson, Sigtryggur Berg Sigmarsson, Helgi Thórsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland). This album, Super Great Love, presented by Editions Mego will be their fourth album since the time of their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does whatever they damn well please when it comes to making music. With Super Great Love they want to get people in a “good” mood for 2011 and present them with some upbeat Icelandic “disko” tunes. Cover artwork by Helgi Thórsson. Recorded and mixed 2007-2010.
EL SUPRIMO
	*MOPAR MOUNTAIN DAREDEVILS: Mopar Bloody Mopar* LP (ELSUPRIMO 013LP) 15.00** “Features Cotton Casino from Acid Mothers Temple. Mopar Mountain Daredevils create a swirling thicket of heavy psychedelia that has more to do with stoner metal than any current psychedelic rock trends. But where loud bands with less songwriting talent or imagination settle down with the almighty riff, Mopar Bloody Mopar remains unhinged throughout, careening from one passage to the next, never looking back. The first thing that hits you on Mopar Bloody Mopar is how crisply the guitar effects pan out of the speakers, almost glistening, and in sharp contrast to the acid bath of rhythm lurking underneath. It is almost as though someone took rhythm tracks from a long lost ’70s heavy metal band, and grafted beautiful spiraling fractals of guitar wank onto them in a thick-knit fabric woven of modern technology and 40 year old psych aesthetics. Like the best Sabbath albums, Mopar Mountain Daredevils’ heaviness always comes caked in an irresistible sludge. Bits and pieces peek through like glimpses of some half-witnessed swamp thing. The whole EP sounds like it might have been recorded on top of a Himalayan peak, with space and wind being the dominant elements of the effects board. Excess has been the norm with psych bands, but the effect is for the album to fade out, strangely becoming more minimalistic as the songs get longer, and the beast settles back into the murk. An engaging debut from a promising band.” Record Store Day 2011 release; limited to 500 copies on red & black splatter-colored wax.
ESSAY RECORDINGS (GERMANY)
	*AMSTERDAM KLEZMER BAND: Katla* CD (AY 028CD) 17.00** This is the ninth album by Amsterdam Klezmer Band. The story started in 1996. A few boys from Amsterdam with a Jewish background got inspired by the catchy sounds of klezmer and Balkan music and started busking. Since that time, the band has evolved into a seven-strong line-up, representing one of the finest among the klezmer and Balkan music scene in Europe. The Amsterdam Klezmer Band is blessed with an enthusiastic following in the Netherlands, the whole of Europe and even in Brazil. Their refreshing approach to klezmer and Balkan music transcends the traditional aspects of this music and results in a very lively mix of Eastern-European sound. Their strength lies in their ability to appeal to a remarkably broad audience across all age groups; they play clubs or theaters, festivals, parties, weddings or formal functions and can both fire up a crowd and create pure listening pleasure with the vibrancy of their playing. Popular Amsterdam Klezmer Band tunes are being covered and Amsterdam Klezmer Band remixes are found in many clubs from Berlin to Sydney. Now, the unmistakable Amsterdam Klezmer Band sound is optimally encapsulated once again in 14 brand-new tracks which are all original compositions written by the band members themselves. Sirba, turbo-polka and booty-shaking cocek, oompah and motley rhythms, all with the characteristic and inimitable Amsterdam Klezmer Band virtuosity, are to be found on this album. Also, of course, no Amsterdam Klezmer Band album is complete without front men Alec Kopyt (a cult singer from Odessa, who’s a renowned specialist of prison songs) and Job Chajes, singing and rapping their way through this new treasure trove of highly-infectious and original Amsterdam klezmer-style repertoire. Katla is the name of the biggest volcano in Iceland. This title possibly implies this new album’s explosive, joyful character. Other members include: Jasper de Beer (double bass, guitar banjo, backing vocals), Gijs Levelt (trumpet, backing vocals), Joop van der Linden (trombone, percussion), Janfie van Strien (clarinet, backing vocals), Theo van Tol (accordion, davul), Midou Akhrif (darbuka), and Bokkie Vink (cymbalon).
EXPERIMEDIA
	*CHARRIER, CHARLES-ERIC: Silver* CD (EXP 014CD) 14.00** “On Silver, multi-instrumentalist Charles-Eric Charrier directs his collaborators Ronan Benoit and Cyril Secq through a lesson in tension and release. Dismissing genre boundaries Silver deftly plants its roots on a plateau in a strange land somewhere between the worlds of psychedelic post-rock, electronic, improv jazz and modern composition. Over the course of five movements, Charrier and company illustrate how to successfully kaleidoscope an eclectic range of influences into a cohesive and unique whole. From the smokey sludged psych rock blues jam of ’21 Echoes,’ the jazz lounge pitter-pat of brushed snares and tapped hats coalesced with analog synth and brass vibrations on ’12 From,’ to the plucked and bowed folk strings and hand drums of ‘9 Moving,’ Silver draws a new musical blueprint for the post-everything generation.” Housed in Experimedia’s stylish six-panel, 5″x7″ packaging.
	*CHARRIER, CHARLES-ERIC: Silver* LP (EXP 014LP) 16.00** LP version.
FREUDE AM TANZEN (GERMANY)
	*VA: Freude Am Tanzen 5zig Compilation* CD (FREUDE 050CD) 15.50** Jena, Germany-based label Freude Am Tanzen celebrates their 50th release with this label compilation called 5zig (German slang for “fifty”). So, the label stirs up their soup-pot, revealing earthy, diverse flavors from the label’s heartiest and tried-and-tested artists. Since the founding of the label in 1998, Freude Am Tanzen goes by the principle that every artist on their roster has the freedom to make a soup to their tastes. That is: individualism is the trump card! In the wide spectrum of electronic dance music, you can be confident that this compilation is a stomach-rumbling alchemy of dub-exotica, piquant ambient, and more, all trusted to satisfy the hungriest of dancefloors. This compilation features all-new concoctions from: Kadebostan, Monkey Maffia, Taron-Trekka, Douglas Greed, Delhia De France, Marek Hemmann, Fabian Reichelt, Mathias Kaden, Krause Duo, Daniel Stefanik, Robag Wruhme, Juno6 and No Accident In Paradise.
GEAR FAB
	*HILLOW HAMMET: Hammer* CD (GF 249CD) 13.00** “The unknown group that many have speculated came from the Washington, D.C. area. Rated as an R3, this is hard rock and heavy psych music that most collectors describe as legendary. Recorded in 1970 in Nashville, this mega rarity will not disappoint!”
GET HIP
	*BOSS TWEADS: Goin’ Away/It’s Best You Go* 7″ (GHAS 012EP) 4.50** “Great Minnesota ’60s guitar garage Farfisa injected tunes!”
	*FLOWERZ, THE: Flyte/I Need Love Now* 7″ (GHAS 014EP) 4.50** “This 45 collects the A-sides from the Flowerz’ two 45s, both of which charted on Reading, PA’s WRAW in 1968. ‘Flyte,’ from their second 45, is a perfect blend of garage and psych with fuzz guitars, tempo changes and a dark organ sound. The flip, from their first 45 is a mid-tempo garage number with hooks that you’ll remember for quite awhile!”
	*BEATIN’ PATH, THE: The Original Nothing People/I Waited So Long* 7″ (GHAS 015EP) 4.50** “This 45 documents the final chapter of the legendary Starlites’ story. After personnel changes in 1967, they changed their name to the Beatin’ Path and released this 45. ‘The Original Nothing People’ stands as one of the true classics of garage punk with put-down lyrics, heavy beat, cool cheesy organ and Seeds-inspired guitar. Originally called ‘8 X 10’ with lyrics about a drug experience, vocalist Steve Musser lost the lyrics and had to come up with new ones for this song which was then renamed. Obviously they were at a loss for more words since the flip of this 45 is an instrumental.”
	*CHAINS, THE: I Cried/Yesterday, Today, Tomorrow* 7″ (GHAS 022EP) 4.50** “By now, you probably know that Swamp Rats screamer Bob Hocko recorded with the Fantastic Dee-Jays before the Rats wreaked havoc. But even before his talents were revealed in those two combos, Hocko was leading another McKeesport trio entitled the Chains. Formed in the early ’60s, the band initially played covers of standards like ‘Little Star’ and ‘Under The Boardwalk’ before graduating to Rolling Stones and Kinks covers with the onset of the British Invasion in 1964. They also did their own stuff, and two previously unreleased Hocko originals are presented here for the first time.”
	*ARONDIES, THE: 69/El Rondie* 7″ (GHAS 069EP) 4.50** “’69’ has been hailed as the ‘definitive ’60s Pittsburgh instrumental record’ and ‘Pittsburgh’s Bolero.’ Released in 1965, the 45 ’69?/’All My Love’ sold like wildfire going through several pressings totalling 10,000 copies! If basic instrumental garage rock is your thing, it doesn’t get much better than this. And if you like ’69,’ you’re sure to like the flip which has been unreleased until now.”
HANDMADE BIRDS
	*BLUT AUS NORD: M.o.R.T.* LP (HBDIS 003LP) 16.00** “One of the most respected names in the experimental/industrial/metal genre since 1994, 2011 marks the release of their ninth full length, five of which were released on the iconic Candlelight Records label. Mort is widely recognized by experimental musicians as a milestone in dark music, and is the first release in Handmade Birds’ Dark Icons Series.” Gatefold sleeve; on brown sludge-colored vinyl.
HESSLE AUDIO (UK)
	*PANGAEA: Inna Daze/Won’t Hurt* 12″ (HES 017EP) 11.50** “For Hessle Audio’s 17th release, co-owner Pangaea presents a two-track 12″ of his own take on UK bass music. ‘Inna Daze’ = 132bpm/’Won’t Hurt’ = 134bpm.”
HIGHGRADE (GERMANY)
	*VA: Group of Connected Heads Vol. 2* CD (HIGH 094CD) 17.00** Berlin label Highgrade presents the second volume in their Group Of Connected Heads compilation series, once again tapping into the extensive and diverse network of the Highgrade family and combining a variety of artists and styles into a coherent whole. Within the 12 tracks of the second edition, we find Highgrade residents like Tom Clark, Todd Bodine, Jens Bond and Daniel Dreier, old hands such as Markus Homm, Mihai Popoviciu and Ludwig Coenen, and newcomers including Andri, Dachshund, Cab Drivers, Phono And Kemi and Julie Marghilano. The result is a cohesive and harmonious album — a glimpse into the innovative Highgrade universe. The common thread of all these artists is their originality: everyone brings their own voice, their own unmistakable style — and so, a record is created that presents thoughtful sound images followed moments later by funky rhythms that burst from the speakers, and finally returns to the deep-down and dirty. However, this is more than just a compilation series, for here are not only various artists and their works, but a connection between art and craft — the artwork, which resembles a family tree of the various creative minds, was once again created by artist Malte Hagen Olbertz.
HONEST JON’S RECORDS (UK)
	*TREMBLING BELLS: The Constant Pageant* CD (HJR 055CD) 17.00** Glasgow four?piece Trembling Bells release their third slice of Caledonia dreaming, following on from the acclaimed Carbeth (HJR 043CD/LP) and Abandoned Love (HJR 047CD/LP). From its very first notes, The Constant Pageant flies the flag — a banner of arms — with a more confident, anthemic sound than ever before. Trembling Bells are 21st century troubadours who know their history, on a quest to connect with the core tradition of Song, and live deep within its mysteries. Medieval ballads, Frank Sinatra, Bob Dylan and Bruce Springsteen are amongst the guiding lights in a music that embraces British folk?rock, American roots and electric psychedelia. The album title pays tribute to folkloric culture as “omnipresent in my thinking, and a source of personal joy and affirmation,” says the Bells’ Alex Neilson. “A kind of florid, seething, creative wellspring that taints everything I do. Though, with this collection of songs, there were a number of other influences too. I think of traditional folk music as being like my first serious girlfriend, and all subsequent dalliances with other forms have been indelibly affected by it.” It’s a record of windswept bitterness and joyous elation: “Cold Heart Of Mine” is a paean to embattled lovers written in the shadow of Verona’s ancient amphitheatre; “Where Do I Go From You” and “Torn Between Loves” describe doomed romance, dramatized by Mike Hastings’ screaming fuzz guitar. There’s also a strong sense of place. Neilson’s native Yorkshire is the setting for “Goathland” — home of folk’s first family, the McCarthy? Watersons (not to mention the BBC’s Heartbeat) — and “Otley Rock Oracle,” in which a small Yorkshire market town is re?imagined as a place of dead roads, where severed golden heads and cauliflower?clouds clue in a young adept. Classical and early music come to the fore on “Colour Of Night” — in which a medieval feast seems to be taking place behind the song’s stately gavotte — and the melancholic closer, “New Year’s Eve’s The Loneliest Night Of The Year,” a tribute to favorite modern songwriters like Gordon Jenkins, Nelson Riddle and Hoagy Carmichael (with a cheeky aside about stolen Roman marbles). The Constant Pageant is a rhapsodic celebration of the power of Song, from one of the UK’s most eclectic and inventive groups.
HOTFLUSH (UK)
	*JOY O: Wade In/Jels* 12″ (HF 027EP) 11.50** “Since the release of his debut Hyph Mngo that swept the global dance music world in 2009, British producer Peter O’Grady (aka Orbison) makes his return on Hotflush Recordings as Joy O in 2011. These two productions take a more straightforward approach, toeing along the lines of classic house music, infused with this talented producer’s own signature style, weaving rolling acidic basslines in ‘Wade In’ and uplifting melodies in ‘Jels’ and over shuffling Roland drums and blissful atmospherics.”
HUNGRY HILL (UK)
	*MEMORY BAND, THE: The Memory Band* CD (TMB 001CD) 15.50** 2004 release. Glorious album from The Memory Band, released on Spinney Records (Vashti Bunyan, Barry Dransfield, etc.) offshoot Hungry Hill. This record features Stephen Cracknell (ex-Badly Drawn Boy), Adem from Four Tet, assorted members of Hot Chip and Polly Paulusma. Best described as 21st century folk, the album will appeal to fans of Four Tet, Adem, The Wicker Man OST, Fairport Convention, Lambchop and Calexico. The Memory Band was conceived as an imaginary band, built inside a computer and made flesh by the contributions of the artists mentioned above. Featuring violins, harmoniums and guitars, the intention is to leave behind 20th century notions of fusion and purity and to simply explore new musical languages, with plenty of singing and dancing on a Sunday.
HYDRA HEAD
	*BUZZOV-EN: Revelation: Sick Again* LP (HDH 044LP) 21.50** LP version. “It’s been said many times over that suffering can render magnificent, if sometimes horrifying, results when skillfully transmuted into image, word or song. This maxim might be a good summation of the existence of Buzzov-en who have notoriously lived the most extreme facets of the rock n’ roll lifestyle – drug addiction, rehab, relapse, jail, break ups, reunions. Through all this they managed to produce some of the most beautifully damaged music since Black Flag’s descent into the nihilistic abyss of My War. Straddling the lines of metal, doom and filthy hardcore, Buzzov-en still stand as a significant pillar of the 90s underground alongside other such disfigured anomalies (and occasional touring partners) Eyehategod and Neurosis. Their gait may have occasionally faltered due to some of the aforementioned obstacles, but in the first decade of their existence Buzzov-en revealed remarkable consistency, creating an ever growing procession of nightmarish, skull-scraping albums and EPs. Though not surprising given their dysfunctional history, the premature burial of their last studio album due to legal entanglements was yet another frustrating occurrence in a long line of minor and major catastrophes for the band. Written and recorded under a self-described period of ‘exhaustion, drug-induced confusion and frustration’ their music once again managed to flourish despite (or perhaps because of) the adverse circumstances under which it was created. Revelation: Sick Again is classic Buzzov-en, replete with blistering Sabbath-ian riffing, throat torn eulogies to the narcotically oppressed, and monumental gutter dwelling dirges.”
	*GRIDLINK: Orphan* CD (HDH 210CD) 16.50** “While made up of musical luminaries who have proved their mettle in other much lauded musical outfits (Discordance Axis, Mortalized, Human Remains, Kill the Client, Burnt by the Sun, Hayaino Daisuki, etc.), this is hardly a necessary qualifier in the face of a ferocious musical accomplishment such as Gridlink’s Orphan. While possessing the energy, aggression, and overall focus of its predecessor (2008’s Amber Grey), the songs contained herein provide an ever denser and more nuanced musical assault combining short bursts of accelerated thrash, blinding passages of helicopter blasting, monochromatic smears of near-noise, and the alien howls of singer Jon Chang.”
	*GRIDLINK: Orphan* LP (HDH 210LP) 26.50** Gatefold 180 LP version. Includes: 12 tracks from Orphan, 11 tracks from their debut album Amber Grey and an MP3 download code for all the tracks from both albums, plus “Karaoke” versions.
HYPERDUB (UK)
	*BURIAL: Street Halo* 12″ (HDB 013EP) 12.50** “This single is a surprise to all and is the first new official solo material from the mysterious dubstep magnate since 2007. Three all new tracks including the new single ‘Street Halo’. The B-sides are ‘NYC’ and ‘Stolen Dog’. Their combined length is 20 minutes, 41 seconds.”
	*IKONIKA: Edits EP* 12″ (HDB 035EP) 12.50** “Edits is a simple concept; four tracks, edited down by Ikonika for functional DJ purposes, housed in a full colour sleeve. Includes ‘Video Delays’, ‘They Are Still Losing The War’, ‘Psoriasis’, and ‘Look (Final Boss Stage).”
HYPERION (UK)
	*HARVEY, JONATHAN: The Angels, Ashes Dance Back, Marahi* CD (CDA 67835CD) 20.00** Featured works: The Angels, Ashes Dance Back, Marahi, The Summer Cloud’s Awakening; performed by Latvian Radio Choir. “Jonathan Harvey is Britain’s foremost composer of electronic music and he has developed a complex and personal musical language for which he is globally recognized. His catalogue of works explores unique sound worlds and imaginative ensembles. The works on this disc, composed within seven years of each other during one of the most productive periods of Harvey’s career, demonstrate the stylistic range of his choral writing, including his unique approach to the combination of live performance and electronic sound and his innate sympathy for the voice. The Latvian Radio Choir has been labeled the creators of a new choral paradigm — a testament to their diverse range of voices and skillful performances of challenging experimental works. On this disc, the group makes their Hyperion debut with thrilling performances of some of Harvey’s choral masterworks.”
IN MY ROOM (GERMANY)
	*TRENTEMØLLER: Shades Of Marble Remixes* 12″ (IMR 005EP) 12.00** Taken from Trentemøller’s Into The Great Wide Yonder (IMR 002CD/002CD-LTD/LP), “Shades Of Marble” has been reworked by the man himself, and by KiNK and Kasper Bjørke. Trentemøller’s dramatic, edgy and daring remix of his own string-drenched opus is nothing short of breathtaking. KiNK rises to the challenge and the result is a tough, Chicago-meets-Berlin jack-jam that leads to freaky moments in the break. Kasper Bjørke has his say with his deeper and more low-slung remix, full of funk and melancholy.
KLIK RECORDS (GREECE)
	*ION: You & Me* CD (KL 052CD) 17.00** Following his Klik Records No Camera album in 2005, Giannis Papaioannou aka ION is back with his new album You & Me. This album begins exactly where Papaioannou’s previous project left things. And if No Camera was described by national and international press as “that kind of deep electronica no one expected to be born in Greece,” then You & Me can only be referred to as the perfect sequel to a vision without frontiers. Giannis Papaioannou took the first steps of his lonesome endeavor back in the mid-’80s, already an electronica pioneer at a time when electro music was still misidentified with disco and few were the ones bold enough to listen to it, let alone create it. Papaioannou started off solely with his reel-to-reel recorder, his analog synthesizers and Brian Eno by his side, and soon enough, his sound became in full accord with anything significant that took place in the respective scenes of Berlin and Detroit. ION’s electronica is the sort of music you may hear (and see!) when you close your eyes while being amidst the noisy downtown center of a metropolis; it’s also the sound of a never-ending summer — a grand sound-and-vision spectacle having no need for cinemascopic views or clearly distinguishable musical instruments in order to be released as an entirely different type of movie in the private theater of your own mind. ION’s music has no trace of attitude, and his music excels most at soulful sentiments and soulful sounds.
	*DELTA, MIKAEL: Tech Me Away* CD (KL 062CD) 17.00** Greece’s Mikaël Delta returns with a fourth project for Klik Records entitled Tech Me Away, focusing once more on his own unique electronica tech-house and techno paths with the sound of strings and wind instruments in groovy rhythms and atmospheres — a journey filled with feelings and dreams merging into an industrial city landscape. It took him more than 3 years to complete this one and decide on its final musical genre. Mikaël feels very lucky that he had the chance to work with artists whom he admires and trusts. Etten is the voice of this project; however, in a mysterious way, her voice sounds like the listener’s inner voice. Tech Me Away is an album made of sounds and references to good old techno. Mikaël didn’t follow what’s in fashion in music at all, he only followed his instinct. And as a creator, he never declined his share of responsibility to transform heartaches into a soft light sent from above.
	*NEMMO, CHRIS: The Nautilus Project* CD (KL 063CD) 17.00** After experimenting with different electronic dance genres and releasing material on several record labels worldwide, Greece’s Chris Nemmo (aka Christos Panagiotopoulos) presents his second personal album, this time creating a nu-disco/funk amalgamation. The album consists of several different aspects of the scene, employing dirty, funky bass lines, nostalgic, vintage melodies and atmospheric vocals in an effort to simulate a warm analog perception of the disco groove and aesthetics. The Nautilus Project features 11 unreleased tracks of cosmic house, nu disco, funk and pop. Once more, the production quality is massive, providing great musical soundscapes, beautiful for the head and feet as well as plenty of solid grooves to offer DJs, and enough personality to make for a completely satisfying home listen. Featuring appearances by Etten, Thalia P., Ares Duke & Helena K. and Thommy Apergi.
	*VA: Hospitality Matters Vol. 2* CD (KL 068CD) 17.00** Klik Records releases the second installment of their Hospitality Matters compilation for Greece’s luxury hotel chain, Domotel. The project is compiled once again by George Kyriakou who handpicked 10 tracks of contemporary electronica with the freshest sound, creating a compilation that matches perfectly with the superb aesthetics of the hotel. This is music for every moment from some of the most inspired artists of today’s electronic music scene such as Eddie C, Ralph Myerz, Hot Toddy, Flowers And Sea Creatures, Woolfy vs. Projections, Animat,Lord Of The Isles, Sare Havlicek, Santa Cruz Musique, Dr. Dunks, Loin Brothers, Bubble Club, Worst Friends and KZA.
LEKTROLUV (BELGIUM)
	*SUBS, THE: Decontrol* CD (LL 009CD) 17.00** Since their eponymous debut album Subculture (LL 005CD) landed at the dusk of 2008, Belgium’s The Subs have played more than 160 shows, travelled to 14 countries, used 12 different airline companies, 2 tour buses and 1 private jet. Between the three of them, they’ve mailed about 250 post cards and drank about 80 bottles of vodka. On the road, they’ve lost 5 iPhone adapters and 6 pairs of earplugs. 480 t-shirts were sold and they’ve counted at least 12 stage invasions and 13 scuffles with venue security. The band remembers 10 speeding tickets and were questioned by the police at least 3 times. They’ve made 6 music videos, launched 1 blog and recorded 3 videocasts. About half of the past 730 days they’ve spent inside a studio, 45 demos were made and 21 different versions of new artwork got rejected. About 28 hours were spent discussing the definitive tracklist, but it’s here — the second album by The Subs: Decontrol. A lot has happened to the crew since their electro-rave-punk-powered train started rolling: they also released their acclaimed Vomit In Style EP, featuring stellar remixes from Mixhell, Don Rimini and Les Petits Pilous. Their smash hit “The Pope Of Dope” is absent on this album, but he gave his blessing to the too cool-for-old school house cut “Don’t Stop,” the hyperactive rave jam that is “The Hype,” the hard-hitting techno beats of “The Visible Man” and the French movie soundtrack-inspired “Hannibal (And The Battle Of Zama).” There’s even some profound philosophies hidden inside Decontrol — the universally-appealing club anthem “The Face Of The Planet,” for instance, or “Lemonade.” Or, as Papillon puts it, “Decontrol is much less a ‘fuck you’ album than Subculture, and more an ‘I’d like to fuck you’ album.” The Subs are: Jeroen De Pessemier aka Papillon, Wiebe Loccufier aka DJ Tonic and Luca Di Ferdinando aka Highbloo.
LIFE AND DEATH (ITALY)
	*WHOMADEWHO: Dead Remixes* 12″ (LAD 002EP) 12.00** The second release from Life And Death presents “Every Minute Alone” by WhoMadeWho, remixed by Tale Of Us and Michael Mayer. A new dance classic with deep and warm sounds, magnetic voices and a dark approach. File under: nu-disco, electronic and deep house.
LIGHT IN THE ATTIC
	*HURLEY, MICHAEL: Long Journey* LP (LITA 062LP) 19.00** “This 1976 masterwork is remastered and back on vinyl for this first time in decades. Peter Stampfel and Dave Reisch of the Holy Modal Rounders lend a hand to this bizarre and earthy collection from one of America’s finest singer/songwriters. Features the song ‘Hog Of The Forsaken’ as heard in HBO’s Deadwood. 180 gram wax.”
	*HURLEY, MICHAEL: Snockgrass* LP (LITA 063LP) 19.00** “First ever vinyl reissue and remaster for this 1980 album that features Peter Stampfel and other members of the Holy Modal Rounders. As Hurley’s surreal cover painting suggests, this is woozy and charming musical folk art. 180 gram wax.”
LINE
	*CLUETT, SETH: Objects of Memory* CD (LINE 048CD) 13.00** “These works occupy a position between an expanded notion of composition and a gallery-based art practice. The content of the works presented on this disc produce a slow series of gestures that give the illusion of stillness amidst a texture of continually developing material. The central concern in all of these pieces (the three fully scored works, the installation documentation, and the live-performance) is the construction of a sound world that is able to be environmental rather than temporal, proceeding slowly enough that it might be explored without the anxiety that it will move away too quickly. Like much of my output, I am interested in providing the listener with material that allows for an active agency of perception and that affords the ability to move through the sound autonomously. Whether the work is gallery-based, conceptual, or created for a concert hall, I am interested in viewing simple, everyday actions at extreme magnification, acknowledging failure by amplifying impossible tasks, and exploring the role of memory in forms that respect the contract between the composer, performer, and listener.” –Seth Cluett.”Cluett uses minimal materials derived from close listening and observation of the environment to point up the way in which we personalize our objects and actions. Through creative misuse of post-consumer goods, adaptive re-use of raw architectural elements, and a nostalgic obsession with dead technologies, these materials become instrumentalized. In this way, many of his pieces investigate the movement, patterns, and social organization of both work and play, while others explore the acoustic signature of specific locations, where sound is exposed as the result or goal of a social activity, a characteristic of architectural space, or a by-product of a geological process.”
	*CHARTIER, RICHARD: Transparency (Performance)* CD (LINE 049CD) 13.00** “In 2010, sound artist Richard Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History’s collection of 19th Century acoustic apparatus for scientific demonstration. Chartier focused on the works of the German physicist Rudolf Koenig, including the Grand Tonometer (c. 1870-1875). This beautiful and precise set of 692 tuning forks expresses the frequency range 520 v.s (vibration simple) (260 hz) to 8192 v.s. (4096 hz). The pitches of the forks extend over four octaves, affording a perfect means for testing, by enumeration of the beats, the number of vibrations producing any given note. The Grand Tonometer is the only instrument of its kind in existence. During his Fellowship, Chartier individually recorded each of these unique instrument’s existing tuning forks as well as many other instruments, devices, and their tonal interactions. Rudolph Koenig considered the Grand Tonometer and his other creations to be purely scientific instruments. His precise workmanship extended the Grand Tonometer’s range to frequencies across the field of human perception, thus allowing the listener a chance to witness the nature of sound itself. Chartier’s own compositions juxtapose soft and hushed, almost imperceptible, fragments with high and low frequencies, bursts, and static in an asymptotic process that cuts away from and deepens the nature of sound, finally achieving compositional focus in the spaces between them. Chartier was particularly drawn to the Grand Tonometer, feeling a distinct connection to Koenig’s approach to sound, and to his aim of a new, or enhanced, way of listening.”
LIVE AT ROBERT JOHNSON (GERMANY)
	*ATA: Live At Robert Johnson Vol. 7* CD (PLAYRJC 007CD) 15.50** Volume 7 of the esteemed and idiosyncratic series of Robert Johnson club-affiliated mixes finally lies in the hands of club co-founder Ata. Never afraid to be different, Ata’s first commercially-available so-called mix doesn’t adhere rigidly to the genre’s rules. Designed and composed like a good old cassette tape for friends and lovers and rather connected than mixed, Ata presents 12 tracks and songs that are close to him and hopefully soon to your heart. Unconnected to any urge to be current or hip to the next month’s flavor, you will get Italo staples like “Nonline” by I.M.S., capricious cuts like Marsico’s “Funk Sumatra” and romantic rockets that will stay forever in your mind, for example, Endgames’ “First, Last For Everything.” Ata’s selection ebbs and flows, puts the emphasis on cutting rather than blending, makes use of some little special effects stunts here and there and most of all, it spreads that certain aural pleasure only the crackling noise of vinyl can give you. As most tracks have been recorded from the actual platters out of Ata’s record box, it is as personal and unpolished as it can get. Some of these tracks have been with Ata throughout his DJ career, others have only been discoveries of the last few years, but as distinguished as they might appear, all of them have one thing in common: like asteroids, they are little worlds of their own, sonically and lyrically. So, you won’t have to deal with any fillers, unnecessary bridges or tracks, whose sole purpose it is to be “heard in the mix.” These songs work as much together as they do on their own, each and every one telling a juicy story — stories that are as important for the history of Robert Johnson as they are for Ata’s DJ heritage: stories of pop music, mirror balls, new and old romantics, of the future and the past. Sometimes a mix is just a mix. This one ain’t. Other artists include: Ellison Chase, David Keaton, Quando Quango, Jo Squillo Eletrix, Zwischenfall, Information Society, Xymox, Grauzone and Rah Band.
	*VA: Vinyl Extraction – Live At Robert Johnson Vol. 7* 12″ (PLAYRJC 011EP) 12.00** Ata’s volume of the Robert Johnson mix CD series wouldn’t be complete with out a 12″. Here you get two of the most extraordinary songs and mysterious corkers of his outstanding compilation. Ata picked Grauzone’s “Raum” and Zwischenfall’s “Flucht” for this special plate. As this wouldn’t be a treat in itself already, Ata extended the pop arrangement of “Raum” into an almost 8-minute-long powerful ballroom blitz edit for all you new wavers and old romantics.
LUSAFRICA (FRANCE)
	*TRAORE, BOUBACAR: Je Chanterai Pour Toi* CD (LUSA 562472) 19.00** “Boubacar Traore is a passionate musician who distills emotions and dreams with simplicity and precision. His powerful voice sings his country’s history. The hope and despair of the Malian people, their love and expectations, all told through striking melodies inspired from the Kassonke Malian tradition.”
	*TRAORE, BOUBACAR: Kongo Magni* CD (LUSA 562482) 19.00** “Boubacar Traore’s fame took root in the 1950s and ever since the singer has been traveling the world and spreading his particular brand of blues. His inimitable style — warmhearted as well as wistful — can be clearly heard on these essential reissues.”
M=MINIMAL (GERMANY)
	*SCHNITZLER, CONRAD: Ballet Statique* LP (MINIMAL 004LP) 15.50** M=Minimal continues their collaboration with electronic music legend Conrad Schnitzler, and presents after 30 years, the re-release of one of the key works from Conrad’s large, adventurous back catalog. Ballet Statique is not only a musical milestone but also a highlight of music production. It was recorded in 1978 at the legendary Paragon Studio, Berlin by Tangerine Dream’s Peter Baumann in the same period when other masterworks like Cluster’s Großes Wasser and solo recordings by Roedelius and Asmus Tietchens were recorded. Ballet Statique was first released on the German Paragon label, under the original title Con (also issued on legendary French label Egg). This album is a must-have, and not only for fans of Emeralds and Oneohtrix Point Never.
MACRO RECORDINGS (GERMANY)
	*GOLDMANN, STEFAN: The Grand Hemiola* 2×12″ (MACROM 022LP) 20.00** Stefan Goldmann presents the first real innovation in the vinyl format in years! 144 locked grooves build a toolkit that breaks out of the limitation of one 4/4 cycle and brings unique possibilities to create complex polyrhythms just with two decks and a mixer. The Grand Hemiola loop toolkit overcomes the time restriction of locked grooves: one record contains loops in 4/4, the other in 3/4 (employing the time differences of the rotation rates 33 and 45 rpm). In the mix, they sum up to an extended cycle of 3x 4/4 or 4x 3/4 and enable building complex “3 over 4” polyrhythms (“Hemiolas”). You can mix loop into loop for hours without ever getting trapped. Additionally, the A & C sides contain a 6 full-track mini-album of haunted acoustics, haptic percussion and deep, rhythmic expression.
	*ELEKTRO GUZZI: Live P.A.* CD (MACROM 023CD) 17.00** This is the second full-length release from Vienna’s Elektro Guzzi, who play their brand of techno 100% live: no laptops, no loops, no sequences. Their unparalleled live success has made them a leader in the field at Sónar, Mutek, Berghain, Fabric, Amsterdam Dance Event, Time Warp, etc. Elektro Guzzi had the biggest head-start on the 2010 circuit, and it has always been considered a main advantage of having a band on stage: you can see and feel what you hear, and in techno this is only true for Elektro Guzzi. What sounded incredible on their debut album is a revelation live. They have made most laptop acts sound rather dull, and since then, they have been in fast-forward evolution mode. Live P.A. captures the latest state of Elektro Guzzi’s incredible live sound, recorded in London with the outstanding mixing capabilities of Brendon “Octave” Harding, the trusted engineer of dub legend Lee “Scratch” Perry. The set, originally recorded for Resident Advisor, captures Elektro Guzzi’s raw live side, turning out dark grooves with an almost indie edge — probably their most appealing material to date. The CD version has been newly mixed by their producer Patrick Pulsinger (Hercules & Love Affair) and is available in full resolution for the very first time.
MEXICAN SUMMER
	*ALPS, THE: Easy Action* LP (MEX 078LP) 20.00** “Blending folk music with electronics and a vibe like sunshine pouring raisins down on you from the heavens, San Francisco’s The Alps are America’s premier morning musicians. Put on something like ‘Spray,’ from their full-length Easy Action, into your wake-up routine, daylight peeking out over the trees and buildings, an abundance of noise and effects co-existing around stern acoustic folk guitar melodies, traditions smashing against one another like metaphysical Japanese monsters to make room for more skies and visible horizons in your life. Featuring Alexis Georgeopolous (Arp), Jefre Cantu-Ledesma (Tarantel) and Scott Hewicker (Troll), the Alps make music that is made to move the mountains in your mind, and help you to take some time for yourself, out of focus from the rest of the world, and think about what you can do today to make the world better.” Housed in a fold-out pyramid sleeve; includes download code.
	*ASHLEY, GREG: On Thin Heroine/Misery Again* 7″ (MEX 084EP) 5.00** “Greg Ashley (The Gris Gris, The Mirrors, Strate Coats, solo fame, record maker extraordinaire) continues along his path as a troubador, with two new countrified crooners which’ll find you alone, sittin’ at the bar in broad daylight, lookin’ down low. Skirting the line between legitimate Nashville tears in your beers and marvelous, near-classical new Americana folk, these two sorry sons-a-guns are slowly revealing the full count of Ashley’s skills as a singer, songwriter and arranger.”
MINKY
	*MIXTURES, THE: The Complete Mixtures* CD (MKY 002CD) 13.00** “All recordings by this East L.A. ’60s classic garage band. Includes the live LP and all 6 singles from Rampart/Linda Records. It all happened at the Rainbow Gardens in Pomona, California, 1960, as the Mixtures, mighty kings of the West Coast’s Eastside dance hall scene, rocked and ruled the house. As the movement for integration that began in Mississippi and Alabama was taking shape nationwide, it was not only the South that was segregated. In the Southern California of the Fifties, non-white races were more allied, though it was rare you’d find them mixed in a band. As the dawn broke on rock’n’roll, The Mixtures, a six man party band at different times comprised of African Americans, Hispanics, Asians, Caucasians and a Native American, made history. Stepping onstage to the tune of a warm up, the band would move through instrumental superjams like ‘Turkey Time’ and ‘One Degree North,’ and crowd-pleasing pop hits like ‘So Fine’ and ‘Peter Gunn’ till the house and all its inhabitants dripped in a cold sweat. By the time they got to Ike and Tina’s ‘It’s Gonna Work Out Fine,’ into which they’d injected their own brand of soul-styled horns and guitar at all the right stops, they’d have the roof tore off. The slow dances snuck up, like the sly rendering of the standard, ‘St. James Infirmary’ and the tear-soaked, ‘That’s All I Ask’ (you can hear the ladies in the house squealing their approval). Back to the jams, ‘Poochum’ put a spotlight on keyboard man Mendoza and the classic Eastside sound while the borrowed tune ‘Tiki’ was the well-known theme to the island lounge craze that was sweeping the Southern California suburbs like a tropical hurricane, all designed for a non-stop dance floor workout. The band created ‘The Rainbow Stomp,’ as they loved to hear the foot stomping: Stomp, stomp, stomp.”
	*MIXTURES, THE: Stompin’ At The Rainbow* LP (MKY 002LP) 16.00** “The vinyl is an exact reproduction of the rare 1962 live Linda Records Stompin’ At The Rainbow, recorded live at the Rainbow Gardens by a young Wally Heider. The band is introduced by The Newlywed Game’s host Bob Eubanks. A 60s-style case wrapped cover. 180 gram vinyl limited edition 1000 copies. A download certificate that includes the extra tracks on the CD. The CD also includes all 6 singles (A and B sides), The Complete Mixtures.”
MIRAU (GERMANY)
	*AEROMASCHINE: Ascultam Vorbe EP* 12″ (MIRAU 013EP) 12.00** Alin Crihan alias Aeromaschine is a DJ/producer from Romania, and this is his innovative debut EP on Mirau. What at first sight appear to be minimalistic, funky house tracks hypnotically wind their way into your dancing shoes and burst into pulsing groove-shapes. The innocent thrill of these deep loops and squandered samples will squeeze you onto the dancefloor. Marcus Worgull contributes an ageless remix that floats like spherical haze.
MO’S FERRY (GERMANY)
	*CORBIN & PEDDY, VLADIMIR: Sinner City* 12″ (MFP 055EP) 12.00** Stuttgart-representative of the minimalistic house and techno scene Vladimir Corbin and his ally Peddy collaborate on Mo’s Ferry number 55. The icing on the cake is the label owner’s appearance as remix producer! “Sinner City (feat. SackJo22)” is a very synthetic tech house track with a good deal of Detroit. “The Grid” comes with a driving, rambling stab. An abused TR909 makes this one really groove! Dapayk’s remix gives it a dash of warm kick-drum and a handful of “hands-up.”
MOTOR CITY DRUM ENSEMBLE (GERMANY)
	*VA: MCDE 1206/07* 2×12″ (MCDE 1206/07EP) 23.50** Repressed. Double pack of MCDE label delights, including the artists Motor City Drum Ensemble, Hundred 20, John Roberts, Stee Downes and Creative Swing Alliance.
MUELLER RECORDS (GERMANY)
	*ISHINO, TAKKYU: Cruise* CD (MUELLER 2072CD) 17.00** Mueller Records presents a mini-album from Japan’s matador of techno, Takkyu Ishino — previously released only in Japan in 2010 on Ki/oon Records/Loopa. Ishino is a multi-tasker responsible for countless projects and productions including Denki Groove, Berlin Trax, and the Wire Festival (Asia’s biggest indoor festival). He formed Denki Groove together with Pierre Taki and other musicians back in 1989. Takkyu released his first solo album Dove Loves Dub in 1995, and began performing as a professional DJ around the same time. His DJ craftsmanship has been widely demonstrated in Europe since 1997. Since 1999, he has been organizing the event Wire, which has now become the biggest indoor techno rave in Japan, gathering more than 10,000 people a year. In 2002, he made some remarkable works such as a remix of “Anthem,” the official theme of the 2002 FIFA World Cup Korea/Japan written by Vangelis, and also the music for the theatrical stand-up comedy “Papa Semplicita” by City Boys, three big-name comedians in Japan. In 2003, Takkyu started hosting a regular party “Sterne” at the club Womb in Shibuya, for which he serves as a resident DJ, and one of its live sets was released as a DJ mix CD called In The Box – Live At Womb Tokyo. Around this time, Takkyu founded the indie label, Platik. In 2006, he formed the unit InK with Hiroshi Kawanabe and released two albums. Cruise has been unavailable outside of Japan, until now, and Mueller Records plans to release more music from this outstanding artist. Takkyu has been on the scene since the early days plying his club-tools and funky techno throughout Japan. Here’s your chance to grab one of Japan’s best-selling techno records with one exclusive track, especially for the Mueller label.
MULE ELECTRONIC (GERMANY)
	*LAWRENCE: Above The Sky* 12″ (MULE 077EP) 12.00** Lawrence is back on Mule Electronic with four brand new songs. “Teenage Barb” is a hypnotic deep house tune with melancholic piano chords and monotone synth sounds. “Organ Track” is a percussive deep house tune with a modern approach for all deep house lovers. “Above The Sky” is a dance version of “Enjoy The Silence,” included on Mule’s ambient compilation. This is a very nice ambient house sound with an illusory melody à la Steve Reich.
NEOS (GERMANY)
	*CASTIGLIONI, NICCOLO: Altisonanza; Le Favole di Esopo* CD/SACD (NEOS 11031CD) 21.00** Altisonanza (1990-1992) and Le Favole di Esopo (1979) performed by WDR Sinfonieorchester Köln, WDR Rundfunkchor Köln, Emilio Pomárico, conductor. Stereo/multichannel hybrid SACD that can be played on any CD player.
	*QUELL, MICHAEL: Chamber Music* CD (NEOS 11046CD) 21.00** Performed by Mária Gyurkovics, Edit Gáncs, Tímea Cser, Irén Szecs?di, sopranos; Magda Tiszay, contralto; Endre Rösler, Tibor Udvardy, tenors; György Littasy, András Faragó, basses; Budapest Chorus; Hungarian State Orchestra; Budapest Philharmonic Society Orchestra; Zoltán Kodály, conductor.
	*VA: Donaueschinger Musiktage 2009 Vol. 2* CD/SACD (NEOS 11052CD) 21.00** Featured works: Frank Bedrossian’s Swing; Raphael Cendo’s Introduction Aux Tenebres; Christopher Trebue Moore’s Strange Attractors. Performed by: Peter Veale, oboe; Carl Rosman, clarinet; Alban Wesly, bassoon; Dirk Rothbrust, percussion; Ictus Ensemble, Michael Schmind, flute; Dirk Descheemaeker, clarinet; Dirk Noyen, bassoon; Rico Gübler, saxophones; Bruce Richards, horn; Toon Van Ulsen, trombone; Pascal Roussea, tuba; Jean-Luc Plouvier, piano; Gerrit Nulens/Miquel Bernat, percussion; Hughes Kolp, guitar; George Van Dam/Igor Semenoff, violin; Bram Bossier, viola; François Deppe/Geert De Bièvre/Arne Deforce/Séverine Ballon, violoncello. Stereo/multichannel hybrid SACD that can be played on any CD player.
NEW WORLD RECORDS
	*LIANG, LEI: Milou* CD (NW 80715CD) 15.00** “Lei Liang (b. 1972) is a Chinese-born American composer whose work can be situated within the lineage of the new wave of Chinese composers (such as Chen Yi, Zhou Long, Tan Dun, Bright Sheng), yet whose vivid musical imagination and philosophical interests place him in a league of his own. The distinctiveness of his compositional approach, first and foremost, can be noted in Liang’s avoidance of exoticized Chinese elements: one would not find stylized quotations of familiar folksongs or cliched treatment of instruments. Born into the Cultural Revolution (1966-76) and denied access to older traditions of art forms in China, Liang considers himself raised in a cultural and spiritual ‘ground zero.’ Liang’s displacement from his homeland has led him to intensify his search for a deeper cultural connection to Asian musical practice and aesthetics at large, as his interests cover the Beijing opera, guqin (Chinese zither), Inner Mongolian music, as well as music of other parts of Asia. In searching for an appropriate framework for transforming these resources, he often embarks on a sonic exploration of a philosophical concept or idea to create music that contains multiple surfaces and trajectories for the listener to decipher. On Milou Liang offers a labyrinth of sounds in musical space, deploying various modernist and avant-garde procedures (post-serial techniques involving canons, indeterminacy, extended techniques for acoustic instruments, spectral analysis) to express music as a form of ritual–its rich layers of meanings to be experienced and deciphered through the act of listening and reflection.”
NINJA TUNE (UK)
	*WAGON CHRIST: Toomorrow* CD (ZEN 163CD) 15.50** “The one and only Luke Vibert returns to the fray under his most celebrated and wondrous moniker, Wagon Christ (to clarify, he is not under a wagon. Nor on one. Nor is he, strictly speaking, Christ, though we can’t rule out his messianic status). The king of stoned exotica, ridiculous vocal samples, toothsome puns, swinging rhythm and the psychedelic groove, Vibert has never been one to take himself too seriously, but his music continues to delight.”
	*WAGON CHRIST: Toomorrow* 2LP (ZEN 163LP) 20.50** 2LP version.
NORMOTON (GERMANY)
	*VA: Compact 7 – Alienloops EP* 12″ (NORM 6412693EP) 12.00** New continuous grooves in the Compact series with 100 loops from Modeselektor, Thomas Brinkmann, Siriusmo, Housemeister, Phon.o, Mochipet, Bok Bok, Litwinenko, Exsample and Daniel Haaksmann. Limited to 500 units worldwide.
NORTON RECORDS
	*IDEALS, THE: The Gorilla/Mo Gorilla* 7″ (45 162EP) 5.50** “Five star 1963 Chi-Town Simeon Stomper between the original follow-up fracas! Be zorch, daddy-o-go ape!” On orange-colored vinyl.
	*KING USZNIEWICZ AND HIS USZNIEWICZTONES/SOUTH BAY SURFERS: Battle of The Bands* LP (ED 359LP) 13.00** “The only bands that matter! Norton digs deep into the vaults and comes up with eight unissued King U tracks, their first newly presented material since our 1994 Doin’ The Woo Hoo LP! Duking it out with the U-Tones is the torchbearers of the Surfin’ School Sound, Los Angeles’ legendary South Bay Surfers!”
	*BLOODSHOT BILL: Thunder and Lightning* LP (ED 370LP) 13.00** “He’s made scads of solid senders all over the globe, but here’s the one man racket squad’s first full length Norton platter and we think it’s his best offering to date! Thunder and Lightning features brand new Bloodshot Bill-penned rockers like ‘Crazy ‘Bout the Girl’ and ‘The Hunt’ plus killer remakes of Tooter Botman’s title thumper and Eddie Cochran’s brooding ‘Dark Lonely Street’ – get this album!”
OCORA (FRANCE)
	*DEVI, GIRIJA: Girija Devi* CD (OCORA 561056) 19.00** “The esteemed north Indian singer Girija Devi is featured in a live recording of a concert given in Paris in 1992. Born in 1929, Devi is a specialist in classical and light classical thumri.”
	*PEREIRA, NHA MITA: Batuque et Finacon* CD (OCORA 561151) 19.00** “The popularity of Cape Verdean music has grown exponentially thanks to great artists such as Cesaria Evora. Through the vocals of Nha Mita Pereira, a legend of batuque tradition, the very soul of Cape Verde is exposed.”
	*VA: Uganda –Music of the Baganda People* CD (OCORA 561161) 19.00** “A collection of music of the Baganda people, Uganda’s main ethnic group features selections including dances, religious invocations and secular songs.”
OPTIMO MUSIC (UK)
	*FACTORY FLOOR: ~ (Real Love)* 12″ (OM 013EP) 12.00** Things are going well for the London-based trio Factory Floor: Nik Colk (guitar/vocals/electronics), Gabe Gurnsey (drums/ electronics) and Dom Butler (electronics/vocals). The Optimo (Espacio) mix was made at the behest of Factory Floor and was done by Optimo Music head honcho JD Twitch alongside his sometime collaborator Dave Clark. Props already from James Holden, The Quietus and more.
ORANGE MOUNTAIN
	*GLASS, PHILIP: Kepler* DVD (OMM 5004DVD) 28.00** “Mountain Music’s recording of Philip Glass’ opera Kepler is now available on DVD. The opera was filmed by Austrian Broadcasting in 2009 and broadcast on Austrian and German television in 2010. The DVD presents the full opera, filmed in HD, sung in German and Latin with German, Latin and English subtitles. The opera explores the life of scientist Johannes Kepler, continuing Glass’ interest in scientists following operas on Einstein and Galileo. Performed by Landestheater Linz with the Bruckner Orchestra Linz under Dennis Russell Davies, Kepler is a refreshing return to large-scale symphonic writing for the opera house.” All-region NTSC format: 120 minutes.
OVUM
	*AGARIC: Who Made Up The Rules* CD (OVM 9011CD) 12.50** Patrik Skoog isn’t only one of the youngest veteran techno and house producers from Sweden, he’s also one of the most interesting and inspired. Though incredibly versatile, the sustained energy in his sets and productions are equally exceptional. In the last two years, Agaric established the Club Tracks 10″ series on his label We Are. Besides his own stellar productions, collaborations with close friends Shonky, Walker Bernard, Ed Davenport, and Beaner have also graced the Club Tracks series. International support came from leading DJs like Richie Hawtin, Seth Troxler, Loco Dice, Ben Klock, Luciano, Joris Voorn, Magda, Laurent Garnier, Sven Väth, and Adam Beyer. Above all, his productions were championed by Josh Wink, who went on to sign his album debut to his Ovum imprint. After more than 100 vinyl releases, Patrik Skoog can look back at quite a history: his harder techno project Headroom on his label Native Diffusion, releases on Synewave, Loop, and many more long-forgotten underground labels in the ’90s and early 2000s left his first mark for those who know. From 2005 on, he evolved into his deeper Agaric project, with releases on his internationally-celebrated We Are label, Adam Beyer’s Drumcode, Truesoul & Mad Eye, Raum…Musik, Sunset Diskos, Nummer, Kontra Musik, Treibstoff and Liebe*Detail. As a technical DJ with a magical sense for momentum and selection, he’s been playing worldwide for more than 15 years, while his equally as stellar live-sets are one of the few that can rock a crowd throughout its duration. Relocating to Berlin in 2007, he quickly established himself as a celebrated constant inspiration, be it for extended Bar25 after-hour sets, or club nights in Watergate, Arena, and Berghain’s Panoramabar, where he holds his We Are label nights.
PAST & PRESENT (UK)
	*VA: Piccadilly Sunshine Part Five* CD (PAPR 2136CD) 17.00** Subtitled: British Pop Psych And Other Flavours 1966-1969. The Piccadilly Sunshine series sets foot into the deep and wondrous valleys of British pop music culture, daring to bring forth the once overlooked and sadly-neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join us as we tip-toe barefoot and trip through the late 1960s and early ’70s in Great Britain’s vast and glorious, cultural dustbin. Stepping amongst the 20 flower-powered trippers presented here, many of them available on CD for the first time, together we shall lovingly restore them to their former glory. Includes a full-color booklet and detailed sleevenotes. Artists include: Samurai, The Running Jumping Standing Still Band, Sight And Sound, Washington DC’s, Laurels, Jago Simms, Oedipus Complex, Wayne Fontana, Nocturnes, John Bryant, Sweet Thursday, Seymour Kelly, Tony Rivers And The Castaways, Watch Committee, Merlin Q, Roger Denison, Ian Whitcomb, Roulettes, Sounds Bob Rogers and Toyshop.
PHOENIX RECORDS (UK)
	*FLIED EGG: Dr. Siegel’s Fried Egg Shooting Machine* CD (ASH 3043CD) 17.00** Japan’s proggers Flied Egg, consisting of former Strawberry Path alumni Shigeru Narumo and Hiro Tsunoda, supported by former Brush leader, Masayoshi Takanaka, released two albums in the early ’70s, Dr. Siegel’s Fried Egg Machine being the first and undoubtedly the better of the two. Dr. Siegel’s…, originally released in 1972, is a much more keyboard-oriented affair, with Narumo adding a Moog, celeste and harpsichord to his usual Hammond and piano line-up. On this album, the musical influences are more Uriah Heep than the previous Hendrix-inspired leanings, although touches of Emerson, Lake & Palmer, Deep Purple, Birth Control and even Black Sabbath find their way into the musical mèlange. Dr. Siegel’s… presents a rich selection of musical styles, culminating with “Guide Me To The Quietness,” a glorious prog epic that brings an inventive and enjoyable album to a climactic finale. Digitally remastered. Numbered, limited collector’s edition housed in an LP-replica gatefold card wallet.
PINGIPUNG (GERMANY)
	*WOLS: Unframe* CD (PING 021CD) 15.50** Pingipung are proud to present Unframe, the debut album by Russian duo WOLS. While self-proclaimed insiders have mainly kept their ears tuned to releases from the UK, a lively dubstep scene has been thriving for years in the Russian Federation. And so WOLS bring more to the floor than just a bass whip. On this album, you’ll find majestic hymns, cut-up avant hip-hop beats, dub tracks whose jittery cheerfulness is reminiscent of Aphex Twin or their own highly unique electronica steppers with heart, soul, and the most wonderful pads. Using old Sovyet vintage synths and drum computers in combination with fine recordings of live musicians, WOLS deliver a well-rounded album that offers all the thrills yet avoids the trap of simply stringing together dancefloor killers. Just as their music points to a variety of styles, their name points to a multitude of references: firstly, it’s an alias of the German painter Alfred Otto Wolfgang Schulze, as both members of WOLS like his pictures immensely. Secondly, it refers to the project’s origins in techno: WOLS have gradually developed towards their current sound by slowing down and stirring the 4/4 beat, and so “SLOW” became “WOLS.” Thirdly, in some colloquial variants of Russian, “WOLS” describes a slow person who has their head in the clouds. WOLS are Evgeny Shchukin and Alexander Tochilkin. They have already released techno tracks on Ostwind, Level and Harthouse Mannheim under the name Modul, and they run the FUSELab media resource for different types of sonic and visual art. The duo lives in Southern Russia, in the city of Krasnodar, near the Black Sea. That region is famous for a particular kind of sunflower, and in a certain way, we actually owe the creation of the album to its seeds. To cut a lovely story short, it’s Krasnodar’s prosperity through sunflowers which gave the young WOLS access to this high-end sonic range that we can hear on Unframe.
PLAK (GERMANY)
	*DALY, JOHN: First Water* 2×12″ (PLK 002LP) 20.00** John Daly is from Cork, Ireland, now relocated to Galway. He’s the owner of Feel Music and One Track Records, producing heavyweight cosmic dub house with a very unique & classy blend (Steffi named him one of the biggest newcomers). Alongside writing music, John Daly is an amazing DJ with regular appearances at Panorama Bar and fine clubs all over the world. First Water is a brand-new collection of warm analog-rooted house/techno carefully shaped for your endless weekend. Mastered by Helmut Erler at Dubplates & Mastering, Berlin.
PLANET E COMMUNICATIONS
	*BUTTRICH, MARTIN: Full Clip Remix* 12″ (PE 65330EP) 8.00** “It was an honor to be involved in Planet E’s 20th Anniversary remix project as it’s always been one of my favorite labels, run of course by one of my very favorite friends! The very first Planet E release by 69 blew me away back in 91 — and it was a dream come true when Carl signed my Future/Past track for the labels second release a few months later. There are many classic tracks on the label, but choosing to remix ‘Full Clip’ was a no-brainer for me. It was a high-risk strategy as it’s one of the labels anthems, well-known and loved by thousands worldwide. But I knew it has the building blocks and potential to go in other directions with my personal touch applied. It’s both a classic and futuristic production — and I was very grateful to get the chance to remix it.” –Kirk Degiorgio
POKER FLAT (GERMANY)
	*VA: Forward To The Past* CD (PFR 027CD) 17.00** Poker Flat continues to roar ahead into 2011 with a seriously jam-packed new compilation on CD, featuring only brand-new and exclusive tracks. Forward To The Past, according to label-boss Steve Bug, pays homage to the period between 1985 and 1992, traversing the heady sounds of Chicago house, acid, New York house and early Detroit techno. The album amasses an all-star cast from across the board including the talents of Steve Bug, Martin Landsky, Clé, Redshape, Ribn, The Revenge, Deetron, Sasse, KiNK & Neville Watson and more. Forward To The Past takes in many of today’s rising talents alongside faithful veterans of the scene. It’s really a joy to hear how these top-class producers, both vintage and modern, each add their own spin and re-interpret the sounds of the past. Complete with audiophile-approved analog tape mastering, and the highest production values around, it’s a wonderful tribute to the past, present and future of electronic music! Other artists include: Polus, TJ Kong & Modular K and Cab Drivers.
	*VA: Forward To The Past* 2×12″ (PFR 027LP) 20.00** 2×12″ version, featuring 8 of the 12 tracks from the CD.
PRESERVATION (AUSTRALIA)
	*SKELTON, RICHARD: Marking Time (Reissue)* CD (PRE 018XCD) 14.50** The Preservation label presents the reissue edition of Marking Time from UK artist Richard Skelton. Richard has recorded in various guises — as Clouwbeck, Heidika, Carousell and A Broken Consort. Marking Time was his first work released under his own name, and also the first on a label other than his own, Sustain-Release. Through the prolific output on Sustain-Release, Richard stamped a singular vision with his music: a sound that is at once complex and elemental in its questing nature, corporal feel and ultimately life-affirming quality. Marking Time represented a new beginning for Richard, finding him at his most direct and intimate, slowly turning on relatively bare textures of bowed strings, piano and guitar. A meditation on loss and the passing of time, its measure of transcendence accumulates in instrumental passages that work like gestures drifting towards a sense of space both rich and real. In reviewing Marking Time, The Wire wrote: “Not a single note is wasted … utterly beautiful.” After being one of The Wire’s notable albums for 2008, it’s something he continued to explore on his follow-up for the Type label, Landings (TYPE 055CD), in 2010 — another similarly acclaimed album. And as with Marking Time, it is with his music that Richard impacts on and affects that environment, by documenting his ever-changing shape in it by means not only uniquely personal, but universal in a devastatingly beautiful way. This new edition of Marking Time features a new piece called “Ford,” specially recorded to complement the album’s existing pieces in this updated version featuring a reworking of the original artwork by Mark Gowing. Limited edition of 400 copies only.
PUNCH DRUNK (UK)
	*KAHN: Like We Used To/Helter Skelter* 12″ (DRUNK 021EP) 11.50** “Kahn steps forward from the shadows of the Bristol underground to deliver a killer double A side debut 12″ release for Punch Drunk Records. The immediacy of Kahn’s brand of electrostatic synths and stirring, moody grooves are sure to rapidly ascend his profile in 2011. ‘Like We Used To’ strikingly layers a neck snapping rhythm with mutated soulful vocals, whilst ‘Helter Skelter’ brings enough irresistible bump and flex to move any dancefloor. Kahn’s basslines may emanate from Bristol, but prepare to feel the resonance worldwide. Bristol’s Punch Drunk label reached its landmark 20th 12″ release and was voted #18 in Resident Advisor magazine’s Best Labels of 2010 poll.”
RASTER-NOTON (GERMANY)
	*CHATON, ANNE-JAMES: Événements 09* CD (R-N 128CD) 17.00** 1 ticket “ticket T+ OPTILE ratp – bus tm rer dans paris t sncf – carnet – stif stif stif – 005676486 I 0803 B 14” “Poor literature,” that’s what French sound-poet Anne-James Chaton calls trivial workaday texts like receipts, metro tickets, newspaper headlines and so on. He has been collecting these kind of texts for years now, always on certain “événements” — media-related occasions which are of particular interest. Chaton converts them into music. On Raster-Noton, he releases “Evénements n° 20 to 28,” which deal with, among others, the investiture of Barack Obama or Michael Jackson’s death. The fragments of literature and their musical arrangement remind, due to their precision of the performance, of a human beatboxer. Chaton cuts, loops and samples the spoken texts and assembles them into staccato-like, hypnotizing tracks. The text itself is treated like an instrument; its repetition, its inner rhythms condense the song and push it. Apparently, random chosen phrases are isolated and their original message is transformed, their former simple meaning is extended.
RIVERMAN MUSIC (KOREA)
	*HAKANSSON, CARL: Candles Glow* CD (BTR 060CD) 18.00** Completely obscure private press from central Massachusetts, 1979. Candles Glow was recorded predominantly in the attic of an old farm house in northern New Hampshire. This is the same little corner of the world where Bobb Trimble made two of the best psych records ever, also around 1980. This album’s not as out-there as Bobb’s, but it’s completely unknown as far as you can tell and several tracks have got a nice rural psych feel with great, garage-y guitar work from Richard Thyng, as evidenced on “Morning Bird.” Neil Young’s definitely an influence here, and the rest of the record is a lot mellower, with a few solo downer-folk numbers by Carl Hakansson and one really spooky and somber kind of chanted mantra a cappella track “Alone They Ride,” credited to The Thyng-Hakansson Chorus.
	*ELIZALDE, PETER: Winter Playground Mystery* CD (BTR 064CD) 18.00** Unknown, brilliant all-original outsider loner singer-songwriter who completely sounds trapped in 1972 not ’82!! One insane epic dueling guitar/synth prog stormer and also a quirky power-pop hard rock number and the rest sounds like early ’70s FM radio or maybe Todd Rundgren coming down off a hard bummer! Cool hand-drawn acid-drenched cover reminiscent of Van Gogh. Maybe this guy was dipping into the turpentine, too! Dark, cold, underdeveloped and moody just like the music. A little something for everyone here: real people, soft rock, psych, folk, prog and more. An undiscovered gem that’s bound to get props eventually from the big-time collectors.
	*SEVERANCE & CASSIDY: Severance & Cassidy* CD (BTR 066CD) 18.00** Severance & Cassidy was a duo playing folk rock in the late ’70s and early ’80s in New Hampshire. Don Severance: songwriter, guitar and vocals Gary Cassidy: bass and vocals. In 1978, they were playing clubs, concerts, and parties full-time throughout New Hampshire and into Vermont. Their sound evolved from their interest in the acoustic, melodic, and harmony-driven music that was popular at the time. Don was strongly influenced by the guitar and harmony work of Peter, Paul And Mary and the songwriting and vocals of Simon And Garfunkel. In addition, bands such as America and Crosby, Stills And Nash were on the charts adding their brand of folk rock to the musical landscape. Gary came from a background of country music, and with his deep, rich, full-range vocals and his strong bass skills, they created a sound that felt larger than most other duos in the area. If you like obscure and mellow folk rock of the 1970s, this is a must-have album.
	*PATTERSON & PULTS: Grand Tetons* CD (BTR 070CD) 18.00** Very introspective and beautiful private loner/psych/folk rock from Texas in 1977. Here’s what the Acid Archives has to say: “Introspective acoustic folk duo. Nice dark playing and stark, heartfelt songs about loneliness and the wonders of nature. There is also a second LP from 1984, Second Time Around with 1979-80 recordings.” Grand Tetons, the debut album from this highly-regarded Texas rural folk rock duo, has a lot of fans. The follow-up, recorded in 1979 but not released until 1984, continues in the same style, as evident from the outstanding West Coast-flavored opening track and several more strong tracks. This CD reissue includes 6 tracks from the second album and demo recordings from newly-found tapes. Good one to file next to Kaufmann & Caboor, Will & James Ragar, John Villemonte, etc.
	*STONEFIELD TRAMP: Dreaming Again…* CD (BTR 077CD) 18.00** Very rare Stonefield Tramp album with a beautiful, dreamy quality. In 1974, members of the band Terry Friend and Rob Van Spyk met Brian Ballister. As a trio, they released the album Follow The Sun for the studio label, Acorn. After they’d failed to interest any major record company in their recordings, the group issued one LP, Dreaming Again…, on their own Tramp label. For this album, the trio were enhanced by additional musicians Chris Sutoris (bass) and Dave Lloyd (electric guitar). To reflect their new sound, the band adopted a new name and Stonefield Tramp were born. Some tracks show a strong Bob Dylan influence while others lean strongly towards the style we have now come to know as acid folk. Dreaming Again… is very eagerly sought-after by vinyl record collectors worldwide. A must for British folk fans.
RUSH HOUR (NETHERLANDS)
	*TRAGO, TOM: Iris* CD (RH 114CD) 17.00** After releasing Voyage Direct (RH 025CD) in 2009, Tom Trago has spent the last two years finding his signature sound. The outcome of this search has resulted in Iris. Where Voyage Direct was his homage to disco, Iris deals with all of Tom’s musical inspirations. Shaping these inspirations into a new sound and creating an exciting mix is where Tom really succeeds. Iris can be best described as a futuristic soul album. It’s an album that takes the listener on a voyage into the future of dance music — a future where all genres and directions are fused together, from soul to techno, from hip-hop to electro and from classical to disco. Tom has spent countless hours recording for Iris in his studio, on the road and in Los Angeles, where he recorded “So Cold,” together with Om’mas Keith of Sa-Ra. Other vocalists featured are Tyree Cooper, Oliver Daysoul, Romanthony and San Proper. The selection of vocalists underlines the diversity of this album. You are cordially invited aboard Tom’s musical spaceship, which will no doubt bring you towards the borders of your own imagination. Also features an appearance by Meikbar.
	*TRAGO, TOM: Iris* 2LP (RH 114LP) 23.00** 2LP version.
RVNG INTERNATIONAL
	*BLONDES: Lover/Hater* 12″ (RVNGNL 005EP) 11.00** “Electronic duo Blondes follow-up their 2010 Touched EP with Lover/Hater, a two track 12″ inaugurating a three part series on RVNG exploring duality concepts. Recorded live to 2″ tape at Atlantic Sound in Brooklyn, these set staples capture Blondes at their headiest and deadliest. ‘Lover’ places a shamanistic Meredith Monk vocal sample atop a ritualistic rhythm, transporting the track to a trancefloor spirit worlds away. ‘Hater’ builds on cascading keyboard cycles before breakiing into an E2-E4 on the floor bounce. Artwork by Kevin O’Neill. Limited pressing.”
SLOW TO SPEAK
	*CHEZ N TRENT: Core 1994 – Morning Factory* 12″ (CORE 094I-EP) 11.00** “‘Put your hand in my flame… I won’t burn you I promise.’ With these words commences one of the finest house records ever created. ‘Morning Factory’ by Chez Damier & Ron Trent represents the pinnacle of underground dance music during the early 1990’s, a record so deceptively simple, so eccentrically brilliant, and so clearly groundbreaking that it remains one of the first and always obligatory lessons of a proper deep house pedagogy. The unyielding, signature analog groove repeated throughout the carefully unfurled, patient build still sounds so universal, categorical and undeniable: a total axiom of dance music infallibility that dispels any skepticism of the possibilities of a perfect electronic music. Washes of circuit-based storm winds revolve around the lustful persuasion nearly muted beneath the patchwork of DIY gear and basement production richness, beckoning us forward into the total, absolute, beautiful abyss of its totality, a near perfect track and one of the pillars of the emerging Prescription sound. Reissued here on high-quality, single-sided vinyl as the latest in the CORE series, ‘Morning Factory’ is and will forever be a standard by which to measure.”
SOUND OF A HANDSHAKE (GERMANY)
	*AMIINA: Puzzle* CD (SHAKE 011CD) 15.50** Originally a string quartet formed by four girls at the Reykjavík College of Music in the 1990s, Amiina went on to cut their teeth as Sigur Rós’ string section for the next decade. Now a sextet after a recent masculine infusion, Amiina presents their second full length album, Puzzle. Amiina’s debut album, Kurr (2007), was performed on a disparate jumble of instruments — musical saws, kalimbas, music boxes and seemingly anything that could be plucked, bowed or beaten on — resulting in a work that ebbed and flowed “in a strange, powerful place between sophistication and innocence,” according to The Guardian (UK). While the above is equally true of Puzzle, this time around the group’s sonic palette is broadened by the contributions of drummer Magnús Trygvason Eliassen and electronic artist Kippi Kaninus, permanent members of the group since 2009. Accordingly, the songs on Puzzle are more rhythmically rugged than Amiina’s previous work and feature heavier use of electronics. Amiina’s long-standing fondness for zero-g melodies and open-minded instrumentation, however, continues.
SSSSS (UK)
	*DONOVAN, MAURICE: Babeh/Satisfied* 12″ (SSSSS 002EP) 11.50** “Original house-master Maurice Donovan pulls out his 808 and lubes up his reel-to-reel for two muscular, sweaty, stripped-to-thebone trax on sssss.”
STIL VOR TALENT (GERMANY)
	*DAPAYK SOLO: Let Go* 12″ (SVT 058EP) 12.00** Dapayk used to listen to a lot of hip-hop when he was younger and this 12″ has those influences written all over it. The title track features vocals by singer Camara that harken ’80s house music featuring some true soul and groove. “Nneka” is a deeper and more melodic tech house glider that gently takes the listener towards a harmonic state of mind. Finally, sample-based tech-house stomper “Upyo” features production partner Jon Hester.
STILL MUSIC
	*WILHITE, RICK: Analog Aquarium* CD (STILLM 004CD) 15.50** Still Music is proud to present Analog Aquarium, the debut album by legendary Detroit house producer Rick “The Godson” Wilhite. Rick is a longtime member of Detroit’s dance music scene, dating back to his time working at Buy Rite records, one of the epicenters of Detroit’s 1980s techno music explosion. More recently, his own record shop Vibes New&Rare Music has achieved revered status amongst those in the know, acting as the heart and soul of deep dance music in the city. His love for music and records has led to a DJing career that has spanned many genres, though it is his take on deep house music that has led him to international acclaim. Drawing from Detroit’s history of soul, jazz, disco, house, and techno, Rick’s productions weave these sometimes disparate elements into a beautiful, cohesive whole that remains distinctly his own, just as he does with the records he plays in his DJ sets. Working with Theo Parrish, Kenny Dixon Jr. and Malik Pittman on the 3 Chairs project has grown Rick’s reputation even greater. With many classic 12″ releases under his own name that have been absolutely beaten to death by DJs worldwide, it is now time for Rick to leave his mark on a wider audience. While it is undoubtedly HIS album, Analog Aquarium allows Rick to explore all sides of his musical abilities with the assistance of some of his most trusted allies. The record kicks off with a hot, jazzy vocal track in collaboration with Osunlade, Theo Parrish, and Billy Love, the Jacksons-referencing “Blame It On The Boogie.” “Dark Walking” sees Rick team up with fellow 3 Chair Malik Pittman to explore the deep, nasty underbelly of the 313 with menacing synth bass and warm jazz chords. The two-part jam “Muzic Gonna Save The World” is a loose, stomping string-heavy romp, bringing to mind Pharoah Sanders if the synthesizer and sampler had been his instruments of choice. “Sunshine Pt. 2” starts off pleasant enough with rolling percussion and Rick’s own voice but those vibes are soon belied by the ominous strings and bells that transform the track entirely. One of the tracks from Rick’s first outing on Still Music is revisited on “City Bar Opening (Basement Mix),” taking the already raw feeling to an even higher level. “Deep Horizons” begins with frenetic percussion that is eventually whittled down to a soulful groove before building the intensity back up. Rick’s famous late-night sampled grooves reappear on “In The Rain,” with Billy Love vibing up the place with his heartfelt vocals. On “Cosmic Jungle” and “Cosmic Soup,” Rick explores outer and inner space with tripped-out sci-fi effects but without sacrificing the soul that makes his productions so personal. All in all, a fitting full-length for such a diverse musician.
SUB ROSA (BELGIUM)
	*SURVIVAL RESEARCH LABORATORIES: Survival Research Laboratories* CD (SR 177CD) 15.50** 2011 repress, originally released in 2001. Mark Pauline, founder of Survival Research Laboratories, is a Californian artist, sculptor and robot-machine builder. Since the late ’70s he has created some of the most destructive events ever imagined. He and his crew organize battles of intelligent machines until their final auto-destruction in the desert. This album presents the destructive mood of these shows. GX Jupitter-Larsen is a musician and a sound designer involved for more than 10 years in the American radical noise band The Haters. He composed for Mark Pauline some introduction music to push people who will watch with a certain degree of anxiety the coming of these self-destructive machines. On other parts of this album is a mix-up of machines, screams, motors, bombs, music and noises. Survival Research Laboratories was founded in November 1978. Since its inception, SRL has operated as an organization of creative technicians dedicated to redirecting the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations. Since 1979, SRL has staged over 50 mechanized presentations in the United States, Europe and Japan. Each performance consists of a unique set of ritualized interactions between robots and other machines. SRL shows provide both a catharsis and a philosophic lesson in man’s mortality and his relationship with machines, including texts, explanations and unpublished photos.
	*MARTINEZ, ISRAEL: El Hombre Que Se Sofoca* CD (SR 319CD) 15.50** This is #5 in Sub Rosa’s Framework series — an extension of their Concrete Electronics Noise series. Israel Martinez (Guadalajara, Mexico 1979) is a sound artist, empirical composer and has developed his works in different fields: electroacoustic and experimental music, composition, sonic installations and sculpture. He has participated in several festivals in Mexico, such as Radar, Mutek, Muestra Internacional de Arte Sonoro, Interface, Estacionarte, and also in one of the most important art & technology events worldwide: Austria’s Ars Electronica Festival, where he was awarded the Award of Distinction in the Digital Musics category in 2007, with his work Mi Vida. He has performed and his work has been played live in Mexico, England, France, the U.S., Austria, Spain and Colombia. He’s co-founder of the electronic music label Abolipop, producer of the Nebula 3 project and also half of the electronic improvisation duo Lost Martínez. Limited to 700 copies only.
	*VULTURES QUARTET & PHILIPPE PETIT: Tourbillon d’Obscurité* CD (SR 320CD) 15.50** This is #6 in Sub Rosa’s Framework series — an extension of their Concrete Electronics Noise series. Philippe Petit is interested in soundtracks; even if he creates original music, he’d rather be introduced as a “musical travel agent” than a composer. He uses a computer to build up electronic layers and process acoustic and field recordings. To accompany the machine, he likes to move various glasses or percussive objects, and take advantage of vinyl material. A journalist for various magazines and radio as well as a musical activist, he has celebrated his 25th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp. This release features a collaboration between Petit and London-based Vultures Quartet, whose musicians come from industrial, jazz, improv, rock, classical and various other style backgrounds. Limited to 700 copies only.
SUBLIME FREQUENCIES
	*VA: Princess Nicotine: Folk And Pop Sounds Of Myanmar (Burma)* LP (SF 006LP) 22.00** …Vol. 1. Limited edition full-color gatefold LP version of the Sublime Frequencies CD release from 2004. Original description from 2004: How do they do it? Are they smarter? Are they better? How can it be ignored or denied? How is it possible that one of the most unique, perfectly composed and performed, intense and awe-inspiring musical legacies the world has ever known is looming north of the equator physically tucked between world cultural giants India, China, and Thailand, without more than a whisper from ethnomusicologists or those who define themselves as “purveyors of world music?” Not only are the roots of this music unique, but so are the results after incorporating outside instrumentation from modern colonial and (unavoidable) international influence. What the Burmese have done with a piano is so precise in the adaptation to their existing form and melody that one would think they invented it. Burmese music has a very distinct sound and whatever instrument is assimilated into its core only seems to magnify the original intent without depending upon outside ideas relating to each component utilized. This collection will immediately bring you up to speed to what you have been missing all along. The time is now to put the real music of Myanmar on the map once and for all. Here are some of the greatest names from the past 50 years of Burmese musical history from the original recordings featuring Mar Mar Aye, Bo Sein, and the incomparable Tonte Theintan. Listen, and be amazed! Compiled by Alan Bishop (Sun City Girls) in 1993 and originally released on Majora Records (LP/1994).
SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
	*VA: Afro Latin Via Dakar* 2CD (SYLLART 3237562) 20.00** In the first half of the 20th century, European powers drew rough chalk lines to reorganize African borders and force development throughout the continent. Cities and ports bustled with new energy as electricity made its timid entrance. With the development of sea transport, 78s from America brought over by Latin American sailors, Cubans particularly, made a lasting influence on a new musical orientation all along the African coastlines. From town to town and port to port, Syllart’s Via collection aims to explain the different musical fusions that happened between Cuban and African styles of music. From Dakar to Kinshasa, Conakry to Abidjan, Bamako, Cotonou and Brazzaville, Via speaks of permanently-evolving musical scenes, touched by candor, depth and spontaneity. This volume details the evolution of the Cuban influence in Dakar. Following their success as part of Dakar’s Star Band, the Nigerian saxophonist Dexter Johnson and the Gambian singer Laba Sosseh developed their own repertoire. In 1965, they quit the orchestra and would eventually create the Super International Band, a historic orchestra composed of Senegalese musicians such as the percussionist Aziz, singer Pape Fall, guitarists Cheikhna Ndiaye and Laye Salla, singer Sada Ly and several Ivorian musicians. Unbridled and full of life, the Super International Band’s version of “El Guanguanco,” interpreted by Laba Sosseh, is without a doubt one of the freshest ever recorded. Raymond Fernandez, a Cape Verdean like his guitarist friend José Ramos, belonged to Dakar’s first Afro-Cuban movement and was a faithful companion of Amara Touré, Laba Sosseh and the Star Band and formed Raymond & The Negro Orchestra. His haunting guitar chords, his magnificently present voice, a bed of hypnotic percussions and lyrics make his songs absolutely captivating. This first formation of Xalam was composed of lovers of Afro-Cuban rhythms such as Skhir Thiam who founded it, and Bassirou Lô and Cheikh Tidiane Tall who directed it. The second formation of Xalam laid the foundations of the mbalax, reviving the traditional Wolof sounds with the tama armpit drums. Idy Diop, a veteran of the Rio Band Of Dakar and Xalam, had strong Latino influences and established himself in Abidjan for a while. The deeply moving “Dioubo” appears on his first solo album released in 1974. The arpeggios evoke the best of Latin jazz, with a smooth saxophone and his voice seemingly suspended throughout this refined track. Pioneers of modern Gambian music, the Super Eagles were among the first orchestras to record in Europe. They made a beautiful album in London in 1969, with subtle pop, soul, Afro-Cuban and Wolof influences. Of all the great Senegalese orchestras, the Orchestre Baobab remains the one with the largest body of work with over 20 albums figuring prominently in the pantheon of Senegalese music. An offshoot of the Star Band, their many influences from Guinea-Bissau to Mali, Morocco and Togo, were due to its member’s different origins, but the main influence remained Afro-Cuban. Produced by Ibrahima Sylla. Includes a 24-page booklet with full-color photos and notes in French and English by Florent Mazzoleni.
	*VA: Afro Latin Via Kinshasa* 2CD (SYLLART 3237582) 20.00** In the first half of the 20th century, the carving up of much of Africa by the European powers imposed modernity across the continent. In its cities and ports, Africa bristled with a newfound hustle and bustle, while electricity began to make a slow appearance. With the boom in maritime transport, the American 78s brought back by Latin-American and in particular Cuban sailors had a lasting influence on new musical trends along Africa’s coastlines. As early as the 1940s in coastal cities like Saint-Louis, Dakar, Conakry, Abidjan, Cotonou, Porto Novo, Lagos, Douala or Luanda, local bands picked up by ear the 78s that Cuban sailors played on their gramophones in small cafés in exchange for a coin or two. Ports, capitals and cities began to resound with guajiras, boleros, pachangas, biguines, merengues, cha-cha-chas and the like. All of these tempos shaped the new dances in fashion in many African towns. In the Congo, those dances became a must under the generic heading of “rumba.” Over time, Cuban but also Caribbean music, jazz and rhythm’n’blues were given a new take. Many dances and rhythms drawn from African traditions evolved as they came into contact with cities, but also with modern instruments — especially saxophones and trumpets in particular — and amplified guitar from the late 1940s onwards. Joseph “Grand Kallé” Kabasele’s African Jazz (which evolved into African Fiesta and African Team) — the heroic ensemble livening up the Leopoldville nights — perfectly synthesised the fusion of African and Cuban music, while laying the foundations of much of modern Congolese music, known as rumba. The influence of African Jazz and the number of careers it inspired is quite simply incalculable. Guitarist Nico Kasanda gradually established himself as a key player in Congolese music. He became a leading influence in the modernist trend by assimilating foreign playing techniques. In Brussels, in 1960, a radio journalist nicknamed him “docteur” because of his guitar skills. He was to use the nickname for the rest of his career. Even more imposing than African Jazz or African Fiesta, OK Jazz epitomised modern Congolese and African music, with the orchestra recording hundreds of songs between 1956 and 1989. Former African Jazz member Rochereau was inspired by a visit from James Brown to Kinshasa and formed the Rocherettes, and in 1970, he became the first black African artist to play at prestigious Parisian venue the Olympia. From town to town and port to port, this Via collection aims to give an account of the grandiose musical fusions that occurred between Cuban and African music, reflecting constantly shifting musical scenes, characterized by performances steeped in candor, depth of feeling and sincerity. Includes a 24-page booklet with full-color photos and notes in French and English by Florent Mazzoleni. Produced by Ibrahima Sylla.
TEAL RECORDINGS (DENMARK)
	*HYPNO: KOKO/Analies* 12″ (TEAL 002EP) 11.50** “Kari Guðmundsson aka Hypno hits TEAL002 with two exciting pieces lying somewhere in between dubstep, house and garage. ‘KOKO’ is a hypy swingtime-jam ready to make dancefloors go nuts; thrilling percussive variations, deep sub hits and nutty samples. The more soulful, yet experimental ‘Analies’ draws on HYPNOs signature percussion. Adding sampled vocals, effective kick-drum pattern shifts, takes the listener off-guard! Truly, a top shelf twelve! DJ supporting include: Ramadanman/Pearson Sound, Blawan, Hackman and DJ Donga.”
TEXT (UK)
	*BURIAL & FOUR TET & THOM YORKE: Ego/Mirror* 12″ (TEXT 010EP) 12.00** “A two track collaborative twelve inch from Burial + Four Tet + Thom Yorke. A-side is titled ‘Ego’, AA-side titled ‘Mirror’. Plain black house bag and black label. Radiohead’s Thom Yorke, Four Tet, and dubstep enigma Burial have teamed up for a 12? on Four Tet’s Text record label. Between them Thom Yorke, Burial and Four Tet are responsible for some of the most inventive, spell binding and emotionally involving music Britain has produced over the past decade. Now the three of them have confirmed details of a potentially fantastic 12 inch. It is not yet known to what extent each will be involved, although the cast list alone makes this big news. Of course, Four Tet and Burial have worked together before. The pair released a split 12 inch on Text, which has gone on to become a collector’s item. Kept to a limited edition, the two producers cut a pair of tracks which veered between dubstep, garage and IDM. Thom Yorke is the odd one out, having been remixed by both producers yet never working directly with them.”
THRILL JOCKEY
	*SPEER & THE HELIX, D. CHARLES: Leaving the Commonwealth* CD (THR 264CD) 14.00** “Leaving the Commonwealth is the third full length by D. Charles Speer & the Helix and features their most accomplished playing and songwriting yet, setting a high watermark for narrative honky tonk rock at this late date. Inspired by swaggering, outrageous and engaging sonic tales like Cowboy Jack Clement’s ‘Miller’s Cave,’ this album features byzantine songs which flow surprisingly quickly and with natural grace. The album opener ‘Razorbacked’ emits nourish cinematic imagery and twists which are matched with music sparked from a wasted mid 70s cassette from Peaches or Turtles. Numerous musical luminaries, including Freddie King and Clifton Chenier, are invoked and celebrated in song. Other tracks like ‘Cumberland’ and ‘Battle of the Wilderness’ are historically detailed and geographically specific chronicles. Dense tones flow from all corners, with guitar sounds reminiscent of Fripp or Manzanera on one end and the pedal steel tones of Emmons and Mooney on another. Beautifully recorded by Jason LaFarge of Seizures Palace in the urban environs of Brooklyn, this album is southern by lyrical setting, country by instrumental arrangement, rocking through its rhythmic heft and most certainly contemporary in attitude.”
	*SPEER & THE HELIX, D. CHARLES: Leaving the Commonwealth* LP (THR 264LP) 15.00** LP version, housed in a die-cut jacket with full-color inner sleeve.
	*TUCKER, ALEXANDER: Dorwytch* CD (THR 265CD) 14.00** “British experimental musician Alexander Tucker releases his Thrill Jockey debut Dorwytch. This record breaks new ground for Tucker by combining minimalist string arrangements with electronic manipulations and drones to produce doom chamber-pop songs and psychedelic music-concrete collages. Three years in the making Dorwytch finds Tucker refining his song craft and introducing minimalist string movements that build into dense spiraling riffs around his distinct vocals. With varied sounds and grandiose ideas, the album marries the abstract with more traditional song structures, using layering techniques to create the illusion of an ensemble. This album is the first time Tucker has used drums, collaborating with free improv drummer Paul May to create rhythmic improvised beats.”
	*TUCKER, ALEXANDER: Dorwytch* LP (THR 265LP) 15.00** LP version.
	*ZOMES: Earth Grid* CD (THR 267CD) 14.00** “The music of Asa Osborne forms a corpus, still evolving, that spans 30 years, growing through early projects in Southern Maryland, The Clits and Pig, to the Baltimore song-lab of Lungfish and the sub-group The Pupils, and until presently his compositions are crafted in solitude and offered to the listener as Zomes. Melody is rhythm, tone is proportion, tempo harmonizes, synchronizing with life, akin to the morphological architecture of trees, rivers, reaching from root to fruit, from mountain to sea. Asa Osborne’s songs are artifacts of his trust in the Wisdom of Music. Earth Grid, Zomes’ second solo album, is the culmination of Osborne’s years of exploring meditative modal models. Written, played, and recorded entirely at home on cassette tape, Earth Grid, is an intimate and intentionally primitive recording.”
	*ZOMES: Earth Grid* LP (THR 267LP) 15.00** LP version.
TOUCH (UK)
	*VON HAUSSWOLFF, C.M.: 800 000 Seconds In Harar* CD (TO 082CD) 14.50** This is Carl Michael von Hausswolff’s first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography. CM von Hausswolff says: “I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called ‘Jag är en annan,’ (trans. ‘I Is Another’) stemming from the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud’s life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud’s life and as he had connections in Ethiopia and in the small city of Harar, he said: ‘why don’t you go to Harar for 10 days and see what you can find?’ So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material. There are two tracks. On the first track, which consists of three ‘parts’ I have used material from Harar. The long dronic sounds are taken from an instrument that I, after searching for days, bought in Harar — it’s called a ‘krar’ and is a stringed instrument. As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there are also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds — just the wind, insects, some kids. The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to record this. On the second there are only oscillators used … several of them … AND using one low-pitch oscillator I ran a sound filtered through. This sound is the low ‘rhythm’ you can hear, and it’s a low-pitched Morse code signal… and the text is the famous poem Rimbaud wrote in his youth called ‘Le Dormeur Du Val’ (trans. ‘The Sleeper In The Valley’). This poem is a beautiful text starting off in nature, where a person is sleeping in the grass. Slowly, Rimbaud zooms in and we read that it’s a soldier and at the very end we are told he has two red wounds on his chest — the guy is dead!.” Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891.
TROUW (NETHERLANDS)
	*BAUMEL, PATRICE: Vapour (Album Sampler)* 12″ (TRW 1VLEP) 12.50** Vinyl sampler for Patrice Baumel’s Vapour CD (TRW 001CD). Includes an exclusive remix of the title track by Petar Dundov.
TRUNK (UK)
	*CAMERON, JOHN: Kes OST* CD (KES 001CD) 15.50** 2011 repress, originally released in 2002. A sublime pastoral jazz soundtrack by one of the finest British jazz line-ups of the 1960s, back on CD for the first time in 10 years and with brand-new artwork based on the 1969 original Polish poster. Kes by Ken Loach is one of the greatest British films of all time. It also has one of the finest soundtracks of the period. Put together by the incredibly talented John Cameron (he arranged for Donovan, etc.) this score sums up beautifully the freedom, innocence and tragedy put across in the film. With a crack British jazz line-up including flute legend Harold McNair, Ronnie Ross (bass clarinet), Tony Carr (drums), Danny Moss (clarinet) and David Snell (harp), this score not only appeals to soundtrack collectors, but also followers of the classic British jazz sound. Originally issued by Trunk in 2001, this soundtrack quickly disappeared from view. It has now been repressed with new artwork based on the 1969 Polish movie poster from the film. Includes a 4-page booklet with sleevenotes by Jarvis Cocker. “The sound of long-lost childhood — the smell of a damp school cloakroom, from an age when comics were still printed on newsprint … But this is more than just a product of the nostalgia industry — put on this album and immediately you’ll be soaring through the air, free of your earth shackles; for this is the sound of a human soul in flight. A beautiful daydream antidote to an all too real South Yorkshire nightmare. This is the real thing. This is beauty so fragile it hurts.” –Jarvis Cocker
VAMPISOUL (SPAIN)
	*BROOKS & THE UPTOWN SOUND, JC: I Am Trying To Break Your Heart EP* 7″ (VAMPI 45053EP) 8.50** Like Otis Redding fronting the Stooges, JC Brooks & The Uptown Sound get crowds twisting and writhing on the floor. Brooks erupts with heart and raw emotion, unleashing uncompromising soul music ranging from sweaty on-the-one workouts, dance-punk booty shakers, garage rock thump humps, and aching R&B ballads without a missed step in between. They keep pushing forward with this new EP (which includes a stomping cover of Wilco’s “I Am Trying To Break Your Heart”).
VINILISSSIMO (SPAIN)
	*PIC NIC: Pic Nic* LP (MRSSS 020LP) 25.00** A recording of disarming delicacy, the only album by Pic Nic was released by the Hispavox label in the hazy year of 1968 after the short, one-year life of the five-piece, and it featured an innocent and touching cover which immediately invited people to find out what was behind it. The formation of the group began in 1966 Barcelona after the split of Brenner’s Folk, a short-lived band created by the Venezuelan musician Vytas Brenner. They included most of the original members of what later would become Pic Nic, mainly guitarist Toti Soler, then 17, Jordi Sabatés and, of course, Jeanette. The rest of Pic Nic’s line-up was completed by Isidoro “Doro” de Montaberry and Mexican Mario Alfonso “Al” Cárdenas. Jeanette (real name Janette Anne Dimech, born in London in 1951) was a child of the diaspora; her mother was from the Canary Islands and her father from the former Belgian Congo. From her native England the family had moved to the United States, where she would remain until she arrived in Barcelona as a 14-year-old, her tender voice carrying the echoes of Californian folk-rock. Rafael Turia, a radio man and neat interpreter of Donovan songs in Spanish for Discos Belter, introduced them to the Hispavox label. Their official story starts after their meeting with the Madrid record company. Producer Rafael Trabucchelli got involved and that was it. He changed their original name to Pic Nic and chose Jeanette as their vocalist. They recorded their first single, Cállate Niña/Negra Estrella (1967), which sat at number one on the charts for 10 weeks. After their equally-successful second single Amanecer/No Digas Nada (1968), they got working on what would be their only LP. The album possesses a rare pre-adolescent lyricism, and Trabucchelli’s arrangements and production transforms their folk ballads into something never heard before, or since, in Spain. Besides the Vytas Brenner song “Te Esperaré,” the covers of Peter, Paul And Mary’s “Tiny Sparrow,” Janis Ian’s “Society’s Child” and the only track sung in English, bluesman Jesse Fuller’s “San Francisco Bay Blues,” are remarkable and their renditions rival the originals. However, there’s no better track than “Cállate Niña” to define the spirit of the album: a lullaby sung by two small girls after the death of the mother of one of them, it overflows with melody despite its simplicity, and its use of triangle, harmonica and a male backing vocal provide an absolutely ghostly quality. Jeanette would start a successful solo career two years later, covering songs written by Manuel Alejandro, José Luis Perales and André Popp. After that, Pic Nic never recorded another record. Includes an insert with liner notes in Spanish and English. Pressed on 180 gram vinyl in a limited edition of 1,000 copies only.
VINYL ON DEMAND (GERMANY)
	*SMEGMA: I Am Not Artist* 6LP BOX/DVD (VOD 070LP) 140.00** “This astonishing 6LP/DVD box-set compiles most of Smegma’s long out or print and impossible to find vinyl-releases and contributions on labels such as their own legendary Pigface Records, LAFMS, Trap, Dom And Selekton. The box includes their first three 7″ inches Disco Diarrhea, Flashcards, Pigface Chant, their LPs like Pigs for Leper or Glamour Girl 1941 as well as a 2LP-sided extract of the Live 73-82 double tape Spontaneous Sound, all in one place. Smegma started collectively by Ju Suk Reet Meate, Cheese it Ritz, Chucko Fats, Dennis Duck, Amazon Bambi and Cheesebro and found many other avantgarde/freejazz/improv-musicians to participate in the next 3 1/2 decades to come. This box is taking you on a journey with the least likely folk-primitive-avant-gard band in Pasadena, California, through Portland Oregon’s punk rock revitalization and first melt down, to become the serious force in weird music that continues today. Box is accompanied with a DVD version of the original amazing video The First 10 Years by Mike Lastra released in 1983 plus 2 bonus tracks of performances from 1978 & 80.”
	*O YUKI CONJUGATE: Ambiguism 1983-1987* 4LP/7″/DVD (VOD 072LP) 105.00** “UK ambient group O Yuki Conjugate were formed in 1982 by Tim Horberry, Roger Horberry, Clare Elliott and Andrew Hulme. Between 1983 and 1987 they released two vinyl albums — Scene in Mirage on A-Mission Records and Into Dark Water on their own Final Image Label — as well as recording numerous soundtracks, experimental projects and solo works. This retrospective documents those years. It tells the definitive story of how OYC’s sound emerged and developed. The result includes a reissue of their first two albums with bonus tracks, two additional full length LPs of unreleased material, a 7″ single of their first ever recordings, a DVD featuring excepts from their ‘Scenes in Mirage’ and ‘Peripheral Vision’ videos, as well as large-format poster and detailed listening notes that give a unprecedented insight into the world of OYC. This package includes over 50 OYC tracks, around half of which have never been released in any form, making it an essential for the OYC completist.”
	*PORTION CONTROL: Portion Control* 7LP BOX (VOD 073LP) 175.00** “This 7LP metal box with 60-page book and t-shirt & DVD is an ultimate collection of the godfathers of electronic body music, hard rythmic electronics & minimal synth. Portion Control’s work from 1980-1983 contains all official released and even unreleased tapes on their own POR CON — label incl. Gaining Momentum, Dining on the fresh, Private Illusions I&II, Video Soundtrack, Progress Report and more obscure and unreleased tracks from Portion Controls’ archiv plus compilation tracks as well as the releases on In Phaze Records With Mixed Emotions, Surface and been seen, I Staggered Mentally and Third Mind Release A-Mag/Shot in the Belly and the highly searched for Assault-tape. The heavy box is accompanied by a 60-page book full of memorabilia and photos dated 80-83. Also included is a DVD with self-made videos from the V-Mag-Archive, all dated back between 81-83. A true classic release and a definite must for every serious collector and listener to minimal-wave/synth and ebm music.”
	*CURRENT 93: Live Tokyo, 20/21. December 1988* LP (VOD 074.3LP) 27.00** Originally released as part of Vinyl On Demand’s Unreleased Rarities, Out-Takes, Rehearsals And Live 82-95 boxset; includes double-sided insert.Side A: Live at the Loft, Tokyo, 20 December 19881. Benediction; 2. The Red Face of God; 3. Happy Birthday; 4. Black Flowers, Please; 5. Christ and the Pale Queens, Mighty in Their SorrowSide B: Live at the Loft, Tokyo, 21 December 19881. The Summer of Love; 2. Hourglass; 3. Rome (for Douglas P.); 4. Be; 5. Oh Coal Black Smith; 6. Since Yesterday.
	*CURRENT 93: Live in Amsterdam, 8 December 1984/Live in Hamburg, 16 June* LP (VOD 074.4LP) 27.00** Originally released as part of Vinyl On Demand’s Unreleased Rarities, Out-Takes, Rehearsals And Live 82-95 boxset; includes double-sided insert. Side A: Live at the NL Centrum, Amsterdam, 8 December 19841. St. Peter’s Keys All Bloody; 2. Falling Back in Fields of Rape; 3. Maldoror Rising; 4. Raio No Terrasu (Jesus Wept); 5. Happy BirthdaySide B: Live at the Israel Hall, Neu Konservativ Festival, Hamburg, 16 June 19851. St. Peter’s Keys All Bloody; 2. Falling Back in Fields of Rape; 3. Great Black Time
VLEK (BELGIUM)
	*VA: AMAI #2/4* 7″ (VLEK 002EP) 11.00** Brussels-based Squeaky Lobster’s cosmic craft has to be heard to be believed. Shards of broken breakbeat litter the sea-bed and form a solid backbone for this invertebrate’s innovative use of samples, synths and instrumentation, taking you out of the aquarium and into the abyss. Russian beat-maker Lapti scavenges most of his samples right off VHS or dictaphone tapes. Melodies you’ve never heard, together with familiar retro samples and masterfully-produced hip-hop instrumentals create a nostalgic and cinematic mood.
WARP RECORDS (UK)
	*BIBIO: Mind Bokeh* CD (WARP 209CD) 15.50** “Bibio’s music may be more familiar to you than you realize. Not necessarily because you’ve heard it before, but because even on first listen it triggers brilliantly hazy moments of déjà vu. Of course, there is the strong possibility you have heard his music before, as the soundtrack to scores of Vimeo short films, his previous release (and Pitchfork ‘Best New Music’d) Ambivalence Avenue, or more recently in the current Amazon Kindle ad which took ‘Lovers’ Carvings,’ a favorite from the last record as its soundtrack. Since Ambivalence Avenue, his debut for Warp, he’s gathered together all the disparate strands of his myriad phases and influences to create a concentrate that works as full-on, neon-lit pop. And not every day, auto-tune pop, but champagne cork pop – a jolting, immediate, highly pleasant surprise from out of the blue, which is titled Mind Bokeh. Says Bibio, ‘Bokeh is the out of focus region of a photograph. It’s not a quantifiable thing, but photographers and lens manufacturers are obsessed with it. In Japanese it means “haze,” “blur,” or even “dementia.” I called the album Mind Bokeh because I’m interested in the effect of defocusing your mind, whether through meditation, chemicals or whatever – it’s a state of mind quite alien to Westerners.’ Bibio is on the brink of big pop things but he’s the anti-PT Barnum. He recalls (and firmly agrees with) a quote he memorized from an old Boards of Canada interview, ‘always assume that the listener is the most intelligent person imaginable. If you always think like that, you never insult the listener.’ Mind Bokeh is the album you deserve.”
	*BIBIO: Mind Bokeh* 2LP (WARP 209LP) 23.50** Deluxe 2LP version with die-cut cover and full-color inner sleeves.
YEAR ZERO (UK)
	*VA: Dirty Water 2: More Birth Of Punk Attitude* 2CD (YZLDD 010CD) 21.00** Such was the response from press and public to Kris Needs’ Dirty Water: The Birth Of Punk Attitude that he’s filling the bathtub again with another riotous selection of proto-punk scorchers, garage band delights and seminal figures who either revolutionized a movement or upset their chosen apple-cart; all filling the arteries which would explode in 1976 and change the world. This new set casts its net even wider than the first, corralling sonic marauders such as Germany’s Faust, New York’s willfully shambolic Godz, George Clinton’s barrier-trampling Parliament, original folk activist Woody Guthrie and deathly ’60s electronic trailblazers United States Of America. As before, the set stretches back to primitive rock ‘n’ roll’s early salvos, including Bo Diddley and Johnny Thunders’ favorite Eddie Cochran, plus the hot-wired tremors of seminal UK outfits such as Kilburn And The High Roads, Doctors Of Madness, Stack Waddy, Hammersmith Gorillas and the Edgar Broughton Band. New York City is represented by Patti Smith, Blondie, the mighty Jayne County, demented Holy Modal Rounders and Dizzy Gillespie, representing the be-bop movement which flame-blasted cool jazz’s rigid trouser-seat, leaving a wide open orifice for the raw, spiritual anarchy of Albert Ayler. Needs also exercises his long-standing fixation with obscure, unhinged ’60s U.S. garage-psych with the Misunderstood, Zachary Thaks, Human Expression and high-energy Detroit garage bands Unrelated Segments and Tidal Waves. Reggae’s huge influence is acknowledged with righteous cuts from Tapper Zukie and Junior Murvin. The most singled-out artists on the first volume were New York doowoppers The Silhouettes, Flamin’ Groovies and Detroit’s Death, so they’re here again, as are Mott The Hoople in their later phase and untouchable Suicide (whose Martin Rev was an invaluable sounding-board for the project, along with Primal Scream’s Bobby Gillespie). David Bowie as Ziggy Stardust also makes an appearance, as does Aylesbury lunatic John Otway. The two CDs sport 39 sizzling nuggets in all, again accompanied by a 76-page book, in which Needs explains his reasons for including tracks. This time, Needs feels that the project gets closer to an aural version of Zigzag, the crucial fanzine he edited in the ’70s; one reason the set is dedicated to Captain Beefheart, who sadly passed away while it was being compiled, and represented by the blues roar of “Zigzag Wanderer.”
	*VA: Dirty Water 2: More Birth Of Punk Attitude* 2LP (YZLDV 010LP) 21.00** 2LP version, pressed on 180 gram vinyl. Includes a full-color insert with photo and features 19 tracks from the 2CD version. Artists: Captain Beefheart & His Magic Band, The Human Expression, Death, Patti Smith, Bo Diddley, David Bowie, Mott The Hoople, Doctors Of Madness, Flamin Groovies, Blue Cheer, The Misunderstood , The Zakary Thaks, MC5, Blondie , The United States Of America, Junior Murvin, Rudements and Vice Creems.
Z RECORDS (UK)
	*NEGRO, JOEY: The Soul Of Disco Volume 3* 2CD (ZEDD 022CD) 17.00** Following on from Backstreet Brit Funk (ZEDD 018CD), the ever-popular Soul Of Disco series returns for a third thrilling installment and the general consensus is that this is the strongest volume yet. Compiled by unashamed musical trainspotter Dave Lee (aka Joey Negro), this selection is the fruit of some serious digging — both in the real world and online. This is the first time most of these tracks have been available on CD or digitally, and the quality of the music is still high and avoids the collector’s-only records. Some of the songs included are indeed super sought-after with Full Body and Jackie Stoudemire original 12″s featuring in Discogs’ Top 100 list of most valuable records, whereas Final Edition’s “I Can Do It (Anyway You Want)” has become hot property since it was used as the basis for Duck Sauce’s hit “Anyway.” Conceptually, the Soul Of Disco albums are about showcasing the blacker, funkier end of the disco spectrum where the 4/4 groove collided with the musical sensibility of Philly and Motown. Many will probably be unfamiliar with the acts included here but people can sometimes forget that when disco was king, it was mainly the likes of Village People and Donna Summer that was heard on most dancefloors and many of these tracks (on small indie labels) didn’t get played outside the hardcore underground clubs. Musically, this collection offers a wide variety of styles within the parameters of soulful disco. The up-tempo, heavily-orchestrated sounds of the soaring “Invisible Wind” or The J’s’ anthemic Northern soul style on “When Did You Stop” are maybe what you’d expect from the title of the album, whereas things get jazzier for the Board Of Directors instrumental “Hanging Tough.” A tougher, funked-out sound is present on Evans Pyramid’s driving “The Dip Drop” while we go to church for some disco gospel courtesy of Gloster Williams’ rousing “No Cross, No Crown.” There is even a bit of reggae-tinged 4/4 courtesy of Loi’s “Body Contact.” So basically, if you dig disco, there should be something here for you. The finished package is a double CD with over 20 tracks, and buying the original records would cost you about $7,000 and take several years. Previous editions in the series still sell very well and are regularly repressed due to a steady demand for this type of music. As always with Z Records, the masters sound as good as possible.
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