FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 05/23/2011
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DOOMWORK: Gattaca 12″ (PURE 068EP) 12.00
100% Pure welcomes back the collaborative genius of chart-topping duo Doomwork (Alex Catalani and Claudio Maura). With their last 100% Pure release Andromeda making the DJ likes of Adam Beyer, Dubfire, Karotte, Paco Osuna, Riva Starr and Butch very happy, they’ve now returned with two expansive and excursive space-inspired tunes complimented by “stellar” remixes from Christian Smith and 2000 And One.
INCREDIBLE STRING BAND, THE: Wee Tam LP (4M 209LP) 17.00
“Wee Tam and The Big Huge were originally released in 1968 as both a double LP in the UK, and individually as two separate albums in the US. They mark a creative high point for the band that is only matched by their other 1968 masterpiece, The Hangman’s Beautiful Daughter. Produced, as always, by the legendary Joe Boyd, these albums feature some of the band’s best and most accessible songwriting. While The Hangman’s Beautiful Daughter and The 5000 Spirits Or The Layers Of The Onion may have been considered more revolutionary at the time, Wee Tam and The Big Huge have aged considerably better and many considered them to be the band’s finest work, given an 8.1 rating by Pitchfork.” 180 gram vinyl. 2010 2CD remastered reissue available on Fledg’ling (FLED 3079CD).
INCREDIBLE STRING BAND, THE: The Big Huge LP (4M 210LP) 17.00
Reissue of the US LP version, originally released by Elektra in 1968 (released as a double LP with Wee Tam in the UK). 180 gram vinyl. 2010 2CD remastered reissue available on Fledg’ling (FLED 3079CD).
DREAM SYNDICATE, THE: The Days Of Wine And Roses LP (4M 520LP) 17.00
“Classic debut full-length album by the quintessential group of the ’80s Paisley Underground scene. The Days Of Wine And Roses was recorded in Los Angeles during September 1982 and released later that year on Chris D.’s Ruby Records (a division of Slash Records). Steve Wynn and co. combined the sonic experimentation of the Velvet Underground’s White Light/White Heat period with the bold rock of Bob Dylan and Quicksilver Messenger Service while mixing the urgency and rawness of punk rock with groove-based songs and extended guitar solos. The Days Of Wine And Roses never got the credit and praises Murmur, Zen Arcade or Daydream Nation got: it’s time to change that now.” 180 gram vinyl.
MARIJATA: This Is Marijata LP (ALP 006LP) 17.00
2nd pressing now available. “Hard-hitting, hair-raising, Afro-fuzz from Ghana, This Is Marijata is the heaviest and most sought-after African funk record of them all! Recorded in 1976, this album is the standard by which all other Afro-funk albums are measured — its power, vitality and rawness have been emulated, but never equaled. Fully licensed and lovingly remastered, the Academy LPs/Voodoo Funk re-issue presents This Is Marijata in all of its rough-hewn glory.”
ANANDA, GABRIEL: Live Series Part I 12″ (BASMATI 004EP) 12.00
Parallel to the release of his album Selected Techno Works (BASMATI 001CD), Gabriel Ananda presents his Live Series. Published here are the tracks which have been established on the floors during his recent live sets. Occasional imprecision is a stylistic device, the post-production was skipped, unpolished rough edges remain. Live Series Part I contains the tracks “Alpha” and “Smash.” At least three more releases from this series will appear on Basmati.
RODRIGUES, BENNY: I Like Acid 12″ (BAO 029EP) 12.00
Dutch producer Benny Rodrigues has pushed his career forward both in the studio and the DJ booth, having remixed people such as Josh Wink, DJ Pierre, Justice and Spirit Catcher and released on Ovum, Poker Flat, Figure and Klockworks. His interpretation of acid house takes form on this EP and it sure sounds classic — acid synth madness like in the old days but with an updated touch. Remixes by Sterac aka Steve Rachmad and Mike Dehnert.
HYETAL: Broadcast CD (ACRE 002CD) 15.50
This is the debut album from Hyetal aka David Corney. A key player in the new wave of underground dance music, Bristol-based Hyetal has grabbed the attention of many with a series of acclaimed off-kilter dancefloor releases on Punch Drunk, Planet Mu and Orca. Broadcast sees the producer recalibrate his sound for an exploration of the album format, shifting focus to shorter pieces and at times traditional song structure, effortlessly combining such diverse influences as John Carpenter, Boards Of Canada, early ’90s computer games and Prince yet retaining the sound system dynamics of cutting-edge UK bass music. The album rejects the glistening clarity so easily obtained with digital technology and swells with analog noise, disembodied voices and a twisted sense of space. At certain points, the field recordings and atmosphere nearly take the forefront, as if the music was already synched to a film, the audio track from a lost ’80s neo-noir. “Diamond Islands” sets the tone perfectly — ominous synths, crackle and bass stabs underpin the breathy vocals of Alison Garner, punctuated by caustic kicks and snares. “The Chase” highlights a different side — opening with tape hiss and a low drone, it quickly expands into a dark soundscape of menacing arpeggios and haunting strings, calling to mind the atmospheric work of the aforementioned John Carpenter at his best. We mustn’t forget “Phoenix,” however; Hyetal’s calling card from 2010 that set the heart of journalists, bloggers and the audience alight with its widescreen soaring melodies and infectious bass line — truly an example of 21st century machine soul. Hyetal represents a new wave of post-Blake dark/light musicians sitting comfortably in a world populated by both Oneohtrix Point Never, Games and Salem. Broadcast is a truly seismic achievement and is sure to cement Hyetal’s status as one of the most exciting new producers of recent times — able to both ignite dancefloors and excite armchair enthusiasts.
HYETAL: Broadcast 2×12″ (ACRE 002LP) 17.00
2×12″ version, featuring 5 of the 10 tracks from the CD version.
LEVIN-DECANINI, ANTHONY: Pairings/Birth Plan LP (BRS 047LP) 17.00
“Roll-up keyboard, xo laptop, language master (an educational device that plays 2 second cards that have tape on them and can be rerecorded). Anthony is a really tremendous improviser in Chicago who I first saw with this post-rock [for lack of any other reasonably descriptive term] group Binges that was just mind-blowing. Essentially a prog duo with an incredible mathy drummer that has a great feel named Chris Robert and Anthony playing bass, guitar, sax, tapes, effects and percussion all at once [one line on one instrument, change etc etc] so it sounded like a disturbed version of On The Corner-era Miles but without any goofy noise or fusion tropes at all -just completely solid music. He gave me this solo disc last year and it has been in heavy, heavy rotation. I’m thrilled to be able to release it and am excited that people are finally giving me stuff that has all the same values of the music on brokenresearch without it having the same sounds or mechanics. This track reminds me of some Pole/Merzbow hybrid kinda slowed and throwed.”
MEMORIZE THE SKY: Creeks LP (BRS 048LP) 17.00
“Memorize the Sky have played and recorded with Braxton, sure. That doesn’t do much to explain what they accomplish in terms of reducing breadth of musical experience to focused motivic cells that continually produce new ideas that I would never think of. I could also run down the massive who’s who type bio of each individual but suffice to say they are recording for a label focused on new American improvisation for a reason. When I became familiar with the band, and it really is an actual band, it was through playing with both Zach and Aaron who were not reductionists or drones but rather folks who REALLY got into a singe idea, thus motivic cells. The previous stuff I heard sounded like morning fog dissipating in the dawn. This one sounds like a rain forest, maybe? A temperate American rain forest? The weird world music cut on On The Corner?”
SAMURAI: Samurai LP (CRP 110LP) 31.00
“Samurai is truly a lost classic of the progressive era. Released on the short lived Greenwich Gramophone label in 1972, the album was influenced by the experiments of groups such as King Crimson, Gentle Giant et al, but was more than a mere clone of these bands. Evolving from the equally excellent band Web (whose album I Spider is a classic of the genre), the musicianship on the album was excellent and keyboard player Dave Lawson’s compositions were groundbreaking and memorable. Sadly the group disbanded shortly after the release of the record resulting in limited sales. However, the influence of the album was not lost as both Dave Lawson and Tony Reeves soon joined Dave Greenslade to form the group Greenslade, effectively taking up the musical mantle laid down by Samurai.”
SOFT MACHINE: Softs LP (CRP 111LP) 31.00
“Cherry Red Phonograph is proud to present a fully re-mastered edition of the classic 1976 album Softs, by one of the most influential exponents of the British underground, Soft Machine. This album was the band’s second for the Harvest label (Pink Floyd and later Wire) and featured a new line-up of Karl Jenkins (piano, synthesizers), John Marshall (drums), Roy Babbington (bass), John Etheridge (guitar), and Alan Wakeman (sax). Seven of the album’s eleven tracks were composed by Jenkins, who had taken over keyboard duties from Mike Ratledge (who makes his last appearance here on ‘Song Of Aeolus’ and ‘Ban-Ban Caliban’), so the band at this stage was largely a vehicle for Jenkins’ own vision. Also, taking Alan Holdsworth’s place on guitar is John Etheridge, whose jaw-dropping speed and prowess made it quite obvious that he was no second fiddle. This is an album of exquisitely executed instrumental jazz fusion that has unfortunately often been overlooked over the years (leaving it un-issued on vinyl for over two decades)! Re-mastered from the original tapes and featuring the original artwork.”
LOVE INKS: E.S.P. CD (SLANG 50002CD) 11.00
“Austin, Texas three-piece Love Inks are set to surprise and seduce music fans and critics across the board with the release of their debut album E.S.P., (featuring) a highly infectious, dreamy first single, Blackeye. With a sound anchored via Sherry Le Blanc’s simple yet poignant vocals, Love Inks is minimalist dream-pop at its best; imbued with raw emotion, sexuality, and splashes of electronic color.”
LOVE INKS: E.S.P. LP (SLANG 50002LP) 18.50
VA: Eleven Years Cocoon Recordings: Selected Remix Works Part 02 12″ (COR 025.2EP) 12.50
Part 2 in a series of 3 vinyl releases coinciding with Cocoon’s 11 year anniversary compilation. It all begins with Alejandra Iglesias aka Dinky, whose “Acid In My Fridge” has ultimately taken her into the top league of producers. Lee Curtiss, Ryan Crosson, Seth Troxler and Shaun Reeves aka Visionquest turn the musical masterpiece into a marvel of fragmented dub techno in a breakbeat disguise. Next, Carlo Lio pumps a maximum of distortion into Dubfire vs. Huntemann’s “Diablo,” finishing with a bang.
VA: Eleven Years Cocoon Recordings: Selected Remix Works Part 03 12″ (COR 025.3EP) 12.50
Part 3 in a series of 3 vinyl releases coinciding with Cocoon’s 11 year anniversary compilation. Paul Ritch starts off this EP with a stunning remix of 2000 And One’s 2006 smash hit “Tropical Melons” and Tim Green finally puts the icing on the cake of Cocoon’s anniversary remix collection with an extremely well-crafted remix of Argy’s “Unreliable Virgin.”
WOODEN WAND/OWEN TROMANS: Circle/Guru Femmes 7″ (CRITTER 001EP) 8.00
“Each artist tackles a song by the other. A familiar enough tale you may think, but these songs fall into each other in a more pleasing manner than most, creating a lyrically and musically complementary whole. Two refracted visions of the landscapes of memory and the magical characters that inhabit them. James Jackson Toth, known to the world as Wooden Wand, is a maverick, good-hearted troubadour whose blend of smoky Americana has been garnering plaudits for the last decade. Growing up in the English suburbs, Owen Tromans led John Peel favourites San Lorenzo before following a solo path that has seen him release several acclaimed albums and tour extensively, playing with the likes of Brian Jonestown Massacre, Idlewild and Plush.”
MILKSHAKES, THE: The 107 Tapes CD (DAMGOOD 363CD) 16.50
“This is a re-issue of the 1986 Media Burn compilation of demos from July 1981 and a couple of German live shows from April 1983, back on double LP for the first time in 24 years. The Milkshakes were mainly Micky Hampshire (Git/Vox), Billy Childish (Git/Vox), Bruce Brand (Drums), and Russ Wilkins (Bass). When his punk band, the Pop Rivets, broke up in 1980, Billy Childish formed a new group with Mickey Hampshire, a Pop Rivets roadie who had been performing in a group called Mickey and the Milkshakes. The two began writing songs together and released their first LP, Talkin’ About, in 1981. With Childish on guitar and vocals, Hampshire on guitar and vocals, Bruce Brand on drums, and Russ Wilkins (later replaced by John Agnew) on bass, the Milkshakes sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the ‘Medway sound’ and Childish has been playing a variation on it throughout his whole career.”
CHILDISH & THE MBE’S, WILD BILLY: Mama Rolling Stone/Little Latin Lupe Lu 7″ (DAMGOOD 371EP) 11.00
“This single features a couple of brand new tracks from the MBE’s. Both alternate versions from those which will appear on their next full album which is due later in 2011.” Hand-stamped, numbered edition of 300 copies.
VAKULA: Picture Of You 12″ (DKMNTL 006EP) 12.50
After well-hailed releases on trusted imprints like Quintessentials, Uzuri and Firecracker, Vakula created this comprehensive 5-tracker ranging from moody deep house to fierce acid and from melancholic house mixed with jazz to a vocal banger. This release covers a wide spectrum of electronic music, so pay attention for some Eastern European brilliance. This EP is only the warm-up for a full Vakula album to be released on Dekmantel. On yellow vinyl.
SOLO ANDATA: Ritual LP (PATHWAY 001LP) 17.00
“Ritual is Solo Andata’s third full-length album and also the inaugural release for the Buffalo-based label, Desire Path Recordings. This limited edition 12″ LP consists of four glorious sonic ‘topographies’ that are altogether spellbinding, eerie, visceral and energetic. Ritual, similar to Solo Andata’s self-titled album on 12k, is fundamentally made up of organic sounds, such as primitive gongs, bells and bowls, wildlife and environmental recordings, sacred chants, the vibration of human cancerous cells, cleavers, and prepared piano. These four pieces seem to work toward a repetition or ‘ritual’ between disparate elements so as to transport us, via a magical spell, to dense otherworldly habitats. In fact, the title of the twenty-minute piece ‘Incantare’ translates as ‘to chant’ (a magical spell upon), which derives from ‘in’, into, unto and ‘cantare’, to sing. For the eight-minute piece ‘Carving,’ there exists a ‘ritualistic’ image similar to that of Kafka’s In the Penal Colony, where an intricate carving device inscribes the Condemned prisoner’s sentence onto his flesh. The whole affair of Ritual is bound to leave listeners mesmerized by its vividness and bewitched by its intensity.” Mastered by James Plotkin.
DUNN, KYLE BOBBY: Ways Of Meaning LP (PATHWAY 002LP) 15.00
“Ways of Meaning, Kyle Bobby Dunn’s new full-length album and the second release for Desire Path Recordings, is a treatise on the resonance of memory; an attempt to harness the finality of meaning as a shared experience. Mainly arranged for guitar and organ, the six works contained herein offer a look into Dunn’s mind as an artist deeply concerned with time, memory, consequence, identity, and meaning. Each piece, while created from and inspired by very personal moments, represents a point of transference, allowing the minutiae of experience to pass through the grooves of the vinyl to the listener to act as a salve for our collective emptiness, a catalyst for solace, or a pathway out of our ever-present longing. Some moments recall church and choral music, others are anthemic in their own quiet way, and sadness finds warm overtones to help quell its cold nature. Spatial qualities are examined thoroughly; clarity is reached when viewing one’s surroundings. The environment comes into focus and a reverie encapsulates the listener. Distant memories spawn a sense of yearning and each moment allows for profound feeling.” Mastered by James Plotkin.
GUTI: Patio De Juegos 2×12″ (DESOLAT 004LP) 20.00
2×12″ version. 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. 2×12″ featuring 8 out of the 15 tracks from the CD version.
MANON: Que Cara É Essa 12″ (DESOLAT 012X-EP) 12.00
Manon aka Manon Maeder has been part of the Swiss techno and house scene since the early ’90s. Starting with illegal parties in Bern, later involvement in legendary early days afterhours at the Oxa in Zurich, followed by first productions in 1996, residency at Hive and her involvement with the Vision Festival, Manon is today probably more thrilling than ever before. For Desolat, she delivers remarkable tracks that sound like a sonic snapshot of a Balearic sunset. Remixes by Stacey Pullen and tINI.
VINCENZO: Wherever I Lay My Head CD (DES 016CD) 17.00
Finally, Dessous key artist Vincenzo is back in the spotlight with his third full-length album. Some nine years after Welcome To Zanarkand (DES 006CD), his last long-player, the Berlin-based producer has been making magic in the studio, crafting what is sure to be his greatest work yet. Wherever I Lay My Head is a glorious journey through 13 tracks of rich, spiritual and stunningly-crafted electronic sounds. Vincenzo’s crystal-clear production and years of writing experience have culminated in this heroic new work. Two songs feature U.S. house vocalist Lisa Shaw. Also includes a track with Diogo Accioly of Talking Props.
BURNSKI: Sometimes Takes Longer 12″ (DES 103EP) 12.00
James “Burnski” Burnham is one of the UK’s most prolific and talented house producers. Having already contributed a run of beautifully-created records to the Dessous and Poker Flat catalog, it’s time for his next elegantly-crafted EP. The title track fuses casual, classic deep house drums with a totally hypnotic synth theme, surrounded by liquid percussion, fantastic panning and filtered special effects and storytelling elements. The track builds in the great tradition of true late-night, atmosphere-setting deep house.
SANSO-XTRO: Fountain Fountain Joyous Mountain CD (DIGI 058CD) 14.50
Since her 2005 release Sentimentalist (TYPE 007CD), Melissa Agate aka Sanso-Xtro has relocated to her native Australia and the move has treated her well. Fountain Fountain Joyous Mountain takes a lot of the ideas from her first record and dials them in, pushing everything to the next level. This collection of songs is a quiet force, blissfully confident and expertly assembled. Sanso’s soundworld is a fully immersive environment. On the opener, “Fountain Fountain,” we get a glimpse of everything to come. There’s this carefully controlled chaos at work that is immediately hypnotizing. Agate sings simple passages toward the end, welcoming listeners into this new world as her voice floats above the fray. It becomes obvious as the album progresses that Agate is, at heart, a drummer. The staccato rhythms and percussive embellishments bring the album to life. These rapid-fire beats in conjunction with precise, half-speed instrumentation work in perfect harmony. Reminiscent of Blackdance-era Klaus Schulze at times, there’s an intoxicating dizziness that is effortlessly present in “The Origin Of Birds” and “Wood Owl Wings A Rush Rush.” Agate even throws a few nods to free jazz with “Goodnight Thylacine.” Her skill as a drummer is matched by her ability as a songwriter, knowing when to push it over the top and when to hold back. Album closer “Exit: Joyous Mountain,” sounds like a lost Alan Lomax gem with its melodica/harmonica duet and delicate singing. “Hello Night Crow” is the literal and figurative center of the album, though. It starts with a ringing synth loop that gives nothing away until the chord changes emerge a minute in. Again, it’s about the slow-build, raising the tension and anticipation before melting into the sky. “You wouldn’t recognize that it’s not there anymore,” Agate sings over the bubbling waves of synths. It is beautiful and crushing.
BACHELORETTE: Bachelorette CD (DC 473CD) 13.50
“We visualize the music of Bachelorette beaming through distant star systems, gliding and bouncing through a matrix of coolly illuminated neural pathways. Yet, all the songs on her new album were written on Earth: Radley, UK; Tripoli, Libya; Millwood, VA; Brooklyn, NYC and back home in Auckland, NZ. Annabel Alpers (the heart behind Bachelorette’s machine) is no sky-bound jet-trash. Her new, self-titled album has a corporeal, sensual tangibility. If you were a fan of the wildly under-heard Isolation Loops and My Electric Family, you will be touched and torched once again by her deep-space solitude and the soulful ache that radiates from her best songs. Annabel Alpers dreams the trappings of her electro psych pop — her melodies, her minimal lines of synth and harmony vocal — and then brings the complex shades of this vision into our world through her music. Changing geography doesn’t actually change the conditions that we live in. Wherever you go, there you are, right? However, everywhere is somewhere, and all the traveling done in the last year or so of Bachelorette’s life has to seep somehow into her rich-toned amalgamation of sounds. When organic waves enter her work — as cathedral chimes did in Oxford — they return swathed in a lunar halo.”
BACHELORETTE: Bachelorette LP (DC 473LP) 17.00
NEWBURY, MICKEY: Looks Like Rain LP (DC 474LP) 19.00
“Looks Like Rain (1969) introduced audiences to the wide open spaces within one of their favorite song-writers (of other artists’ songs). A combination of folk and country and soul in a psychotropic haze that put new shoes on the old horse’s hooves.”
NEWBURY, MICKEY: ‘Frisco Mabel Joy LP (DC 475LP) 19.00
“‘Frisco Mabel Joy was produced back at Cinderella Sound, newly upgraded from eight to sixteen tracks. Drawing on a larger cast of musicians (dubbed by Mickey ‘The Nashphilharmonic’), the Newbury Universe expanded, adding clusters of steel and electric guitar overdubs to create expansive orchestral crescendos for his delicately constructed guitar-and-vocal compositions. The album’s opening track was perhaps its most arresting: ‘An American Trilogy,’ combined ‘Dixie,’ ‘Battle Hymn of the Republic’ and ‘All My Trials’ into a searing medley that spoke to the political crisis in the country while standing simultaneously as a personal American ode. It became his most-covered composition, and his own version cracked the Top-40 singles chart.”
NEWBURY, MICKEY: Heaven Help the Child LP (DC 476LP) 19.00
“Heaven Help the Child (1973): A new trilogy and some old favorites, deeper and wider and somehow bigger, in the third and final Cinderella Sound production. Sweet memories… even if you haven’t had ’em yet, they’ll make great ones in the future.”
NEWBURY, MICKEY: Better Days LP (DC 477LP) 19.00
“In addition, the album Better Days collects demo material, alternate versions of several favorites, and a radio session from this period. Listeners will hear a crisp and clean version of Mickey’s astonishing songwriting, singing and playing; refreshing to the ears after a swim through the powerfully concentrated sounds he created in the Cinderella garage.”
SEGALL, TY: I Can’t Feel It 7″ (DC 478EP) 5.50
“So what do you expect from ‘I Can’t Feel It,’ this here single we’re ranting around? It’s a fucking hit. It’s the song that transports you from your dusty, dark bedroom to the fresh spring market full of new fruits and veggies. Yeah, like the first time you whiffed hot garbage this month and remembered the last summer party of 2010, the one spent sweating Sparks through the pixie-stix-encrusted butt of your jorts, soaking up rays on the sun-burnt blacktop. It’s your first iced coffee of the season, spent sipping with your eye on that bro or ho you’ve been pining over all winter. Get it?”
NEWBURY, MICKEY: An American Trilogy 4CD BOX (DC 485CD) 58.00
“These albums that constitute An American Trilogy — Looks Like Rain, ‘Frisco Mabel Joy and Heaven Help the Child — were recorded between 1969 and 1973 at a home studio in Madison, Tennessee. Cinderella Sound was a converted two-car garage adjacent to the house of guitarist and engineer Wayne Moss — but you would never know this based on the magisterial sound of these albums, which are regarded as prime works in Mickey’s recorded canon. On these records, he was backed by Area Code 615, a group that included some of Nashville’s finest studio cats — Charlie McCoy, Norbert Putnam, Jerry Kennedy, Kenneth Buttrey, Weldon Myrick and Wayne Moss — much the same crew who had played on Dylan’s mind-blowing run of albums from ’66 to ’69. Mickey’s admiration of these and other song-based head-trip records of the era helped shape his vision of the album as a cohesive work of art. Achieved during relentlessly experimental recording sessions, Newbury’s American Trilogy albums broadened the palette of country music production, incorporating the sound of the Nashphilharmonic, an ‘orchestra’ consisting of electric and steel guitars that hung in the vast dark spaces behind Mickey’s mellow voice and guitar picking. This is the first-ever CD issue of these landmark albums using the original tapes. If you haven’t already been, An American Trilogy provides a rich and compelling trip to the deep space of Mickey Newbury, one of the most extraordinary and unique artists in American popular music.” Deluxe CD box set includes the original albums Looks Like Rain, ‘Frisco Mabel Joy, and Heaven Help the Child, plus a disc of previously unreleased demos, single tracks, and a live radio performance: a total of 41 songs. Plus: lyrics sheet, fold-out poster and 100-page booklet.
POETS, THE: Try Me Again CD/DVD (DYNO 202CD) 12.00
“The DVD contains a long lost 1965 acetate of ‘Try Me Again,’ ’60s home movies, live show film of ‘Midnight Hour’, ’60s TV clip of ‘Now We’re Thru’ as well as a few unreleased acetates. The CD disc is the same as the Scotland’s No. 1 Group CD, but without the 12 page booklet, just a four page booklet. CD contains 23 tracks from 1963-1967, including 9 unreleased tunes from the personal collection of the lead singer of the Poets, George Gallacher.”
JAMARAM: In Dub CD (EB 082CD) 17.00
Jamaram’s unique mix of every style that grooves and moves has brought countless festival and club visitors to sheer ecstasy. But the band also knows how to be subtle, as proven on Jamaram In Dub, which is just as driving and indulgent as their four previous albums. Reggae is the main foundation that the eight musicians use as a base, while constantly utilizing influences to further enrich their sound. The album Jameleon is a good example of the incredible impact that Africa has had on the Jamaram band. Other bands don’t often succeed in molding such a variety of genres into a homogenous soundscape, but Jamaram In Dub takes it to the next level by remixing the Jamaram sound completely in dub. This really shows the musical quality of the band, because dub doesn’t strictly mean reduction to only drum & bass — it leaves room for a focus on detail that the listener might miss in “regular” songs. Fans of the previous albums will experience their favorite songs in brand new arrangements. Newcomers will have an album that plays with all facets of dub and will possibly be introduced to a new world of sound. The typical, if not trademark, versatility of the band is proven once again on Jamaram In Dub. Carried by a constant reggae groove, the remixes lead you through very differentiated styles and epochs of dub, containing everything that dub has to offer: from reminiscences of the early Jamaican masters with their crazy delay-frenzies to psychedelic influences all the way to the steppers-style of the “British School.” This album is good the lounge, but it works just as well in the clubs, giving the sub-woofers plenty of work as well as the dancers in the dancehall. The 14 tracks are made up of a selection of carefully hand-picked songs from the last four albums and three brand-new songs. Mixed by the devoted and loyal Jamaram producer Umberto Echo, who set new standards for dub music in Germany with his albums Dubtrain and Dub The World, now he has helped his fellow colleagues in Jamaram to move into a brand-new sound dimension.
FELL, MARK: Manitutshu 2×12″ (EMEGO 116EP) 25.00
In January 2011, UK sound artist Mark Fell was invited by Erik Wiegand (aka Errorsmith) to make some presets for his new software synthesizer which he was building for Native Instruments. After developing about 40 sounds (unfortunately NI rejected all of Mark’s presets and none were used for the final distribution), Mark decided to rework his UL8 project by extending the pattern-generating systems used in its construction, which he then connected to the sounds produced in Erik’s synthesizer. The result is this double 12″ single, featuring 9 tracks and a remix from Mark’s friend and colleague, Mat Steel. Mastered by Lupo at Dubplates and Mastering (DE), March 2011. Comes with a full-color A1-sized poster.
HECKER: Speculative Solution CD/BOOK (EMEGO 118CD) 26.50
Editions Mego and Urbanomic are pleased to announce the release of Speculative Solution, a CD and book with contributions by Florian Hecker, Elie Ayache, Robin Mackay and Quentin Meillassoux. Originally commissioned by Urbanomic and developed over the last year, this collaborative project brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of “hyperchaos” — the absolute contingency of the laws of nature. In an apparent departure from Hecker’s previous release Acid In The Style Of David Tudor (EMEGO 094CD), the four titles featured on Speculative Solution contain a series of micro-chronics and sequences of auditory contingencies, ranging from extreme stasis to the most dynamic intensities, crisp dramatizations of what Meillassoux calls in his text “extro-science worlds.” As Mackay states in his contribution to the book, Hecker’s composition “participates in a circuit in which it, the accompanying texts, and diverse other objects, enter into a perpetual catalysis that must annihilate all priority, representation, reference, and even entity.” Both “scripture and prescription,” Speculative Solution invites its users to integrate its sonic and textual components, as they enter into an accelerative cycle, becoming “truly ‘literalist’ marks which have no reason to be as they are, and which could have been — and still could be, at every moment — otherwise.” With Speculative Solution, Hecker proposes that the concepts of absolute contingency and hyperchaos offer a rigorous new alternative to the employment of chance and randomness in avant-garde composition. It is recommended to listen to Speculative Solution on loudspeakers at high volume. Headphone use is not advised. Frequent recitation of the included texts is also indicated. Speculative Solution is Hecker’s 13th release with (Editions) Mego. It comes in an embossed, deluxe box with a bilingual (English/French) 160-page book and 5 metal balls (ø 3,969mm). Typesetting by Tina Frank and Elvira Stein. CD mastered by Rashad Becker. Available only in this format.
COMBO: Stocktown 12″ (EF 035EP) 15.50
This is the debut release from Swedish artist Combo (half of S.U.M.O.), who some people might know from his excellent edit of Robert Hood’s “Minus.” The title track is modern beat-down house with an emotional piano loop sound. If you like stuff from The Revenge or Mark E, you will like this song. The B1 is an old school house version of the title track and “Uptown” on B2 boasts an early New York house sound.
JACKIE-O MOTHERFUCKER: Vol. 1: Fig. 5 & Liberation 2CD (FIRE 120X-CD) 23.50
“A special edition Jackie O Motherfucker release of both Liberation and Fig. 5 re-issues together in packaging especially designed by Alex Hornsby.”
FAIR, JAD: Beautiful Songs: The Best Of The Best Of Jad Fair LP (FF 138LP) 31.00
“Fire Fidelity brings you an LP featuring 24 of the best songs spanning the career of the legendary Jad Fair and his band Half Japanese plus a free download card good for over 100 of Jad’s best songs! This Best Of compilation also includes liner notes written by Everett True, who tells us, ‘I love him for his boundless enthusiasm and shy genius…maybe it’s wrong to call Jad naive because he knows what he’s doing, but he has a child-like wonderment that to me is at the core of most great music I can name. The Shaggs, Leadbelly, Jonathan Richman. He makes my feet want to move, and there’s no higher compliment, I’ve seen Jad play concerts with a rolled-up newspaper and upturned wastebasket for rhythm, with just his voice for color. I’ve also seen Jad play stadiums in precisely the same fashion – with a band behind him, sure, but with the spirit intact – in front of crowds of over 15,000, in support to Nirvana on their final tour.’ Released at the same time as Jad’s new album, His Name Itself Is Music, Beautiful Songs (The Best Of The Best Of Jad Fair) is the perfect complement to a prolific and imaginative artist whose gifts keep on giving.””Jad Fair is the godfather of minimalist monster art rock – a gentleman and a beast,” — Edwin Pouncey, The Wire.
GELB & A BAND OF GYPSIES, HOWE: Alegrias PIC. DISC (FF 166LP) 41.00
“Recorded in 2006 in Spain on a rooftop in Cordoba with Howe Gelb’s Band Of Gypsies and virtuoso flamenco guitarist Raimundo Amador (who has also collaborated with Bjork and BB King), Alegrias is the latest excellent chapter in Gelb’s lengthy discography. Many have tried to blend flamenco into their style and failed, but Gelb seems unable to stumble no matter what he tries his hand at. Here he manages to seamlessly sear together flamenco rhythms with echoes of his own Arizona desert…perhaps the common denominator being the fact that Spain and the American southwest are culturally (and musically) linked by so many hundreds of years of history. Mixed by the legendary John Parish (PJ Harvey), Alegrias sails effortlessly into uncharted seas.”
ENERGY 52: Café Del Mar (The Ricardo Villalobos Mixes) 12″ (FCD 003EP) 12.00
The timeless classic that is Energy 52’s “Café Del Mar,” first released in 1993, has been rejuvenated and re-invented with two brand-new remixes from Germany’s leading beat scientist, Ricardo Villalobos. Mysterious like a deserted bay at midnight, and blissful like the balmy white sands of Ibiza’s hidden beaches, Ricardo’s main mix meanders over 9 minutes of pure minimalist magic. The dub mix focuses on the pulsing bassline, while gentle and subtle harmonic elements float underneath the warm staccato beats.
SABI/KIYO: 71:36 CD (FINT 001CD) 17.00
Mille Plateaux proudly presents sister-label Force Intel, which will cover great music that is simply not experimental enough for Mille Plateaux. Force Intel will take care of the sound that is usually called IDM. Sabi (aka Taro Peter Little) and Kiyo (Kiyoshi Ono) are two long-standing producers on the Tokyo electronic scene, but hardly recognized outside Japan so far. 71:36 is split in two halves: ambient IDM, sometimes with an organic piano touch in the first five tracks by Sabi. Here, the epic “Sleepy Emerald” stands out. Orchestral, rhythmic and atmospheric, this is one of the best ambient IDM tracks in recent memory. “Om” is a beautiful, quiet piano-based track. The fifth track could be a soundtrack to a science fiction movie — you can almost hear the image of a new sun being born. The second half has the Kiyo tracks and is strictly IDM — rhythmic and with experimental, often glitchy sounds, but still enjoyable even to less advanced IDM listeners. Simply put: just great IDM with remixes by a line of excellent IDM producers including Julien Neto, Kettel, Richard Devine and Machine Drum.
HATIKVAH: Big Mind 12″ (FORM 005EP) 12.00
FormResonance selected three songs from Hatikvah’s debut album Synchronicity in its uncut version to make it available for the music world on vinyl. “Big Mind” reveals itself as an extremely dense atmospheric world of sound with beautiful vocals by Florian Schirmacher. “Daedalus” is a Rhodes solo. Pure. Nothing else. “Unforgettable” slides in a 13-minute improvisation with the Rhodes piano that evolves gently and playfully. Sound & soul follow Hatikvah — the deeper, the better.
GREED, DOUGLAS: Hurt & Love 12″ (FREUDE 051EP) 12.00
Douglas Greed leaves the angst dancing at the door even though the EP title suggests something else. “Hurt & Love” (featuring Kemo) is crafted for the modern club and darker, free spaces. Injury and salvation is assured for his Freude am Tanzen debut album, which will inevitably expand the radius of Greed.
ESPLENDOR GEOMETRICO: Re-Pulsión 10″ (GR 2119EP) 26.00
Re-Pulsion includes four outstanding versions/mixes of tracks from Esplendor Geométrico’s Pulsión (2009), made by four unique talents from the international electronic scene. ATOM TM makes an irresistible rhythmic version of “Metallum,” Frank Bretschneider re-forges “Japo” in his typical style, Most Significant Beat make a hypnotic version of “Aplicación Insospechada,” and Andreas Tilliander offers another version of “Japo” that is pure, harsh industrial music. Limited numbered copies of 500 with a beautiful design on a special cardboard sleeve.
NOZE: Dring CD (GPM 035CD) 15.50
This is the fourth album by Nôze, the Parisian duo of Nicolas Sfintescu (aka DJ Freak), founding member of Circus Company and Ezechiel Pailhès. Since the release of their 2008 album Songs On The Rocks, the duo have developed like good wine, full of maturity and sophistication, asserting their character in a renewed fashion, with more depth and subtlety. Make no mistake about it, Nôze are still Nôze, they have simply swapped their colorful electro-cosmopolite entertainer costumes for the no less flattering attire of velvety pleasures and joyous melancholy and a re-emergence of their first love — improvised music. The fellas have quieted down a bit after two crazy years touring the world, and deliver a brilliant, multi-headed album. Dring was born from multiple encounters and collaborations, disrupting the duet’s recording routine: if the “Nôze sound” is resolutely turned towards instrumental music, this time the pair gave their friends complete freedom, as title after title, recording session after recording session, Nôze gradually became more of a “real” group with shifting and porous boundaries — a spontaneous process, which progressively became this album’s backbone, also an opportunity to express their gratitude to the worlds of jazz and improvised music and highlight the talent of their faithful collaborators: Thibaut Frisoni (guitar), Alexandre Authelain (sax and clarinet), Matthias Mahler (trombone) and Emiliano Turi (drums). Nôze now travels along the edge of house music, playfully making light of its codes, and more broadly making light of the codes of all festive musical genres that cross their path (cumbia, klezmer, reggae) and especially their own musical vocabulary: reviving the jazzy and experimental ardor of the early days, now sustained by the demands and maturity of accomplished musicians and performers that made their success and fame. With this album, Nôze offer themselves at their very quintessential best, where technical and musical virtuosity constantly share the limelight with the light-hearted but profound expression of joy, celebration and melancholy. Featuring contributing artists Riva Starr, Wareika and dOP.
AUDIOFLY: Follow My Liebe CD (GPM 039CD) 15.50
Audiofly’s album debut has been a long time coming. Not just because Luca Saporito and Anthony Middleton share nine years of production history, but because of the sheer volume and sonic breadth of the anthems, EPs and sought-after remixes that they have amassed throughout their illustrious career — Audiofly are true veterans of the scene. Follow My Liebe is the long-awaited long-form passion project that references all shades of the Audiofly spectrum: from their dirty, jacking techno to the sleeker, dubbier, minimal tones of Audiofly X and deeper still to the sound design and ambient atmospheres that the duo have never before revealed. Follow My Liebe spans electro-pop, techno, dub and downtempo, but is held together by the deep indigo tones, twilight atmospheres and early morning stillness that are present throughout. The title track takes its cues from sun-drenched Balearic vibes, with space aplenty for sea breezes, languid sunsets and hummed choruses. Over its pulsing guitar, shadows and whispers elongate and disappear into whisps of cosmic trails. “Kiss And Tell” raises the tempo to slow house, but still steps lightly with rhythmic sweeps, delicate ride cymbals, and a faraway duet of hand and voice, before taking a sharp turn left, then down into fractured rhythms, distorted sounds and quickening bass tones. “Fela” finds its rhythmic grounding in the organic fusion of chattering voices and the peaks and troughs of Rhodes, for an Afrobeat-infused slow-house burner, while the late-night tech house of “Black Cat” is fuelled by bass pulses that chug rhythmically, and the intricate synth play that weaves around them. “My Happy Place” and “Talktome” and are primed and ready for the dancefloor, rolling heavy and deep, the latter with snaky, shimmering percussion, distant drums, and a rolling, infectious beat that rewrites itself, landing gently in a bed of pealing, humming melodies. “Lo-Rise” is a workout of pure tribal hypnotism, with solid shafts of dub reverb that shift in and out and combine with vocal snips and chirping, piping noises for a solid quirk-house number. Vocals are an integral part of Follow My Liebe’s character, and provide its most affecting, personal moments. “6 Degrees” reveals melancholic electronic pop at its most devastating, and the lulling reggae vocals of Shaun Parkes enhance the downtempo dub and ambient tones of “Sense And Vision,” which is textured by subtle percussion and live instrumentation; while “Puddle Of Diamonds” harnesses the gentle power of a husky, jazz-toned femme that lingers in the memory long after the slinky sighs, deep house rhythm and floating percussive elements have finished. Audiofly have followed their hearts and their melodic instincts for Follow My Liebe, crafting an assured debut that makes a seamless transition from DJ fare to home-listening and back again, with expert ease. Also featuring Fiora Cutler and Cari Golden.
PITTO: Where My Is Soul Now 12″ (GR 012EP) 12.00
“Where My Soul Is Now” is the first single to be taken from the Dutch producer Pitto’s album Objects In A Mirror Are Closer Than They Appear (GR 104CD). Lead track “Where My Soul Is Now” with its melancholic, jazz-infused overtones and incredible Leonie Muller vocal is a perfect snapshot of Pitto’s mature and genre-defying sound. On the remix, acclaimed Swedish duo Minilogue create sheer beauty through techno.
PITTO: Objects In A Mirror Are Closer Than They Appear CD (GR 104CD) 17.00
On this highly-anticipated debut artist album, Dutch producer Pitto displays a mature and genre-defying sound. Working with a number of gifted musicians and vocalists (and even singing on a couple of tracks himself), he has taken a bold step, joining the dots from filtered house to fragile electronic pop. In a time when the LP has become a promotional tool rather than a form of expression, Objects In A Mirror Are Closer Than They Appear stands out as a truly sincere and compelling artist album. Over recent years, Pitto has invited an international cast of vocalists and musicians into his studio. Annie Mackin (from London) lends her spoken-word to “Childhood Storage” and “Childhood Storage Returns,” which were written by designer Anna Nicole Ziesche (also from London). Pianist Wout Smeets collaborates on “Every Second Of U,” Lilian Hak (from Utrecht) sings over the spooky chords of “Ceiling In Paris,” Leonie Muller (from Breda) features on “Where My Soul Is Now” and “Goodnight,” Manu Delago (from London) plays the hang on the mesmerizing “Mono Desire” and Alice Rose (from Cologne) collaborates on “When I Look At You,” “Devil In Desire,” “Don’t Come Any Closer” and “Happy Now.” Every single track has its own story to tell, but the full package offers a greater narrative, spanning many different genres. Overall, Objects In A Mirror… is a very intimate and dynamic listening experience, taking you from ecstatic to melancholy in the blink of an eye.
SKIN GRAFT: Dystrophy CD (HN 236CD) 9.00
“Debut CD release for Cleveland’s Skin Graft. Wyatt Howland aka Skin Graft has been blasting his crude noise in the filthiest Cleveland basements and scum punk bars every two or three nights a week for the past five or so years. He has a knack for writhing in the filthy underbelly of sound using junk metal, field recordings and primitive electronics. Dystrophy is complete audio horror texture pulverizing harsh sounds of fluttering static, feedback and crushed metal. This is the sound you hear when you are stuck upside down in the backseat of a hit and skidding car. Just horrible sounds! The complete opposite to the sounds of his past collaborators Emeralds and Bee Mask. Whereas they have aimed for outer space Skin Graft has aimed himself head first into a shitty old Cleveland gutter. Always touring, always playing gigs, and always recording solo and as a member of long running Cleveland noise punks Dead Peasant Insurance as well as Power Violence heavyweights Apartment 213. Recommended for fans of Wolf Eyes, The New Blockaders, Napalm Death, Taint, Murder Corporatrion, Negative Approach, Prurient, and Controlled Bleeding.”
HARPER, TWIG: Twig Harper CD (HN 237CD) 9.00
“First proper CD release from Nautical Almanac’s Twig Harper. Twig was a big part in Hanson Records getting off the ground back in the mid-90s, so I’m very excited to release his debut solo glass mastered CD! Hot off the barefoot of his collaboration release with Daniel Higgs on Thrill Jockey. Twig Harper continues in the alternate universe tradition of his three volume Intuitive American Esoteric LP series, with 43 minutes psychedelic tape manipulations and droning synthesizer, electronic and organic sound mixed to brain warping perfection. Bell’s, homemade electronics, synth, piano, strings, junk, horns and voice treated with tape for full-on musique concrete/sound poetry/electronic trance inducing confusion. Recommended for fans of Albert Hoffmann, Smegma, Pierre Henry, The Butthole Surfers, Maria Sabina, Dylan Nyoukis, Tobe Hooper, Criswell, Tod Dockstader, Sirhan Sirhan, The 13th Floor Elevators, Aliens, Humans, Jokes, and OBE’s.”
MANNION, JOHN: Slice Through Or/In Glassmetal LP (HN 240LP) 19.00
“John Mannion is a member of the Red Light Collective operating out of Rockaway, NY and breeding intense electronic music acts like Yellow Tears, Halflings, Cowards, Teeny Bopper, and John’s Cathode Terror Secretion. Slice Through or/in Glassmetal is his debut LP and is a three years in the making document of extreme electronic composition. An ultra dynamic mix of modern classical, electronic, noise, and power electronics techniques. Kind of makes me think of what it may have been like if Penderecki made a power electronics record. Whirling electric box fan, piercing electronics, junk metal clang, screeching violins, harsh and whispered vocals, and haunting vocals by opera singer Caitlin Haughney. Cut by Rashad Becker at Dubplates and Mastering, Berlin. Limited to 500 copies. 3 color silkscreen sleeves with the ‘Hanson Droll Flaps’ and featuring cover art by the artist plus 11′ x 11′ lyric sheet. Recommended for fans of CON-DOM, Krzysztof Penderecki, John Wiese, Iannis Xenakis, Kevin Drumm, Yellow Tears, Aaron Dilloway, Genocide Organ.”
AVATISM: Taking It Too Seriously 12″ (HAUNT 004EP) 12.00
Haunt is proud to present the debut EP from London’s Avatism, a new artist that has truly mastered the old art of deep, dark house. Coming from a background in Audio Engineering, Thomas Feriero is no stranger to exceptional sound quality and on this release he truly proves it. Avatism’s Taking It Too Seriously is a journey into the dark side of house.
BUZZOV-EN: Revelation: Sick Again CD (HDH 044CD) 16.50
“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.”
RONE: So So So 12″ (IF 2034EP) 12.00
Since autumn 2010, Erwan Castex aka Rone has been carefully crafting the sketches of his second full-length player. Almost two years after the release of his album, Rone returns in full force on your record player with the So So So EP. Three equally stellar and timeless tracks.
BERRY, KEITH: The Ear That Was Sold To A Fish/Turn Right A Thousand Feet.. 2CD (INFX 046CD) 17.00
…From Here. “One of the best and most intriguing ambient recordings of the last decade, The Ear That Was Sold To A Fish has garnered nothing but the highest praise since the release on Crouton (RIP) in 2005 in a tiny edition of 300 (in a kraft box w/ scented/dyed leaves no less). Infraction is now reissuing a remastered version of The Ear That Was Sold To A Fish along with a previously unreleased full-length, Turn Right a Thousand Feet From Here as a 2xCD set (not to be confused with a previously issued recording Turn Left A Thousand Feet From Here on Twenty Hertz as a bonus CDR). Each disc is packaged in a matte envelope and then housed in a Stoughton Printing mini-lp gatefold cardboard sleeve.”
BIBLE & JASON HENRY, JEREMY: Vryashn LP (INFX 049LP) 18.00
“A vinyl-only release of a fantastic underwater dark ambient piano piece by a local duo of musicians — Jeremy Bible (he of Experimedia) and Jason Henry. This vinyl remaster (by 12k’s Taylor Deupree) is limited to 500 copies. 180g vinyl, printed on a reverse board gatefold sleeve with an OBI. Comes with an exclusive download code featuring an expanded version of ‘Vryashn.'””Two lengthy, sonorous tracks with looming, viscous currents offset by a seductive parade of pattering detail. Fluttering piano notes pierce shifting planes of texture, catspaws of white noise skip across the swell, and Echoplexed flurries float, like distant birdsong, back and forth across the threshold of audibility. Vryashn reveals a perfect balance between fluidity and architecture before disappearing into a haze of chiming bells.” – The Wire
GLIMPSE: Work That Body 12″ (INTAC 031EP) 12.00
Glimpse’s productions are a beguiling mix of house music weaving elements of jazz and soul to create something truly innovative. He uses only analog equipment and records most of his tracks live, editing only afterwards, thus giving his music a more improvised quality. “Work That Body” is a party track where the thick tribal beats thump out the rhythm while the deep vocal grunts and soulful snippets send you bouncing and bumping onto the floor. Includes a remix by Shinedoe.
LOCUSSOLUS: Tan Sedan/Throwdown 12″ (IFEEL 008EP) 12.00
“Tan Sedan” is Fleetwood Mac on Quaaludes, with a vibe that combines the sleaze of Hollywood Boulevard at 4 a.m. with the magic and mystery of a secret Ibizan hideaway. “Throwdown” is its psilocybinic cousin, a chillwave anthem for cruising the Pacific Coast highway out to the hills of Topanga, Malibu and beyond. Complete with a bonus bass and beats mix for a slice of ’90s goodness, this is another Locus Solus adventure you’ll want to hitch a ride on.
MYTHICAL BEASTS, THE: Communicate 12″ (IFEEL 014EP) 12.00
Formed in 2007 in a dark cave somewhere in Brixton, The Mythical Beasts are Felix Dickinson and Toby Tobias. “Communicate” is the long-lost bastard brother of Jan Hammer’s “Crockett’s Theme,” so it’s time to roll up the sleeves on your suit jacket, throw away your socks and head off into the Miami Underworld with a 2011 twist. Remixes come courtesy of electro-funk newcomer Alphabet City and an abstract floor-filling gem from Das Volt.
CRIPPLED BLACK PHOENIX: The Resurrectionists 2LP (INV 075.1LP) 39.00
“After two years of speculation, it is now time to confirm the impending release of both The Resurrectionists and Night Raider on vinyl for the first time. Originally released in 2009 on CD as a limited 2CD box set and also as a single condensed CD in the form of 200 Tons of Bad Luck, the album was received with critical acclaim. Now available on every true rock fans favorite format, both LPs will be available as two separate limited edition double-albums with new expertly crafted artwork setting them apart from a simple re-release. Also included across the albums are seven officially unreleased tracks which have never been available on any CBP physical product. Pressed on 180 gram heavy vinyl these freshly remastered versions of both albums give you a total of eight (8) sides of vinyl featuring 26 songs.”
CRIPPLED BLACK PHOENIX: Night Raider 2LP (INV 075.2LP) 39.00
“What the critics said at the time of the original release: ‘There are moments that provide some of the most inspirational, fascinating music to be produced on these shores in recent years. The Resurrectionists and Night Raider in their full scope are an experience that is devastating in its accomplishment’ – Rock-A-Rolla.”
CHANNEL IN CHANNEL OUT: The Author And The Narrator CD (KK 058CD) 15.50
Channel In Channel Out is the musical project of Portland, Oregon’s Marcus Cotten and The Author And The Narrator marks his debut release on Karaoke Kalk. Channel In Channel Out fuses so many styles that it really is hard to know just what is going on between the input and the output that is this artist’s creative process. His art is like some alchemical spell, fusing genres as diverse as good old fashioned singer-songwriting with moments of experimental electronica. At times, Channel In Channel Out’s music verges on the psychedelic, but no matter how far-out the compositions become, they remain songs at heart. The songwriting has something of the throw-away, sketch-like approach of Guided By Voices, but there is clearly a profound message concealed within each of these songs, and although one might have to delve deep through many layers of figurative disguise to work it out, this is part of the enjoyment: much more than mere songs, the tracks are like a kind of emotional riddle. While the tunes generally defy comparison, Cotten’s voice has a somewhat familiar quality to it. Then out of nowhere, there are moments of loopy, ambient bliss that quickly give way to almost bluesy acoustic guitar riffs, ending in an analog bubble-bath that could easily have been recorded by Delia Derbyshire or Raymond Scott. The Author And The Narrator is constantly full of surprises. One really never quite knows what to expect, other than a thoroughly delightful album and enjoyable listening experience.
CYNARA: Cynara CD (KIS 4006CD) 17.00
Fronted by keyboard maestro Michael Tschudin (previously leader of Boston psych faves The Listening), this short-lived quintet played progressive rock with a jazzy, percussive edge. Their sole album was originally released in August 1970, and boasts impressive interplay throughout, with superb musicianship including a guest appearance from Elvin Jones on drums. Digitally remastered and finally available on CD for the first time ever.
JUMP: Jump CD (KIS 4007CD) 17.00
Made by a short-lived quartet who’d formed on Los Angeles’ Sunset Strip in the spring of 1971, this lost progressive pop-rock gem was originally released that summer. A catchy blend of hard-edged pop and rock, with meaty guitar and organ interplay, it boasts the talents of long-term Iggy Pop and Tom Petty sideman Scott Thurston, and deserves a far wider audience than it has enjoyed thus far. Digitally remastered and available on CD for the first time ever. Liner notes included.
THUNDER AND ROSES: King Of The Black Sunrise CD (KIS 4008CD) 17.00
In the wake of the Jimi Hendrix Experience, a large number of psychedelic heavy rock three-pieces formed. The explosive Thunder And Roses were one of the best. Consisting of singer/guitarist Chris Bond, bassist Tom Schaffer and drummer George Emme, they hailed from Philadelphia and issued only one album, which originally appeared in July 1969 and makes its long-overdue CD debut here. Digitally remastered.
VA: Kitsune Maison Compilation 11- The Indie Dance Issue CD (CDA 036CD) 15.50
Here is Kitsuné’s 11th Maison compilation, taking one more step towards maturity. While Kitsuné is perceived as somewhat of a club label, really they have always resided somewhere between “club” and “indie.” This new compilation sits right at the crossroads of the two. As label-head Gildas Loaec explains: “I find the combination of guitars and electronics is one of the most exciting areas in music today.” Kitsuné has always supported this fusion and believed a good part of the future will come from that. So here’s Kitsuné’s selection of what’s best in the genre at the moment. Artists include: Alexander Dexter Jones, Housse De Racket, Polarsets, Gallops, Cosmonaut, Creep, Azari & III, Is Tropical, Peter & The Magician, The Touch, Logo X Icona Pop, Beat Connection, Nightbox, Guards, Fiction and Exotica.
ARZACHEL: Arzachel LP (MJJ 315LP) 27.00
“One of the great lost albums of British psychedelia, original copies of Arzachel’s 1969 self-titled debut fetch huge sums on the collectors’ market and it is not difficult to understand why. Originally released in 1969 on the small Evolution label, this album quite simply contains some of the best psych to ever come out of the UK. However, like so many other great albums of the era, it soon dropped entirely from the radar due to bad promotion. In fact, it may not have ever been rediscovered at all if guitarist Steve Hillage and keyboardist Dave Stewart had not gone on to be so well known. Hillage would soon become famous for his work in Gong, and Stewart would become a legend of British prog with Egg, Hatfield and the North, National Health, and his work with wife Barbara Gaskin in the 1980s. Contains bonus track from a lacquer of the same period.”
KOLOMBO: Waiting For 12″ (KOM POP017EP) 12.50
Kolombo pays tribute to the spirit of slo-mo Belgian new beat with this EP. The title track is a 105 bpm-driven concoction of classic house and Balearic disco led by the voice of ’80s pop maestro Howard Jones in his memorable hit “Everlasting Love.” “Rescue Me” shines with a disco-fied raucousness. Michael Mayer embraces the grandiosity of the original, setting it off with a stripped-down, classic Chicago house rhythm that is simply untouchable.
GUSGUS: Arabian Horse CD (KOMP 089CD) 14.50
Iceland’s GusGus graces Kompakt with a second album, after their enigmatic debut for the label 24/7, which earned the trio much acclaim thanks to its conceptual rigidity and pure glamour. Conceived solely with the help of two precious Doepfer modular systems and Daniel August’s all-pervasive vocals, it could easily have been characterized as GusGus’ unofficial live album. For Arabian Horse, their seventh studio album, President Bongo, Biggi Veira and Daniel August set up a makeshift studio in a summer cottage in the depths of the lava field. Secluded in silence and beauty, they produced something that really showcases GusGus’ versatility and stunning songwriting ability. A vast array of illustrious guest musicians and singers abound on these powerful new songs. Most prominently, this album features the long-awaited return of former band member and gifted vocalist Urður “Earth” Hákonardóttir, who appears on three songs. Högni Elisson of the band Hjaltalin lends his voice to some of the album’s most memorable and deepest moments. Samúel Jón Samúelsson contributes the elevating, goosebump-inducing string arrangements and David Thor Jonsson contributes accordion and the banjo. Even an un-named gypsy combo leaves their mark here. Compared to GusGus’ stripped-down predecessor for Kompakt, this album is much more in-your-face — the songs brim with big gestures, enthralling hooks, pop and soul. Take the powerful schaffel anthem “Deep Inside,” which makes use of big room chords, a ferocious bass line and a vocal duel, or “Within You,” where strings converge with breathtaking vocals and an addictive techno bass kick. GusGus retrace their original influences, creating an album that recalls a forgotten period of early ’90s dance pop (think The Beloved), classic house music and urban soul à la Massive Attack. But make no mistake, Arabian Horse does not sound like pure retro in any way. It’s deeply rooted in the sound of today, backed by one of the most state-of-the-art quality productions Kompakt has released to date. Still need a tag? Why not: Icelandic hi-tech soul.
MILLER, SEAN: C’mon That’s It 12″ (LEENA 021EP) 12.00
This EP on Leena is by Toronto-based Sean Miller — an artist who has built a strong and vibrant DJ/producer career over the past decade. This new EP stands testament to this with its well-honed production style and creative flare. The title track is certainly one to wake you and put a rocket up the dancefloor’s ass. C’mon That’s It is packed with funk and grooving loops, and it’s clear what it’s asking.
GOUDE, JEAN-PHILIPPE: Drones CD (LION 638CD) 15.00
“In the beginning there was the piano. As soon as he had mastered the basics, Jean-Philippe Goude discovered the spell of melancholy while working on a little musical piece: an etude ringing out in the style of a somber hymn. Not the dead meat smells of somberness that, according to Picabia, serious people emit, but the earthen gravity of an abyss dug by life itself. Everything is the result of this bedazzlement. At 11 years old, Jean-Philippe Goude closed his eyes. When his eyelids finally re-opened, he could only see turquoise bubbles. The times had changed. The color was set by Sgt Peppers and the Beatles. Goude then discovered the minimalist movement through the work of Philip Glass and Terry Riley; this gave him insight into unexpected perspectives. Goude enrolled at the Pantin Academy of Music, where he studied with Irene Jarsky. Parallel to these studies, Goude worked with with percussionist Olivier Cole, assisted by electronics wizard Francois Gingle, who modified their synthesizers in order to obtain the weirdest possible sound. Goude released his first album (with Cole) in 1975, Jeunes Annees (Saravah). A few months later, with Bernard Paganotti’s band Weidorje, Goude initiated a rock adventure which ultimately resulted in a second album, Drones (Polydor, 1979)–an album which features an impressive gathering of some of the biggest names in late ’70s underground French rock, including: Richard Pinhas (rhythmic synthesizer), Francois Auger (drums); Michel Ettori: (guitar), Patrick Gauthier (flute, synthesizer, piano, mini-moog), Manu Katche (drums), and Jean-Louis Rizet (mixing & special effects). Goude’s proto-electronica cosmic loops and moog melodies now find themselves coupled with tough prog drum beats and other elements of rock music; Drones mixes solo keyboard pieces like ‘Coma’ and ‘Duo’ with group oriented pieces: ‘Dies Irae’ is a Zeuhl rock scorcher; ‘Machine’ uses a string quartet as the foundation for synthesizer musings by Goude and Richard Pinhas; ‘Trepidanse’ is a playful piece for dueling synthesizers. Although the Weidorje influence is evident on some numbers, Jean-Philippe Goude takes his music well beyond the Zeuhl trend. He offers a very personal approach to music, which contributed to the album’s initial success, and has ensured that its cult status has lasted until the present day.”
PERRY, LEE ‘SCRATCH’: Rise Again CD (MOD 007CD) 14.50
“Rise Again – the title speaks for itself. A clear and direct collaborative projection that transforms pop music production into an art form all its own. Like an ageless tribe of Lazarus, Lee ‘Scratch’ Perry just keeps coming back. This time out, the Upsetter celebrates his 75th year on planet Earth with the release of Rise Again – a crucial set of eleven all-new songs, mixed and produced by Bill Laswell and featuring vocals by TV on the Radio’s Tunde Adebimpe, Ethiopian chanteuse Gigi Shibabaw and Jamaican toaster Hawk(man).”
TARON-TREKKA: Zold Ura 12″ (MMR 019EP) 12.00
Zold Ura is divided into three tracks which convincingly show what house is still able to be in 2011 without taking part in digital cannibalization and draggy conventions. Taron-Trekka earn credits for the fact that especially under those conditions, such marvelous and deep dance music comes into existence. Nice to see how passion, enthusiasm and knowledge can fertilize the dancefloor. Play it loud: I’m deep and I’m proud!
BLIND BLAKE: That Lonesome Rave LP (MK 336LP) 22.00
“Presumably born in Jacksonville, Fla. in 1893, Blind Blake came to prominence recording for Paramount from 1926 until the label closed in 1932. In fact, Blake was Paramount’s best-selling and most recorded artist, with over a hundred sides to his name. Blake–one of the greatest blues guitarists of all time–is best known for his development of the ‘ragtime’ guitar style, the sheer complexity of which has baffled would-be imitators for the past eight decades. His mastery of this approach was so complete that none have ever come close to being able to imitate him. The tracks on this LP were recorded in the Paramount Studios in Chicago in May of 1928, with blues singer Bertha Henderson on vocals on ‘That Lonesome Rave,’ ‘Leavin’ Gal Blues’ and several others. Guest vocalists also appear on ‘Beulah Land’ (Daniel Brown) and ‘Elzadie’s Policy Blues’ (Elzadie Robinson). Many of these songs have long been considered early American blues classics.”
SMITH, BESSIE: Please Help Me Get Him Off My Mind LP (MK 337LP) 22.00
“Born into poverty in Chattanooga, Tennessee in 1894, the Empress of the Blues, Bessie Smith, began singing on street corners for change, but by 1912 she was performing with Ma Rainey’s travelling show, fast on her way to becoming one of the most popular singers on the vaudeville circuit. Her 1923 debut single for Columbia Records (‘Gulf Coast Blues/Down Hearted Blues’) sold 800,000 copies across racial lines, to both black and white audiences. By the time the sides on this LP were recorded in 1928 in NYC, Smith was the highest-paid/biggest-selling black recording artist in the world, travelling to performances in her own railway car and even saving Columbia from bankruptcy thanks to the sale of her records. Her ‘Empty Bed Blues,’ featured here along with some lesser-known (but by no means lesser) recordings, is one of only three Smith recordings to be inducted into the Grammy Hall of Fame.”
VA: Enjoy The Silence Vol. 2 CD (MULE 020CD) 15.50
Mule Electronic presents their second ambient compilation, featuring Mule regulars such as Koss, Lawrence, Terre Thaemlitz, Sebastian Mullaert (Minilogue) and newcomers such as Kassem Mosse, NSI and Porn Sword Tobacco. The album is kicked off by Koss’ “Voyage,” which is aesthetic and beautiful, followed by Lawrence’s “Floating,” which is transient and melancholic. “Krakow 6” from Tobias Freund’s NSI is reminiscent of John Cage or Morton Feldman. After you listen to producer Glitterbug’s track, you will fall in love with his warm and cinematic sound. Probably the highlight of this album is Terre Thaemlitz’s remix of John Cage: it’s very beautiful and musical. Next, Japan’s Fumiya Tanaka’s freestyle project Individual Orchestra features a rare type of ambient music. There’s some trippy stuff from Sebastian Mullaert, classical ambient from Italian producer Donato Dozzy and two Lawrence tracks, because the label couldn’t decide which one was more beautiful. Seltene Erden is Kassem Mosse’s new project, and it is fresh, downtempo stuff, reminiscent of Global Communication or Larry Heard. Lastly is Swedish experimental producer Porn Sword Tobacco with an absolutely perfect ending.
VA: Enjoy The Silence Vol. 2 LP+CD (MULE 078LP) 18.00
LP version. Includes CD version.
GUN CLUB, THE: Fire Of Love LP (MR 256LP) 19.50
2003 release. Jeffrey Lee Pierce — reggae enthusiast, heroin addict, and former president of the Blondie fan club — suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record his band, The Gun Club, recorded 16 years earlier: the masterful Fire Of Love. A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene. Inspired by bands like X, Television and the Cramps, he met Kid Congo Powers (who later played with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people’s songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP — released in 1981 on Slash’s Ruby Records. What makes Fire Of Love such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive — in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs’ GI). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time. From the immensely dark and aggressive sexuality of “Sex Beat,” Gun Club’s most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in “For The Love Of Ivy,” including the hellfire classic “She’s Like Heroin To Me,” a 2:33 masterpiece in which everything comes together; Fire Of Love is pure perfection. It stands among the greatest classics of rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of the most influential records of the ’80s, with countless musicians declaring their love for the Club.
VA: Spacelines: Sonic Sounds For Subterraneans CD (MR 260CD) 16.50
Spacemen 3 were one of the most revolutionary UK guitar bands, whose influence is still being felt today and whose reputation as one of the leading innovators of the alternative scene keeps growing. The SP3 saga is that of a band who gave up when they were just gaining international success, with a wide recognition in the UK and a cult status in the American underground. Their perfectly integrated mixture of trippy pop, spaced-out poetry, acoustic romance and mind-boggling guitar devastation made them one of the most influential, mind-altering bands of the late ’80s. With the band’s two leaders, Jason Pierce and Peter Kember (aka Sonic Boom), currently enjoying levels of critical and commercial success (via Spiritualized and Experimental Audio Research, respectively), and the whole SP3 catalog being reissued these days, it’s a good time to review the musical history and legacy of this inspirational outfit, disbanded in 1990 after leaving milestones such as 1987’s The Perfect Prescription. This compilation is of great interest both for any fan — you will understand, enjoy and discover the answers to many of the questions the SP3’s music asked, in an amazing selection of the best music produced in the last 30 years. These artists are amongst those Sonic Boom considers as the main influences for the sound of Spacemen 3, the “roots” to that amazingly rich musical tree. And they were truly eclectic: here you can find anything from the rural folk-blues of Lightnin’ Hopkins or Jesse Mae Hemphill to the gospel of The Staple Singers (whose “Last Time” was likely to be a major influence on Jagger/Richards’ own “Last Time”), from exotica (Xavier Cugat!), to Sun Ra’s cozmic blues, plus ultra-rare English freakbeat such as The Syndicats, Yes’ Steve Howe’s first band, with a huge penchant for the feedback of Pete Townshend, L.A. psychedelic surf from the Beach Boys-influenced Fantastic Baggies, and first-generation electronic music acts such as White Noise, or even Detroit high energy rock (MC5 with a rare “Ramblin’ Rose” live at the studio). There are even some unclassifiable acts such as Daniel Johnston, the mysterious Honolulu Mountain Daffodils, or Rolf Harris, whose 1960s song “Sun Arise” re-enacts Australian aboriginal chants, and many, many surprises (including a Christmas carol). Search deep and enjoy and find the roots to SP3’s musical enlightenment. Other artists include: Bo Diddley, The Red Crayola, Washington Phillips, The Cryin’ Shames, The Zodiacs, The Wailers, Evie Sands, The Rays, Juicy Lucy, The Riot Squad and John Mayall’s Bluesbreakers.
ESKORBUTO: Eskizofrenia CD (MR 307CD) 17.50
Munster Records proudly reissues Eskorbuto’s first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. When asked to describe the album tracks in an interview at the time of its release, band member Iosu preferred instead to tell some anecdotes about the band and share his views on a few issues. Some excerpts from that interview give a good idea of what this record and band were about: “Many bands have good ideas and I like what they’re saying, but when it comes to it, they’re just a lie. You’re not alive, you’re not dead, just condemned. It’s worrying, you’re part of what you most hate: the system. It’s unbelievable. The earth is a big toilet where we all survive and if it’s flushed we’ll all go to shit. When we were recording ‘Rogad A Dios A Los Muertos’ and listened to the vocals without music, it seemed like a sort of evil ritual. If we’ve used the Simmons electronic drums it’s because it suited us during the recording. If it’s good, hurray for science! The last lyrics we’ve written say: ‘Ignorant people that were afraid of us before/become friendly without our permission/cowards pretending to be brave/badmouthing us in front of people/but careful, we warn you, we’re the same as when we started’.”
WHITFIELD AND THE SAVAGES, BARRENCE: Willie Meehan 7″ (MR 7235EP) 8.50
A soul-rock smash by the recently reunited Barrence Whitfield & The Savages, taken from the Savage Kings album, plus a 1985 previously-unreleased demo.
DUNDOV, PETAR: Distant Shores 12″ (MM 151EP) 12.00
Music Man presents a track from Petar Dundov’s upcoming Distant Shores album. Like his cross-genre album Escapements, “Distant Shores” is comprised of dreamy, amazingly composed and perfectly spaced-out house. This track and the album is set to become another real landmark release for the Croatian DJ/producer. Limited one-sided 12″ with special holographic artwork. Don’t miss out.
J.T.C.: Creep Acid 2LP (NAT 010LP) 31.00
The second album to be unveiled from Nation is called Creep Acid from J.T.C., who has recorded with Spectral, M>O>S, Relief, Crème Organization, and more. Creep Acid carries the resonance of future past, as J.T.C. was driven by thoughts about the lifespan of many things. Words directly taken from the artist for this release: “When I was a teenager I had to sell my Micro-Moog in order to pay for some serious and necessary repairs to my car. This reality would keep me away from having any new instruments for years. Luckily, my friend Rodger Devine taught me how to compose and record music using my personal computer and tracker software. Years later, I launched a career with that very music. I was grateful for having had the chance to make music without much more that the computer, but all the while I knew that I eventually wanted to go back to analog synthesizers. I wanted to make sounds with subtle sonic variation. I wanted to write tracks with multiple phasing phrases, and to improvise. I started to accumulate some machines that I’ve always wanted; a TR-909, a TB-303, and an SH-101 that I picked up during a tour in Tokyo. I assembled my studio in an apartment that I shared with D’Marc Cantu in Ypsilanti, MI. Since I wanted to convey a live, improvised feel, I wasn’t programming pattern sequences or writing songs with distinct parts. I achieved this goal because D’Marc was kind enough to lend me a hand when I needed it on the machines. When, eventually, we collaborated in that studio, we became 2AM/FM. We wrote the EPs Pt. 1, Pt. 2, and the tracks ‘Don’t Front!!!,’ and ‘Electronic Justice’ there. For years, I shared my living space with fellow young people. Though I didn’t go to college, I did my fair share of partying and consider those my ‘college days.’ This was my environment at the time that I recorded Creep Acid. I was making music in a haze of smoke. I was indulgent and pleased. Acid house is what drove me to these machines, but once I got there, I was only thinking about enjoying the fruits of improvisation and crude techniques.”
DAEDELUS: Bespoke 2LP (ZEN 169LP) 20.50
Gatefold 2LP version with download code. “After a busy couple of years of touring, remixing and releasing singles and EPs with Brainfeeder, All City, Magical Properties (the Daedelus home-imprint), Alpha Pup, Warp and Stones Throw, Alfred Darlington aka Daedelus returns with his full length album on Ninja Tune, Bespoke, a title summing up the unique and eccentric vision of a musical artist as obsessed with the clothing of the Victorian-era as he is with the music of the future.”
JOHNSON, SYL: Mythological 45s 5×7″ BOX (ESBOX 003EP) 26.00
“If there was one complaint we heard about Syl Johnson’s massive 6LP/4CD overview Complete Mythology, it was its lack of portability. At 6.5 pounds, it doesn’t travel well between DJ gigs. And with a dozen previously unreleased undeniable floor fillers, it wasn’t long before folks began clamoring for a handful of these tunes on the compact 45 format. Sprawled across five 45s and wrapped in a custom Syl Johnson kraft tape, the 10 songs packaged within cover a range of black music styles. From the uptempo northern sound of ‘Do You Know What Love Is’ to the work out funk of ‘Right On,’ this limited edition singles box is an instant party starter.”
CAPTAIN BEEFHEART & HIS MAGIC BAND: Translucent Fresnel: Live 72/73 (The Nan True’s Hole Tapes) 2LP (OZIT 8008LP) 40.00
“180 gram vinyl, gatefold sleeve. The title obviously is a reworking of Clear Spot – Translucent Fresnel (‘Fresnel’ is a spotlight). From the late 1960s through to 1980 John Peel collected tapes of recordings of Captain Beefheart’s live shows, particularly ones in the UK. During a tidy up at Nan True’s Hole in 2003 he discovered around six large reels of tape containing many of Beefheart’s live UK performances and he sent these on to Ozit Morpheus Records. Here is Volume 1 of material from the tapes.”
CAPTAIN BEEFHEART & HIS MAGIC BAND: Live ‘n’ Rare 2CD (OZIT 9003CD) 29.50
“This Beefheart 2CD set is a hand-numbered and limited edition in a special slip case with a postcard set. A total of 26 live’n’rare tracks from The Captain and his Magic bands including 14 tracks from a newly discovered live concert recording and some rare photographs and artwork relating to Captain Beefheart. The tracks are spread across the Captain’s career including recordings from 1972, 1973, 1974, 1975 and 1980.”
POLLYESTER: Earthly Powers CD (PERMVAC 079CD) 15.50
Munich-based duo Pollyester has been wowing the world with various EPs since 2007, released on their own label Love In C Minor and Permanent Vacation. Now it’s time for their album Earthly Powers, where Les Rita Mitsouko collide with witch house in a Krautrock commune and disco strings hug Siouxsie Sioux. On this debut, two indefatigable genre crossers indulge in pop, experimenting with far-out hooklines in a Kraut-disco fashion. Polina Lapkovskaja alias Polly and Manuel Da Coll alias Yossarian have already established themselves as a contemporary producer duo full of surprises, and these 12 songs will even further propel them around the pop globe. Somewhere in between Stereolab, The Slits, Can, Chrisma and Nico, Pollyester have made themselves comfortable with their electronic sizzling. They don’t steal and they don’t imitate, just here and there a few flashes of recognition will hit brains with pop music schooling, only to evaporate in the duo’s unique sound amalgam the next moment. A sound that inexorably bores itself into the body with an analog strength and plenty of catchy tunes without letting itself reduce to one explicit style. Similar to contemporary North American newcomers such as Rainbow Arabia, Peaking Lights or The Soft Moon, Pollyester are not interested in any genre labeling and playfully jump between spooky and euphoric atmospheres. Tribal rhythms, energetic Krautrock, disco strings and witch house moments are equal partners in their kaleidoscope arrangements. All of them magically glisten, thanks to Polly’s cool emotional speech-song and promote double-bottom pop that clings to the listener and at the same time sounds somehow bitchy. The music is topped by Polly’s surreal lyrics, all of which loop themselves into the brains of listeners with their mantra choruses, projecting nightly metropolitan neon stories on the inner screen. Pollyester ignite their unique space shuttle fuel and no matter what speed they play and with what atmosphere they toy, they rotate in their own orbit with their boogie bass hooks, their twinkling synthesizer melodies and their twisted grooves.
RAUCH, ROMAN: RRRemixed 12″ (PHP 053EP) 14.00
After his 12″ debut on Tjumy, Philpot welcomes Roman with this remix package including Erdbeerschnitzel and SoulPhiction remixes. Both do a brilliant job twisting the originals with their trademark mixes and Roman also contributed a new track in the same vein as his predecessors — deep shit!
PRIMAL SCREAM: Vanishing Point 2LP (PLAIN 166LP) 27.00
“Their fifth album originally released in 1997 and named after and inspired by the 1971 Richard C. Sarafian cult film of the same title. The songs were meant to be an alternative soundtrack to that movie and as lead singer Bobby Gillespie said ‘the music in the film is hippy music and it’s always been a favorite of the band, we love the air of paranoia and speed-freak righteousness: pure underground cinema, rammed with claustrophobia.’ The band draws inspiration from dub and Can, ambient music, Motörhead, and The Stooges to create a dark mix of drum and bass, dance, and rock close to their magnum opus Screamadelica. Vanishing Point was the first album to feature bass player Gary ‘Mani’ Mounfield (formerly of The Stone Roses) while guests include Augustus Pablo, Glen Matlock, and The Memphis Horns. A record that shows how successfully an act can reinvent itself yet stay true to what it is best at. ‘It’s not when you’re gonna stop, but who is gonna stop you’ says the spoken intro of the album’s first single ‘Kowalski’ and that’s a thought that resonates across much of the album’s darkly slow-grinding songs and sounds.” On 180 gram vinyl, housed in a full-color gatefold sleeve.
JESUS AND MARY CHAIN, THE: Automatic LP (PLAIN 167LP) 17.00
“1989’s Automatic is the third album from this Glasgow alternative rock institution and was engineered by Alan Moulder. At this point in their career, J&MC was essentially a duo — brothers Jim and William Reid and a drum machine. The dark, twisted pop — sometimes soaked in feedback, sometimes pounded out with drum-machine backing — of Automatic contains their most successful single up to that point, ‘Head On’ (later covered by the Pixies). Pitchfork wrote in 2006: ‘Conventional wisdom wrongly calls this the dud. With the band reduced to the brothers only, things go artificial: the drum machine is foregrounded, the bass is played on keyboards, the feedback’s on vacation. In that space, the Reids take their biggest shot at doing full-on pop, something that feels like a career peak.'” On 180 gram vinyl, housed in a full-color gatefold sleeve.
JESUS AND MARY CHAIN, THE: Honey’s Dead LP (PLAIN 168LP) 17.00
“Released in 1992, Honey’s Dead is the fourth studio album by Scottish brothers Jim and William Reid. The title refers to one of the band’s early hits, ‘Just Like Honey,’ and the complete departure from their earlier musical style. Honey’s Dead was recorded and mixed in the band’s London studio with famed engineers Alan Moulder and Flood. Alternative radio stations picked up ‘Far Gone And Out,’ which remains one of the band’s most popular singles to date while the album’s first single ‘Reverence’ attracted some controversy for the lyrics ‘I want to die just like Jesus Christ,’ and ‘I want to die just like JFK.'” 180 gram vinyl.
CHOI & WALKER BARNARD, JIN: I’m Just The Rain EP 12″ (PG 002EP) 12.00
Together, the ages of the three men associated with Private Gold’s second release (Jin Choi, Walker Barnard & Tolga Fidan) total over 100 years combined and yet this release is all thrusting crotches and wriggling teen-lust man-bootys. Only kidding, the songs on this release are nothing if not mature. Sure, sex is in there somewhere amongst the cooing vocals, stomping bass and ’60s psych contrapuntal guitar and in the Jimmy Edgar-like funk and grind.
WARE, DAVID S.: Onecept 2LP (RFS 003LP) 33.00
“LP features two exclusive tracks from the original sessions not present on the CD-release. Limited edition of 500 copies. Gatefold sleeve featuring an interview with David S. Ware by Steven Joerg. David S. Ware (Tenor sax, stritch, saxello), William Parker (bass), Warren Smith (drums, tympani, percussion).”
REJECTED: For The People (Ben Klock Remix) 12″ (REJ 014EP) 13.00
“Produced in 2004, Joris and Edwin first released For The People under their Rejected alias on the Sound Architecture label and found great success. 2007 and resigned, the boys released their original as the second single of their newly launched Rejected imprint. Berghain resident, Klockworks label boss and Ostgut Ton artist, Ben Klock leads the way and is really the catalyst for the whole release. Having remixed the track for his own sets, and over many months, thoroughly road tested it, he sent it to the label to check out. Now Rejected bring it to you. Backing Ben is another techno favorite of the Rejected camp, DVS1. His ‘For Everyone’ mix is a stripped, deeper, bass heavy rework.”
ZWISCHENWELT: Paranormale Aktivitat CD (REPH 214CD) 15.50
An international trio of female artists making icy techno-pop inspired by parapsychology, aided and abetted by Heinrich Mueller of Drexciya and Dopplereffekt. Rephlex’s biggest crossover album for some time, this record will find favor as much amongst fans of the current crop of cold wave and nu-goths such as Zola Jesus etc., old goth chanteuses such as Nico, as well as Detroit electro heads and fans of early Mute Records electronics. Zwischenwelt explore the field of parapsychology with a dark and twisted vision of cold wave electronics. Parapsychology investigates paranormal psychic abilities using scientific methods, such as used in traditional psychology (observation, survey etc.) and quantitative empirical methodologies such as used in sociology, psychology and pedagogy. Parapsychological phenomenon are often also called Psi-Phenomenon. The two main fields of parapsychological research are Psychokinesis, the ability of the mind to influence objects without involvement of currently known physical energies and without physical contact between the acting subject and the reacting object (for example, telekinesis and psychic healing) and Extrasensory Perception (ESP), the ability to acquire information by (psychic) sources currently unexplained by science (best-known examples are clairvoyance, precognition and telepathy). It is this field that the group Zwischenwelt (German for “in-between world”) look to discover. Combining the talents of former Drexciya member Heinrich Mueller, New York DJ/producer Susana Correia, Spanish producer Penelope Lopez and vocalist Beta Evers (who operates a number of German labels, including Kommando 6), Zwischenwelt’s Paranormale Aktivitat was created largely through the passing of parts back and forth across the web. The opening “Apparition” starts with an ethereal, ghost-like feel that permeates this haunting electronic encounter while “Clairvoyant” pairs a stripped-down electro beat to distant echoes of melody in a half-remembered state. Tracks such as “Enigmata” and “Telekinesis” add a strange swing to the avant-garde approach while “Diapsiquia” and “Materialization” are eerie cinematic moodscapes that push the group’s experimental reach. Finally, the pulsating rhythm of “Telemetric” is perhaps the most obvious electro-power surge for the dancefloor.
PORRAS, JON: Undercurrent LP (RS 083LP) 16.00
“Edition of 500. California Gothic set to the tidal rhythms of the Pacific and tuned into the metabolic pathways of the northwest coast. Porras (Barn Owl/Elm) has scripted a love poem to the mist, a prayer cast in ghostly reflected guitar and deep pools of distortion. The ominous opening of ‘Gray Dunes’ is a dense and impenetrable murk, a fear that eventually succumbs to distortion but then gives way to an endless open space of delay in its second half. Its trajectory is symbolic of the record as a whole, with many of the darker paths on Undercurrent leading to lush other worlds of delicate beauty, fragile guitar notes that emerge from the sea for a moment or two then fade back into the whole. ‘Calm’ and ‘Lands End’ are lovely spots of respite, clear beams of moonlight breaking through the clouds, a shot of light that ushers in the lone funerary come down of closer ‘Gaze’.”
LAST HURRAH!!, THE: Spiritual Non-Believers CD (RCD 2109CD) 17.00
This is the new project from HP Gundersen; well-known producer, artist, musical partner, creative force, teacher, mentor and music enthusiast from Bergen, Norway. He has produced some 50 albums, probably best-known for Sondre Lerche’s debut album Faces Down and Madrugada’s monster hit “Lift Me.” After stumbling over Stephen Stills’ “secret tuning” as used on “Suite: Judy Blue Eyes,” HP has dedicated the last couple of years to explore what he calls drone guitar, music based on open, in this case modal, guitar tunings offering a fuller sound world and polyrhythmic possibilities not achieved with standard tunings. It soon became an obsession and he would sit at home for hours and days just playing as a means of meditation and for his own mental health. Friend and singer Heidi Goodbye would come to visit and ended up becoming so hypnotized by his playing that she just had to become involved. Heidi, also from Bergen, travelled to Denmark at the age of seventeen to study jazz vocal for two years. On returning home she was considered something of a sensation, but couldn’t identify with a role in the jazz world and became more interested in American roots music, old country music and blues. The Last Hurrah!! is not merely HP and Heidi, but also an artist collective with different line-ups for various occasions, whether it’s for recording or on stage. Others who have been intrigued include Jon Irabagon, dubbed the greatest saxophone talent in the U.S. since John Coltrane and Michael Powers, the blues guitarist, both having played with HP. Spiritual Non-Believers is a lovely mix of acoustic drone guitar, cosmic raga, pure pop and the very local take on country music so special to the west coast of Norway. The half-hour centerpiece of the album is based on a dark, sordid and bizarre story, in stark contrast to the almost high-spirited, feel-good atmosphere of most of the music. “The Ballad Of Billy And Lilly” is bookended by “Mother Nature,” a cover from the 1970 album by Norwegian cult band Oriental Sunshine and “Melodi Grand Prix 73,” an unlikely but sweet mix of bossa nova, surf music and Steve Reich. HP Gundersen: acoustic drone guitar, slide guitar, pedal steel, percussion, vocals; Heidi Goodbye: vocals; Alex Grieg: acoustic bass; Stein Urheim: tambura, harmonica; Geir Svendson: percussion; Stein Inge Brækhus: percussion; Willy Corneliussen: drums; David Vogt: violin; Henrik Paulsen: electric guitar; Lillian Samdal and Karoline Skuseth: backing vocals.
MOTORPSYCHO: Roadwork Vol. 4: Intrepid Skronk CD (RCD 2110CD) 17.00
This is the latest installment in Motorpsycho’s ongoing series of live documents, Roadwork. It was recorded across Europe over a three-year period spanning 2008-2010, and is the first live record released featuring the Snah/Bent/Kenneth line-up of the band. As finding a complete show fit for release proved difficult, and modern technology makes it real easy to fake a chronology that would work well from a listener’s point of view, Roadwork Vol. 4: Intrepid Skronk is a collection of moments from the last several tours Motorpsycho’s undertaken since Kenneth Kapstad joined on drums in 2007, and features material from all phases of their career. The previous installment in this series, Vol 3.: The Four Norsemen Of The Apocalypse, released as part of the Haircuts DVD in 2007, was a recording of the Snah/Bent/Geb/Baard line-up of the band recorded at the Paradiso in Amsterdam in 2003. It documented a band disintegrating from ceaseless touring and ever-increasing differences of ambition: flaming out, but still bravely trying to — and in parts actually managing to — connect with the muse. Let’s just say the tension is tangible. This is a different cup of tea. This is a living, breathing muscle-car of a rock band in full flight, stretching the limits of their imaginations (and sometimes the patience of their audience!) by going someplace new as often as possible — creating a new collective identity for themselves and reimagining the material in the process. The focus of the two volumes — and the series as a whole — is the same though: the improvising rock band. The versions of the songs contained herein all have one thing in common: they are all really different from the studio incarnations of themselves. “All Is Loneliness,” an acoustic five minute hymn in its original state on Demon Box (1993), is here an 18-minute electric behemoth slouching towards …eh, Haarlem (?) to be born anew. The somewhat stilted orchestral psych version of “Landslide” from the 2002 Phanerothyme album has become something altogether more organic and jazzy here, and “Arnie Hassle”‘s kozmic kayaking escapades from Heavy Metal Fruit (RCD 2093CD/RLP 3093LP) had grown into epic proportions by the time it hit Leipzig in the summer of 2010. It’s this kind of reinvention that is the focus of everything going on here, and although the adrenalin wins out in places and the kinetic energy the boys amass sometimes becomes almost too much for them to handle, the power trio’s antics make for an exciting listen. Riding the tiger indeed, the band sometimes tethers on the brink of fusion, jazz-rock, and other forms, but mostly manages to rein in the beast on the right side of taste. Mostly.
HUNT, GENE: Chicago Dance Tracks Part 1 2LP (RH 115.1LP) 23.00
Part one of two 2LPs of never-before-released tracks from the archives of Gene Hunt — rare, newly-unearthed Chicago house barn-stormers from the ’80s. Gene Hunt shares his ancient treasures with us — up to now, this stuff resided only on reels! Featuring a truly all-star line-up. TIP! The tracks included here are all rough, uncut versions, oftentimes homemade drum computer jams that never made it to final production at a professional studio. They represent early output of the artists involved, some tracks dating back as early as 1982-1983. Besides unreleased tracks by Mr. Fingers, Steve Poindexter, Farley J.M.F. and Steve Hurley, the compilation also includes reworks and original versions that were never properly released, like Ron Hardy’s original version of “Sensation” or Mike Dunn’s rework of Gherkin Jerks’ (Larry Heard) “Acid Indigestion.” The vinyl release holds seven tracks, all presented in their original length and includes one vinyl-only bonus track, Steve Poindexter’s “Betsy Smithe.” All tracks have been restored and remastered from the original, first generation reel-to-reel tapes. The artwork shows original Chicago flyers and the release comes with an insert with artist interviews, a Gene Hunt interview by Jackmaster Farley and original photos from back in the day.
ECOUTE: Dedub 12″ (SENZEN 001EP) 12.00
Benno Blome decided to make a fresh start with Senzen. The first release comes with two tracks by Autotune’s new project entitled Ecoute. “Dedub” is a driving tech house track based on a stripped, jacking rhythm and percussive elements accompanied by a thumping bassline. “Till Dusk” follows the same concept, but proceeds even further. Monstrous basslines sweep the dancefloor while intensive hi-hats keep shifting up gears. Blome & Tigerskin’s remix dives deeper for some laid-back house music at its finest.
ENO, BRIAN: 1971-1977: The Man Who Fell To Earth DVD (SI 564DVD) 19.00
“The first ever film about one of the most influential characters in the history of modern music. Musician, composer, producer, music theorist, singer and visual artist; probably best known for his early work with Roxy Music, his production duties for U2 & Coldplay, and as one of the principal innovators of ambient music. This documentary film – the first ever about Eno – explores his life, career and music between the years 1971 & 1977, the period that some view as his golden age. Featuring numerous exclusive interviews, contributions from a range of musicians, writers, collaborators and friends – plus performance and studio film and an abundance of the most exceptional music ever created.” All-region NTSC format; total running time: 154 minutes; stereo; aspect ratio: 4:3.
LES GOTHS: Rêve de Silence LP (SHAD 134LP) 42.00
2nd pressing on translucent blue vinyl, heavy sleeve, 180 gram pressing, with 2-sided insert. Originally released in 1968. “Here is the other great surprise. The unreleased album recorded for EMI France of Les Goths. They have released only 2 rare singles for EMI: I Remember / Turn Over and Le jour était gris / Out Of The Sun in 1968. The band: Gino Frascone – guitar & vocals / Bruno Frascone – drums & vocals / Bernard Faucher – bass & vocals recorded a complete 10 track album, which we are proud to release for the first time. Les Goths’ 2 singles became cult status in France. The music influence was Cream and Jimi Hendrix and the guitar parts reminds us of Randy Holden. This French psychedelic band from Normandie is perhaps one of the best albums from that time ever recorded in France. Every track just right and a great honor to have it on Shadoks Music. French and English lyrics. Incredible heavy psych from France!”
LOS OVNIS: Hippies LP (SHAD 135LP) 42.00
Numbered edition of 500; heavy sleeve; 180 gram pressing; includes two double-sided inserts and one poster. “When we are talking about really rare and great albums from Mexico, such as El Tarro de Mostaza, Kaleidoscope etc. Los Ovnis’ Hippies is perhaps the second rarest one right after Kaleidoscope. The band already made four LPs with cover songs for the same label. The 1968 Summer of Love and the political protest of the young rebel culture created the desire to produce a stronger album with own songs, heavier garage sounds and counter-culture lyrics. This album became something the Mexican society in 1968 was not ready for. It was too idealistic and too psychedelic to become popular and the original label released it with no promotion at all. That’s why this album became so good and so rare. Los Ovins are five musicians from Mexico City . Strong garage songs, great Spanish vocals, amazing guitars, organ and rough sounds. Like a musical punch right in the face of the Mexican middle-class society. No more nice guys.”
CHURCHILL DOWNS, THE: The Churchill Downs LP (SHAD 137LP) 42.00
Edition of 500 numbered LPs; heavy sleeve; 180 gram pressing; 2 page insert. “1968 Hollywood, USA. The Churchill Downs recorded 16 great tracks at the studio from famous producer Gary S. Paxton. The band was very young at the time but the musical output was on the highest level you can imagine with a damn good production. How a band like this not become famous is a mystery. Fantastic compositions, great multi vocal singing, strong guitars, organ, drums, bass, effects, everything you desire to get catchy Underground songs with tons of great ideas in it to make those songs unique and out of bounce and not middle of the road. It is just what we love about the productions of Phil Spector and Andrew Loog Oldham. The Churchill Downs are one of the best US unknown albums among Beauregard Ajax and Public Nuisance. With Don Adey on guitar and vocals, Gary Dalton Stovall guitar and vocals, Dirk Acree bass and vocals, Mick Newton keyboards and vocals, Al Stigler and Fred Darling on drums. If we could go back in time, let’s say 40+ years and release this album in 1968 we would have been rich. Why this album was never been pressed is still a mystery. So for the first time ever those great songs made it onto vinyl. We love it.”
CARNAN, EUGENE: Eugene Carnan LP (SHAD 139LP) 42.00
500 numbered, heavy sleeve, 180 gram pressing, with 1 page insert. “Here is a great surprise for us. An unknown UK album with such a great musical potential. Musically it is a very powerful guitar dominated underground rock such as Black Sabbath, Blue Cheer, Dark or Grannie. The rarity factor is way above all those other rare UK albums, which stay in low pressings of 99 copies and 15-20 such as Dark. This one has been pressed only 4 times ever. In September 1971 Eugene Carnan entered a UK-wide competition for ‘Best New Band’ run by the famous Melody Maker magazine, they recorded the album in 1972 and took it to London to Eden Studios for a demo pressing and cut 4 acetates. Eugene Carnan a 3 piece band are from Sheffield, UK with guitar & vocals, bass and drums. All own composition. A killer album from beginning to end.”
DANDO SHAFT: An Evening With Dando Shaft LP (SOMM 002LP) 29.00
“1970 debut album by legendary British group. An essential, all acoustic folk-rock disc that stands up there with the top classics of the genre. 500 copies only, 180g vinyl and insert with liners by Andy Morten.”
DANDO SHAFT: Dando Shaft LP (SOMM 003LP) 29.00
“Second longplayer by UK folk-rock outfit, from 1971. With the addition of female singer Polly Bolton, there’s a few traditional folk tunes and also quite some great Pentangle-like songs. A stunning album now reissued but 500 copies only, 180g vinyl and insert with liners by Andy Morten.” Gatefold sleeve.
KILLING FLOOR: Out of Uranus LP (SOMM 005LP) 29.00
“The second and best of the albums released by this British group, originally on Larry Page’s Penny Farthing label in 1970. The impressive opening track ‘Out of Uranus’ kicks off this great album, filled with acid-rock and blues-rock with an aggressive production and in-your-face guitar riffs all over. Also features a couple tracks more into psych-pop, all pretty well executed.” Fully licensed, 180g vinyl with mastertape sound quality; original gatefold cover artwork. Limited edition of 500 copies.
VA: Delta Swamp Rock 2CD/BOOK (SJR 243CD) 21.00
Subtitled: Sounds from the South: At the Crossroads of Rock, Country and Soul. “Soul Jazz Records’ Delta Swamp Rock is a definitive guide to the music of the southern states of USA created between 1968-1975 where country, rock and soul met. Accompanying the deluxe double CD is a weighty 68-page book with loads of exclusive sleevenotes, photographs and biographies.” Artists: Lynyrd Skynyrd, Barefoot Jerry, Joe South, Bobbie Gentry, Area Code 615, Cher, Cowboy, The Allman Brothers, Link Wray, Boz Scaggs, Leon Russell, Tony Joe White, Linda Ronstadt, Dan Penn, Waylon Jennings, Big Star, Travis Wammack, Billy Vera, and Johnny Cash.
SARMIENTO Y SU BRAVO, MICHI: Aqui Los Bravos! CD (SNDW 028CD) 15.50
Subtitled: The Best of Michi Sarmiento Y Su Combo Bravo 1967-77. Soundway remain in Colombia for the follow-up to Cartagena! Curro Fuentes & The Big Band Cumbia and Descarga Sound of Colombia 1962-72. (SNDW 026CD/LP), with a collection of pure Colombian dancefloor thunder; 16 tracks of the finest guaguancós, descargas and cumbias recorded by legendary bandleader Michi Sarmiento Y Su Bravos and released on the infamous Discos Fuentes label between 1967 and 1977. Born into a musical family in 1938, Michi, a musical child prodigy of sorts, began playing the cabarets, casinos and cathouses of Cartagena in the late 1950s. By 1967, he had formed his Combo Bravo (the band consisted of two trumpets, Michi on tenor sax and clarinet, guitar and piano, electric bass, tumbadora, timbales and a young Joe Arroyo on vocals) and began to play live alongside other exciting young groups such as Toño Y Su Combo, Los Seven Del Swing and Puerto Rico Y Su Combo. Along with infectious dance porros and cumbias, Michi Y Su Bravo specialized in rumbling guaguancós, descargas and hot covers of early salsa and boogaloo hits. Michi’s LPs on Discos Fuentes, brilliantly produced and recorded by Mario “Pachanga” Rincón, were packed with fast-paced dancefloor burners featuring pumping bass, insistent montunos, sax solos and nasty metallic percussion. Compiled by Roberto Gyemant, Quantic and Miles Cleret.
MARK E: Stone Breaker CD (SPC 103CD) 15.50
This is the debut album by prolific UK music producer Mark E. The album format doesn’t lend itself to four-on-the-floor electronic dance music. There’s no recreation of the seamless, intoxicating thrill one finds in a night out dancing, and less savvy folk might find the idea of listening to an hour’s worth of repetitive, 7-minute+, machine music to be, frankly, boring. But they probably haven’t listened to Mark E’s Stone Breaker, which is riveting in its primal simplicity. From the opening, gut-punching kick drums of “Archway” through the ecstatic triplets of closer “The Day,” Stone Breaker means business. It’s a record of pace and determination, full of classic house touchstones and steady, almost militant tempos, a reminder that electronic dance music is supposed to be forceful, if not altogether mean. Not once does it break its step or err from its course — it owns you, your body, and your mind from beginning to end. Of course, it wasn’t supposed to be an album. When Wolverhampton-reared, Birmingham-based Mark found himself with some free time in mid-2010, he hit a stride in his productions, and an assortment of tracks that could have easily wound up on various 12″s started to pile up. Almost by accident, Stone Breaker came into existence, full of confident, darkroom house that owes as much to Chicago as it does to the cosmos. Percussion-wise, there’s not much diversity here, but that’s really the point: bombarding your inner cranium with hypnotic, earthquaking acid loops, their hi-hats and snares sounding more like weaponry than musical instruments. But, there’s also plenty of warmth — buoyant, spine-tickling jazz chords, floaty, staring-at-the sun disco dances and static-y, soul-drenched curveballs, all of which elevate Stone Breaker from a great set of DJ tracks to a great set of tracks for anyone, anywhere.
MARK E: Stone Breaker 2LP (SPC 103LP) 18.00
2LP version, featuring 6 out of the 9 tracks from the CD.
TELEBOSSA: Telebossa CD (STAUBDIG 011CD) 17.00
This is the debut album on Staubgold from Telebossa. The singularity of Telebossa’s music is the result of a stunning interplay between musical cultures and the incessant exploration of samba, jazz and chamber music. In this music, bossa can seem at times very distant while the Donaueschinger Musiktage (where compositions by Chico Mello have been performed) and Kapital Band 1 (Nicholas Bussmann’s band project on the Mosz label) can be very close. Both Bussmann and Mello are at home in South America and Europe in equal measures. They combine Brazilian heritage such as Noel Rosa’s “Seculo Do Progresso” seamlessly with minimal music, improv and electronica. On their debut album, they have achieved the difficult feat of transporting the spirit and the soul of their live performances into a studio and capture it in a fantastically-produced recording. It’s comprised of seven moving songs which tell stories about love and sorrow, about homesickness and wanderlust, about the Kotti (the Kottbusser Tor in Berlin) and the Copacabana. “My first encounter with the music of Telebossa was a plain mp3 file attached to an e-mail from Nicholas Bussmann, which left me curious and skeptical simultaneously. How could it be that two Berlin-based experimental musicians (which is how I had regarded them up until then) could play a Brazilian music, which was equal to that of bossa nova’s protagonists like Antônio Carlos Jobim, Caetano Veloso or João Gilberto? What was the source of this irresistible, always deeply melancholic and disarmingly authentic flair, which transported me at once from wintery Berlin to the tropical humidity of Rio de Janeiro?” –Markus Detmer
CANTU-LEDESMA, JEFRE: Shining Skull Breath LP (SOD 085LP) 16.00
“With the release of 2010’s Love is a Stream, the solo work of Bay Area stalwart Jefre Cantu-Ledesma (The Alps/Tarentel/Root Strata) leapt into public consciousness, garnishing accolades for its transfixing melding of shoegaze pop with drone, ambient and noise sensibilities. Originally released in 2007 as part of our limited run CDR series, Shining Skull Breath finds Cantu mining similarly rich sonic territory with enchanting results. Throughout the album he submerges delicate, drifting guitar passages in constantly shifting webs of sound, creating buried melodies which snake and hover through a haze of tape noise. If the emphasis in Love is a Stream was on the subtle subversion and appropriation of shoegaze tropes, on Shining Skull Breath Cantu’s compositions seem a bit more opaque and mysterious, but no less moving. He invites the listener to accompany him through this beautiful fog and, in the process, offers a glimpse of rare and radiant beauty. This definitive edition has been remastered by James Plotkin and features two new tracks not included on the original release.”
VA: Locked In The Studio Part II 12″ (STUDIOS 004EP) 12.50
Two very nice and relentless party tracks and one house track with retro vibes! Featuring Awanto 3, Tom Trago and Aardvarck.
THIGPEN, BENJAMIN: Divide By Zero CD (SR 317CD) 15.50
This is #7 in Sub Rosa’s Framework series — an extension of their Concrete Electronics Noise series. Benjamin Thigpen, nomad, born in the United States, immigrated to Paris at the age of 31. He studied music, literature, philosophy and aesthetics. He now composes in European studios such as GRM, EMS, Visby and STEIM, as well as in his bedroom and on the train. After six years as a teacher at IRCAM (Institut de Recherche et Coordination Acoustique/Musique), he currently teaches computer music in Italy, Belgium and occasionally Sweden, while also working as a freelance musical programmer and consultant. He makes music for loudspeakers: electroacoustic works, live computer performance and interactive music for instrument(s) and computer. His music is concerned with energy, density, complexity, movement, multiplicity and violence, and often incorporates space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but the art of the transcendence of sound. This release includes music from 2003-2007. Limited to 500 copies.
MENCHE, DANIEL: Feral CD (SR 322CD) 15.50
This is #8 in Sub Rosa’s Framework series — an extension of their Concrete Electronics Noise series. Portland, Oregon-based sound artist Daniel Menche has established himself as a musician with a sense of focus and determination uncharacteristic in a genre known for its randomness and chaotic structure. Rather than creating “noise,” he strives for order and cohesiveness. His presentation of sonic structures is similar to the way a writer depicts a story, an allegory seems to arise, which uses confusion as a symbol for the imaginative process of total sound purity; aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listener’s imagination by generating intensely powerful sounds and music. Daniel Menche’s work originates from the idea that there is no restriction to the potential sound sources and especially sonic energy. Any sounds — all sounds are used and exploited to create the music. There are absolutely no barriers or biases in what can be used and have been used. Self-made and recorded sound sources, percussion and instruments are the main emphasis in creating a living and emotional feeling to Daniel Menche’s form of contemporary music. Subtle and patient compositions rely on long, dense layers of droning sounds, while abrasive pieces rely on sounds amplified and processed to extreme levels, pushing the full spectrum of frequencies to the most threshold of limits. Menche has amassed a sizable discography on some of the most discerning independent labels in the world and is constantly performing live extensively throughout North America, Europe and Japan with performances that are intense and powerful. Characterized as both extremely loud and patiently subtle, Daniel Menche’s live performances define their own sonic presence, an entity that gives form to an emotional rawness with highly textural and dominating sounds. Limited to 700 copies.
LEIGH, ANDREW: Magician CD (SBR 5080CD) 17.00
Recorded after bassist Andrew Leigh left Spooky Tooth and before he joined Matthews Southern Comfort (enjoying a #1 hit with “Woodstock”), this long-lost LP first appeared in the summer of 1970, and has barely been heard since. Recorded in London in the late ’60s, it boasts guest appearances from members of Blossom Toes, Spooky Tooth, Fleurs De Lys and Titus Groan, as well as cult figures such as Reg King, Gary Farr and Gordon Jackson. A blend of gentle ballads and jamming rockers, spiced with flute, sitar, wah-wah and more, it makes its CD debut here, complete with rare photographs, a previously-unheard bonus track and full notes from the man himself.
HERPES: Symptome Und Beschwerden CD (TR 209CD) 17.00
This is the second album by Berlin’s Herpes. Herpes caused a sensation with their hit single “Fette Muttis” (trans. “Fat Mums”) and the debut album Das Kommt Vom Küssen (trans. “It Comes From Kissing”). The band was even invited to the United Kingdom — a country traditionally more skeptical about all things German — and the legendary group Fehlfarben had them supporting during their tour. And now, Herpes is back: Symptome Und Beschwerden (trans. “Symptoms And Ailments”) mixes bone-dry art school punk (Devo, Gang Of Four, early Mekons) with some mid-period Goldene Zitronen, refined here and there with clear Krautrock influences. Not the hippie-blues-rock Krautrock, of course, but rather the NEU! Krautrock. It’s presented with such vehemence and naturalness, as if Herpes had never even heard a note from any of those bands (which may be the case), as if Suicide were to cover Pere Ubu. This album is both rugged and elegant at the same time. Hysteria and brevity meet and shake hands. Herpes front man Florian sings “I hate this city/which made me a man,” and in his own way pays homage to the city that made Herpes so well-known with their hit “Very Berlin.” As long as frustration among young people leads to albums like this, you would almost wish it upon yourself. What a nasty, a selfish thought.
TECHNASIA: Central Remixed Part 2 12″ (TA 105RMXB-EP) 12.00
Part 2 of a series of remixes for Technasia’s 2010 acclaimed album Central (TA 105CD/LP), introducing a driving dancefloor remix by Rejected’s label owner Edwin Oosterwal on the A, a dark and heavy revisited version of “Aries” on the B1 by the man himself Technasia, and a mind-blowing deep techno rework by France-based upcoming artist, Zadig. Also featuring Dosem and Bension.
J:KENZO: The Roteks/Protected 12″ (TEMPA 056EP) 11.00
This is the first 12″ on Tempa for new signing J:Kenzo. With releases on Argon, Dub Police and Roska’s Kicks and Snares label, J:Kenzo’s pedigree is already well established. Both tracks on this release — “The Roteks” and “Protected” — are deep, dark, half-step rollers that have until now been exclusive dubplates for long time Tempa A&R and tastemaker DJ Youngsta. Additional support from N-Type, Distance, Laurent Garnier, Kryptic Minds and Hatcha.
WIRE, THE: #328 June 2011 MAG (WIRE 328) 8.50
“On the cover: Battles (The poster boys for the ATP generation tell Daniel Spicer about life after Tyondai Braxton, the prog-pop equation, and working with Gary Numan). Plus: Matana Roberts (The saxophonist traverses American history by communing with her black ancestors); DVA (Joe Muggs meets DJ/producer Scratcha/Soule Power, fritzing the edges of London’s pirate scene); Invisible Jukebox: Demdike Stare (Hexing the Mancunian electronic duo with The Wire’s mystery record selection); Sea Shanties (Clive Bell dons his sou’wester and gets press-ganged into investigating the unlikely resurgence of nautical folk songs in Britain); Retromania (Simon Reynolds reflects on how the digital revolution has led to a tail-chasing obsession with the past, and a climate of excess, in the music of our time); Collateral Damage (Chris Cutler presents the artist’s case against indiscriminate filesharing); Global Ear: Hong Kong (Andy Hamilton & James Steintrager find expats and locals fighting musical complacency in the ‘Asian World City’); Cross Platform: Caroline Bergvall (The London text-sound artist’s Middling English explores linguistic slippage); Epiphanies: Paul Hegarty traces an ecstatic continuum between two My Bloody Valentine gigs 18 years apart.”
POMPEYA: Cheenese 12″ (THEOM 014EP) 12.00
Moscow’s Pompeya jestingly describe their style as “melodramatic popular song.” “Cheenese” is indeed a very dramatic piece with a simple yet powerful composition. The original is supported by a bunch of remixes, each of which is unique on its own. An-2 & Samos present a warm, relaxed and funky instrumental version, a blockbuster mix from Leonid Lipelis and D-Pulse with their “Paranoid” mix that gathers the thunderclouds to their full darkness and — at the end — lets the sunbeams break through.
NILSEN, BJ: Vinyl LP (TONE 045.1LP) 14.50
Touch is proud to announce a new series of white label vinyl-only limited edition releases. The first in the series is from Swedish sound recordist BJ Nilsen. BJ Nilsen was born in 1975 and has been active with experimental music for over 20 years. For the past 10 years, he has been releasing albums on Touch, and making music and doing sound design for documentary film, television and commercials. Recorded on location in Sweden, Iceland, Austria and England using various microphones, media and formats. Sources include wind, waves, tone generators, piano, guitar and other stuff. Recommended nocturnal listening. Mixed in Berlin, 2010. Cut by Jason at Transition, January 13th, 2011. Stamped white sleeves. Stamp design: Jon Wozencroft. Subsequent releases in this series will follow throughout the year from the usual roster of Touch artists.
VA: Trapez LTD 100 Anniversary Edition Pt. 1 12″ (TRAPEZ LTD100) 12.00
Trapez celebrates their 100th Trapez limited release with the first edition of cool remixes of a lot of their classics and a new label design! Next to paying tribute to artists who have been with them since the start, Trapez also wants to introduce new artists; for example, Remerc, who remixes of Butch’s “Muskatnuss,” an obscure track which has been played by many DJs who like the underground vibe. Also includes remixes by Roland M. Dill & Mozambeat, Deep’a & Biri and Milhalis Safras.
TV VICTOR: The Ways Of The Bodies/Timeless Deceleration 3CD (TRESOR 240CD) 17.00
Long-time Berlin-based musician Udo Heitfeld has operated under the pseudo-name TV Victor for the past 20 years with his unique musical signature: fine ambient and atmospheric electronic music. TV Victor is no newcomer, having released three full-length releases previously on Tresor since 1994 with epic compositions of atmospheric ambience that won the artist international acclaim. Born in Ahlen, Germany, in the optimistic ’60s, Udo started guitar and piano lessons at the age of four. The evolution into electronic music started during the halcyon days of kosmische music in the revolutionary ’70s and then refined when he moved to Berlin in the early ’80s, joining underground projects such as No Zen Orchestra with Dimitri Hegemann (Tresor founder) and Piers Headly. Zen Orchestra attracted attention with its unique sound of heavy rhythms and ethno-oriented, hypnotic sounds. Udo Heitfeld’s second project Moondance combined experimental and classic structures of pop music, which helped lead him to his TV Victor moniker, arguably Berlin’s debut in the ambient scene, following in the footsteps of great masters such as Terry Riley, Steve Reich, La Monte Young or even John Cage. These are newly-reworked versions from TV Victor’s first releases, included on 2001’s Timeless Deceleration and 2004’s, never commercially released version of The Ways Of The Bodies. Available for the first time on triple CD, they are newly digitally-mastered tracks delivering clean, crisp soundscapes that disperse notes and passages like pebbles in an aural stream. The compositions contain a warm realm of emotion and depth of mood yet untouched by the normally dancier Tresor label.
PSYCATRON: People In Glass Houses 12″ (TRESOR 241EP) 11.00
Techno duo Paul Hamill and Dave Lievense have rapidly risen through the ranks of the international electronic scene under their Psycatron guise. Previously their Deeper Shades Of Black on Carl Craig’s legendary Planet E Communications label became a Berghain anthem, with everyone from Derrick May to Ben Klock, Adam Beyer and Simian Mobile Disco to Kevin Saunderson behind it. This release on the legendary Tresor label is very much a story of techno coming home.
GRAY, BARRY: Stand By For Adverts: Rare Jingles, Jazz And Advertising CD (JBH 039CD) 15.50
… Electronics. Trunk has uncovered 81 tracks of unissued advertising electronics, jingles and jazz by none other than the master composer behind Thunderbirds, Captain Scarlet and UFO, Barry Gray. From infectious ditties for new banana cereal to raw, experimental sounds for a new space age washing machine, Barry Gray penned a vast amount of catchy, weird and sometimes comical numbers, all now available for the first time ever. These unique and rare recordings by one of the UK’s most prolific and successful composers have all come from the Barry Gray Archive. They date from 1958 to about 1965, and cover Gray’s advertising and jingle career at that time. He was a busy, creative man, working across a vast spectrum of products, from small local stores to large corporations and banks. The work is typically British, in some cases very experimental (with early tape loops, heavy reverb and echo) and in many ways dangerously catchy. Known worldwide for his soundtracks to the classic Gerry Anderson productions such as Stingray, Captain Scarlet and Space 1999, this unusual release sheds a welcome light on this composer’s early work and has many of the classic Gray hallmarks his fans know and love. Housed in a beautiful period color sleeve, the CD comes with a 24-page color booklet, with full notes on the history of the release, tracklists, session notes, biographies, photos and more.
GESAFFELSTEIN: Conspiracy Pt.1 12″ (TURBO 099EP) 13.00
“Gesaffelstein’s Variations EP set an all-time record for feedback at Turbo. For a new artist to attract that kind of attention from such a broad cross-section of DJs is extremely special and a clear sign that the he’s tapped in to something very, very big. To the younger generation of clubbers and DJs for whom the funtastic era of 2001-2003 revivalism was a missed experience, Gesaffelstein represents a double-breasted jacket of nostalgia for everything from the power of industrial and 80s new wave to the Gigolo-glam of early Kittin & the Hacker, Steril, Vitalic, Fixmer, and yes, Tiga. We have no hesitation in declaring that he has single-handedly updated an entire genre, sharpened the edges, and notably traded in the camp and pastiche that made Electroclash a dirty word for a refined and stylish simplicity. The breakdowns are massive and very French, but never out of order. These are futuristic party bombs which skillfully draw from our favorite dance music of the last 30 years…and add more cowbell!”
NASHVILLE RAMBLERS, THE: The Trains/Fragile Child 7″ (UTS7 001EP) 6.50
“Recorded in 1985, ‘The Trains’ by the Nashville Ramblers is one of the greatest pop songs of the entire era. Aided and abetted by ace producer Mark Neill (Black Keys), the band expertly channeled their key influences–Beatles, Remains, Hollies, Everly Brothers, and others–and shaped them into something fresh, urgent and breathtakingly original. A heart-stopping melody, evocative lyrics, a driving beat, soaring harmonies, a dynamic, reverb-soaked production–to hear ‘The Trains’ was to fall in love with it. And every time you heard it, you fell in love again. Many discovered the song for the first time in 2005 when it was included on Rhino’s Children of Nuggets box set–by then it was almost 20 years old. Fully remastered by Mark Neill directly from the original vaccum tube analog 3-track master tape, this shiny black 45rpm single and packaged in a deluxe hard cover picture sleeve, it’s paired with a terrific, previously unreleased version of the Golliwogs’ ‘Fragile Child’ recorded at the same session.”
RAY ORCHESTRA, RICHARDO: Let’s Get Down To The Real Nitty Gritty CD (VAMPI 017CD) 12.00
2002 release. A very wild album from Ricardo “Ritchie” Ray, sort of a mix of Latin soul styles in the mode of work by Mongo Santamaria. Featuring a number of ’60s soul covers done in a Latin mode, touched with a bit of garage soul vocals and upbeat and playful throughout. The original “Soul Mexico” features a storming chanting verse that then unwinds into a catchy chorus with overlapping melodic lines. The whole album’s great.
RODRIGUEZ, PETE: El Rey Del Boogaloo CD (VAMPI 023CD) 12.00
There is one only word to describe this album: BOOGALOO! Pete Rodriguez and his band certainly were one of the best combos of the golden Latin soul era, and this compilation certainly holds the strongest numbers. Hard funk and fast beats all the way through, this is a fantastic album of Latin soul — proof of why Pete was known as the “King Of The Boogaloo” during the ’60s. Every song sounds like the group’s having a non-stop party. Edgy and inspired playing, heavy piano lines, storming bass backing the grooves, swinging timbales and some shouted and catchy lyrics mostly in English.
PERAZA, ARMANDO: Wild Thing CD (VAMPI 027CD) 12.00
2003 release. World famous Cuban percussionist Armando Peraza — a natural talent, polished and powered by friends such as Mongo Santamaria and Patato — began his American career in 1940s San Francisco when he joined Slim Gallard’s band. He later joined Dave Brubeck, and finally Cal Tjader called him for his band. Since then, he has performed on more than 100 albums and is the songwriter of more than 40 songs. Some of these works include collaborations with Mongo Santamaria and Carlos Santana. It was Tjader, fully aware of Peraza’s enormous talent, who in June 1968 got him into a studio to record this work, his only album as a solo artist (with friends such as Tjader and Chick Corea helping the main man). Wild Thing follows the best Latin tradition but with percussion that creates a new musical expression: “Cubop.” Combining Jazz and Afro-Cuban idioms, Armando’s talent lies in the complexity and originality of the rhythms he developed. On this album he was free to explore and build as he saw fit.
TOTEM: Totem CD (VAMPI 035CD) 12.00
2004 release. Totem was one of the most important mass phenomena in Uruguay’s musical history. Formed in 1970 by the most internationally recognized Uruguayan musician in the latest 30 years, Rubén Rada, Totem meant the beginning and rise of Candombe-beat and one of the most solid pilars of rock in the Rio de La Plata. Candombe is an Afro-Uruguayan ryhtm style, existing only in Uruguay and based in the sound of three types of drums: “chico,” “repique” and “piano.” The combination of the rhythmic patterns played in each drum creates a polyrythm texture never-heard-of before in the world. The fate of Candombe is tightly fixed to the survival of the black community in Uruguay, and of their culture. In countries like Argentina, both black people and candombe have dissapeared. Rada has been a great preserver of black culture in Uruguay and has managed to integrate the values of that community into the cultural identity of Uruguay, through his music and lyrics. And here, we present you the essential first album that Totem released, with an extra song, “Mi Pueblo.”
VA: Groovadelia: 21st Century Spanish Groove Vol. 1 2CD (VAMPI 076CD) 22.00
2006 release. Now is the time and this is the place. The infectious influence of black groove and rhythms has, after many years, finally come to fruition in Spain. This is an extensive sampler that serves as a window into a scene booming with energy and ideas, a scene that isn’t limited to bands and musicians, but also extends to clubs and written publications that have been germinated by the groove seed. Spain’s Enlace Funk magazine has been in the business of spreading these sounds since it started back in 1996. Reports and interviews with the biggest names in the history of black music, from Isaac Hayes to George Clinton, from Tower of Power to Earth Wind and Fire to name but a few, have been written in its pages. Inside the Spanish club scene, focusing on the spread of black rhythms sounded totally ludicrous until the idea was nurtured by Granada’s Afrodisia club, which became a pivotal point of the black music circuit. The soundtrack for its Granada nights is made of funk, jazz, soul, acid jazz, rare grooves, Afrobeat, reggae, hip hop or nu-jazz, and the most prestigious DJs in the world, such as mundo Gerald Jazzman (Jazzman Records), Eddie Piller (Acid Jazz Records), Florian Keller (Compost Records), Henry Storch (Unique Records), Snowboy, or Frank Popp — among many others — have all sat behind its turntables. On this compilation Enlace Funk magazine, Afrodisia Club, and Vampisoul presents this pioneer project with the intention of becoming an introduction to the scene of bands lured in by the rhythms of the black nation. As one of the founding fathers would put it: One Nation Under A Groove! Artists: Guateque All Stars, Speak Low, Phat Fred, Funxplosion, Ortophonk, Pybus Groove Quartet, The Sweet Vandals, Mojo Project, Funkdacion, Donatore Di Groove, Clan Club, Cinnamon Gum, Celofunk, Asstrio, The Funk On Me, Los Fulanos, The Cherry Boppers, Watch Out and Koniec.
COFFEY, DENNIS: Big City Funk: Original Old School Breaks CD (VAMPI 078CD) 12.00
…& Heavy Guitar Soul. 2011 repress, originally released in 2006. Dennis Coffey (born in Detroit, Michigan) is an American guitarist, notable as a prominent studio musician for many soul and R&B recordings. Coffey learned to play guitar when he was 13 in Ontonagon County in Michigan’s Upper Peninsula. At 15, he played on his first recording session backing Vic Gallon on “I’m Gone” on the Gondola label. In the early 1960s he joined The Royaltones who had hits with “Poor Boy” in 1958 and “Flamingo Express” in 1961. The Royaltones played sessions with other artists including Del Shannon. As a member of The Funk Brothers studio band, Coffey played on dozens of recordings for Motown Records, and introduced the wah-wah guitar sound to Motown producer Norman Whitfield’s recordings. He also played on Edwin Starr’s “S.O.S. (Stop Her On Sight),” The Isley Brothers’ “It’s Your Thing,” and Freda Payne’s “Band Of Gold.” In addition, Coffey scored the blaxploitation film Black Belt Jones. In 1971, Coffey recorded Scorpio which was a million-selling single and in 1972 Taurus, both with The Detroit Guitar Band. Since then, he has recorded several solo albums, most of them for the Sussex and Westbound labels. In the early ’70s, Dennis Coffey, Motown “Funk Brother” and super-session guitar man, seemed determined to write soundtracks — even if he wasn’t commissioned by a Hollywood studio. Indeed, the four studio albums he cut for the Sussex label between 1971 and 1974, from which this compilation is culled, are like a big personal advertisement for potential film score work. Coffey’s raw, compressed guitar style — his big city breakbeat funk — certainly evokes a tough, urban landscape inhabited by tough, urban gangsters.
WILLIAMS, ANDRE: Aphrodisiac CD (VAMPI 084CD) 12.00
2007 release. With a mind-boggling 50-year career in the music business, 70-year old Andre Williams is showing no signs of slowing down. The original rapper and R&B performer returns to his soulful roots on Aphrodisiac, enlisting The Diplomats Of Solid Sound as his backing band on this diverse and adventurous offering. Hints of blues, rock, R&B, rap and soul fill the grooves of this release that flows seamlessly from start to finish. Andre’s voice never sounded better as he tackles topics ranging from alcoholism (“I’m Not Worthy”), Hurricane Katrina (“Thee Sisters”), rejection (“I Can See”), and love (“Do You Remember”). But it’s also a fun, masterfully produced album that will transfix both past Andre fans and new listeners. Recorded in Iowa City, this is the real Andre… the real deal… from the “Black Godfather.”
ROMERO & MONNA BELL, ALDEMARO: La Onda Nueva en Mexico CD (VAMPI 087CD) 12.00
2007 release. Originally released in 1970, La Onda Nueva en Mexico has remained a cult object among those searching for “rare grooves” for its completely unique concept of combining traditional Mexican music arranged by Venezuelan Aldemaro Romero, sung by a Chilean pop singer Monna Bell and orchestrated by Mexican jazz musicians. A complete artistic achievement recovered by VampiSoul 37 years later. Few people have managed to combine aspects of classical, popular and experimental music from the second half of the 20th century in a brilliant and original way. In 1970, Bell asked Romero to record an album together in his “Onda Nueve” (New Wave) style: a mixture of modern jazz orchestrations, the hypnotism of the bossa nova guitar, Venezuelan folklore melodies and extremely original and complex vocal structures set to the fast-paced 3/4 rhythm typical of the Venezuelan joropo. Victor Ruiz played bass; Alvaro López, Salvador and Félix Agüeros (of Rabbits and Carrots) were on drums and percussion; Julio Vera was on congas, and vocals were performed by Los 4 Soles y Gasparín. Enrique Sida and Jaime “la vaca” Shagún were on the trombones, Tomás “la negra” Rodríguez, Armando “el Kennedy” Noriega and Rodolfo “Popo” Sánchez were on the saxophones; Ramón Flores and the legendary Chilo Morán were on the trumpets, and Pablo Jaimes, Jorge Ortega, Enrique Neri and Aldemaro himself were on electric and acoustic pianos, among other well known musicians. Gualberto Castro, a talented singer and arranger from the group los Hermanos Castro, also sang on “El Balajú,” exchanging verses with Monna. All of the musicians felt free to bring in any ideas and to improvise during the 20 days of recording. The result was an explosion of tonalities that, in spite of being essentially popular traditions, revealed something exceedingly unique and modern.
ALLEN, TONY: Afro Disco Beat 2CD (VAMPI 090CD) 22.00
2007 release. Vampisoul presents a complete ’70s anthology of the drummer and music director of African superstar Fela Kuti’s band Africa 70, from 1968 until 1979, the creators of Afrobeat. This monster pack includes Tony’s first four solo albums: Jealousy (1975), Progress (1976), No Accomodation for Lagos (1978), and No Discrimination (1979). The first three produced by Fela Kuti himself and with Africa 70; the last one with Tony´s band The Afro Messengers. Complete extensive liner notes inside. Mild-mannered, but iron-willed, Tony Allen is the co-creator of Afrobeat, and one of the most distinctive and in-demand drummers on the planet. No one swings like this Nigerian rhythm man — with that amazing, loose-limbed, poly-rhythmic technique that has powered some of the funkiest and most challenging dance music ever created. Best known for his involvement with the late, great Fela Kuti, Tony Allen is very much more than Fela’s — or anyone else’s — drummer. Bandleader, composer and husky rapping vocalist, Tony Allen has recorded a string of groundbreaking solo albums since parting company with Fela in 1978 — sides that draw together African rhythm, funk, jazz, soul and hip hop. His inimitably propulsive skinwork has enhanced the work of an amazing range of artists, from Afro-giants Manu Dibango, Ray Lema and Sunny Ade to British-Indian songstress Susheela Raman and Californian rock-rappers Spearhead. Complete extensive liner notes included.
KITBUILDERS: You Trashed My Mind 2LP (VERTICAL 003LP) 15.50
KITBUILDERS: You Trashed My Mind CD (VERTICAL 005CD) 14.50
The music of the Cologne-based duo Kitbuilders can be described as electro with sci-fi punk rock energy and a grebo edge. A remarkable element in the tracks is the vocals of female singer Ripley. Within the Kitbuilders’ sonic cosmos you will also find The Sparks in their Moroder phase, Chris And Cosey, NEU! and Devo. But their music is not ’80s retro stuff — it also includes a lot of futuristic and fresh elements in their songs. After a handful of 12″ singles and compilation appearances on labels like Electrecord, World Electric, Vertical and Ersatz Audio, Wake Up (2001) was the debut full-length from the duo, garnering praise from XLR8R who called it “…an excellent hybrid of the past and present.” Alongside American outfits like Adult. and Fischerspooner, Kitbuilders are at the forefront of the worldwide electro revolution. Equal parts Moroder and Liquid Sky, the duo of Benway and Ripley fluctuate between adrenaline-rush bpm 909 beats, fluttering sci-fi arpeggiations and tense, sinister moodiness. Among their releases were exclusive tracks on two 12″s on the Ersatz Audio label, the In The Year 2525 12″ on Television Records, a split 12″ on Art Of Perception with John Starlight aka Zombie Nation, a remix of the Lectronix track “Motorbike” featuring Man Parrish and remixes for Sold Out, Warren Suicide and Twila Too. You Trashed My Mind features 15 tracks of energy, love, weirdness and flow with varied influences and the typical Kitbuilders signature sound. The range goes from songs with classic electro beats to tracks with a certain 2step/dubstep-influence to deconstructed piano-house, psycho-ballads and new wave-infected synth-pop. The music instantly grabs your attention, and holds it with melodic and harmonic deepness.
MCGUIRE, MARK: Solo Acoustic Volume Two LP (VDSQ 002LP) 17.00
2011 repress, originally released 2009. “Melodic ballads and new songs from Emeralds guitarist spark new innovations and memories thought to be lost. One third of the drone masters Emeralds.”
AFRICA HITECH: 93 Million Miles CD (WARP 199CD) 15.50
“Nearly nine years ago Mark Pritchard and Steve Spacek began bonding over their shared passion for the seemingly disparate spheres of bubbling Detroit techno, soul and fierce Jamaican digital dancehall. By pure coincidence, the two found themselves living in Australia, and that connection was cemented by the forming of Africa Hitech, the moniker which represents both Steve and Mark’s love for all things progressive within music, whilst acknowledging that the roots of much of today’s popular music can be traced directly back to Africa. Their first full length project for Warp is titled 93 Million Miles. 93 Million Miles is an unflinchingly ambitious product of international globe-trotting that carves a new faultline into the rapidly expanding terrain of ‘bass music’…or whatever it’s being called this week.”
AFRICA HITECH: 93 Million Miles 3LP (WARP 199LP) 29.50
DIETRICH/BEN HALL, DON: Spitfire LP (WHAT 011LP) 17.00
A cinderblock-sculpting freakout session from Don Dietrich (Borbetomagus/The New Monuments) and Ben Hall (The New Monuments). Highly-touted by Aaron Dilloway, deep sea creatures, and your local tire dealership.
VA: Japanese Traditional Music: Koto – Shamisen CD (WA 2012CD) 12.50
…Kokusai Bunka Shinkokai 1941. The World Arbiter label presents 1941 recordings of the Kokusai Bunka Shinkokai — masters of the koto and shamisen, heard with excerpts from theater and songs performed by many artists born in the Meiji period. They represent the earliest examples of ancient classical traditions. In the late 1930s, Japanese musicologists and experts completed years of work on a project to record their country’s musical cultures, starting with ritualized shamanic traditions of the palace’s gagaku, Buddhist chant, Noh theater, blind lute (biwa) players chanting medieval epics, a body of koto music, shamisens of kabuki dances, folk songs of workers, artisans, farmers, and children’s songs. Five volumes, each with 12 78 rpm discs, comprised the leading performers of the time, many born into a Japan that newly opened to the West in 1868, taught by masters of an earlier isolated Japan. These recordings were meant to be given only to educational institutions and not sold. Right before starting their distribution, war broke out in 1941. Beate Sirota Gordon, age 22, accompanied the U.S. Army to Japan in 1946. She had grown up in Tokyo with her parents, Russian pianists whose pupils included Yoko Ono and her father. Beate secretly wrote a pioneering section on women’s rights in Japan’s post-war Constitution. During her mission, Donald Ritchie, a noted film historian, discovered a set of these recordings and gave them to her. Gordon presented them to Arbiter in the late 1990s. Aside from her copy, only one other complete set is known to have survived the war in Japan, as they were possibly destroyed in a warehouse bombing. The people of post-war Japan and the rest of the world now have the chance to hear these lost recordings of Japan’s broad cultural legacy. On these recordings, one is struck by a sense of eternity belonging to a culture living in a mind-set of immortality and permanence, an ease buoying virtuosity and intricate musical forms, revealing a gripping authenticity that later performers hint at. This third of five discs contains significant examples of the koto and shamisen literature, dances from Kabuki and puppet theater traditions, many originating in the 1700s. Full descriptions are included in a lengthy booklet, while complete translations are on Arbiter’s web site. Arbiter loves Japan and its arts, and is honored to revive lost master performers.
ORLANDO B.: Future Resist EP 12″ (YORE 004LTD-EP) 12.00
UK producer Orlando B. laid down this material in West London, but its heart and soul lies an ocean away, as the “Motorcity” track title suggests. “Contemplate” induces a contemplative state with a sparkling flow of warm Rhodes melodies, crisp house beats, and creamy analog synthesizers. “Motor City” features thudding bass lines and stepping beats, while “It Ain’t Over” drapes a syncopated keyboard theme and synth chords over a slamming house pulse to marvelous effect. Comes in two different colored vinyl versions.
NEGRO, JOEY: The Soul Of Disco Volume 3 2LP (ZEDD 022LP) 31.00
Deluxe gatefold 2LP version. 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. 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. Musically, this collection offers a wide variety of styles within the parameters of soulful disco. As always with Z Records, the masters sound as good as possible.
REVENGE, THE: Reekin’Structions by The Revenge CD (ZEDD 023CD) 15.50
The Revenge finally delivers his debut album for Z Records. He has been crowned the king of the edit, quickly reaching dizzying heights in recent years, conquering a style that escapes labeling. His engineering experience has been turned to material for Mark E, Jisco, Under The Shade and Fine Art Recordings and his collaborative projects include Deportivo Street Team, OOFT!, Cronk Family Enterprises, The Hong Kong Micros and 6th Borough Project. Now harboring production skills for over 15 years, Graeme Clark continues to put his fingers to work on a variety of projects in the studio. Featuring 10 reconstructed productions, Reekin’Structions glistens with a silvery sheen and masters a standout soundtrack to satisfy all manner of music lovers. Bubbling with sultry, soulful vocals, brass-funk solos and inspired dancefloor moments, The Revenge illustrates his talent for reinvention and reaffirms why he has become a spearhead for a new musical trend. This supple and tactile collection of tracks approaches sounds of the past and creates new inspiration for the future. Fashioning Mid-Air classics in the style of Metro Area, adding pace and glamour to The Joneses’ “Summer Groove” and setting Velvet Hammer in a luminous, filtered-disco ball of light, The Revenge showcases a deep passion and understanding for music and constructs an imaginative, breathing body of work that is sure to find favor where it lands. The Revenge has trailblazed a movement towards reinventing the music of the past 20 years. Embracing pure disco-heads, funk fanatics, soul worshippers and all contemporary electronic music lovers, Reekin’Structions marks the rise of The Revenge as one of the pioneers of a generation, rediscovering classic moments from decades gone and refreshing them through his individual interpretation. Other edited artists include: Johnny Adams, Sargeant & Malone, Chapter Three, Electric Smoke, Letta Mbulu, Vance & Suzanne and Nel Oliver.
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