| FORCED EXPOSURE MAILORDER UPDATE NEW RELEASES FOR THE WEEK OF 06/13/2011 |
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order from our NEW! beta site: http://beta.forcedexposure.com you can also click on cover art or album info to order online a secure order form is available for credit card purchases. and via mail: for more information about shipping or ordering direct any questions to mailorder@forcedexposure.com |
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| 50 WEAPONS (UK) | |
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ANSTAM: Baldwin 12″ (50 012EP) 12.00 “Outstanding techy jungle-esque & avant electronics infected, stepping killer tunes. Highly Recommended!” |
| ALEPH (GERMANY) | |
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AERA: The Third Wave 12″ (ALEPH 003EP) 12.00 “When an idea first comes to you, it has an intrinsic power. You have to try to remember the way you felt when the idea first came to you and to remain faithful to that.” –David Lynch |
| AMAZING SOUNDS (UK) | |
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TORO Y MOI: Still Sound Remixes EP 12″ (AMSO 004EP) 12.00 This remix 12″ sees one of the standout tracks from Toro Y Moi’s critically-acclaimed sophomore album get a reworking from the electronic mastermind that is Toby Tobias. Tobias’ deep mix is a tribute to early Nuphonic records. On the flip, we hear work from a new name, Voodoo Bear aka Khaled Bourguig, blurring the line between electronic and organic music. |
| AMS (ITALY) | |
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GOBLIN: Nonhosonno LP (AMS 033LP) 37.00 “After a lengthy silence, Goblin reunited in 2000, again for a soundtrack for their long-time friend Dario Argento. As a matter of fact, NonHoSonno (sleepless) will be the last record made by the original line-up, and for many fans this is one of their best works, if not the best ever. Of course the original sound of the band is filtered by a more modern production, and the band focuses on symphonic synths and rather heavy guitar work. Surprisingly enough this soundtrack works great even as a stand-alone record. Songs are catchy and there are no weak moments, which are pretty normal for traditional soundtracks. An amazing and outstanding comeback! Still this is the Goblin we love: heavy, doomy, creepy and dark! Please note that Nonhosonno has never been reissued on vinyl ever.” On red vinyl; includes poster. |
| ARENA ROCK RECORDING COMPANY | |
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DESPER, BOB: New Sounds CD (ARE 084CD) 10.00 “Originally recorded in 1974, New Sounds is considered to be one of the Pacific Northwest’s best kept secrets, a regional Holy Grail with copies fetching upward of $1000. Until recently, not much was known about this mysterious blind folk singer from Oregon. This official reissue of New Sounds includes Bob Desper’s 1972 debut, a booklet with extensive liner notes and original photos, plus two bonus tracks.””A classic lost record.” — Pitchfork |
| ARTIFIX | |
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DEADBEATS, THE: Complete Dangerhouse Recordings 10″ (SPR 032EP) 12.50 “5 song 10″ on black vinyl with full-color restored artwork cover and (B&W) insert. All songs from 1978.” |
| AUM FIDELITY | |
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FARMERS BY NATURE: Out Of This World’s Distortions CD (AUM 067CD) 13.00 “Farmers By Nature is drummer Gerald Cleaver, bassist William Parker, and pianist Craig Taborn — a fully-improvising unit, a complete musical collective. Each of these men are highly regarded & admired composers and bandleaders in their own right; their coming together to create new music is always an auspicious and deeply fruitful occasion. Superbly attuned listeners and masterful players of their respective instruments, they are without question one of the finest improvising units/musical groups in the world today. Out of This World’s Distortions references the winsome beauty & powerful, uncorrupted, graceful elegance that arises still, even through the horrors that are perpetrated every day by humans against the Earth and one another. FBN create a sonic ecosystem that reflects this magnificence: sowing seeds of sound and bringing them to blossom, fully inviting in the process. Once again they have created an immersive experience yielding awe-inspiring magic. This album was recorded almost exactly 2 years to the date of their highly acclaimed debut Farmers By Nature (AUM053) from which they take their group name. The album proceeds/flows exactly as it was performed in the studio that day, opening with an exquisite elegy to the late great saxophonist Fred Anderson (who passed the evening before the recording) and closing with an impeccably mesmerizing cosmic pulse piece. The entirety of the album is simply stunning.” |
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WARE/COOPER-MOORE/WILLIAM PARKER/MUHAMMAD ALI, DAVID S.: Planetary Unknown CD (AUM 068CD) 13.00 “Planetary Unknown documents an epic occurrence and its commercial release is itself the same. Major circles arc together and synchronize anew here. Mighty majestic, mackadocious! David S. Ware and company raise the bar on artistic heights, in all disciplines, world-wide, once again. In late November 2010, four men arrived at Brooklyn’s Systems Two Studio to record an album. The web of musical, personal and spiritual connections that brought them together at that particular time and place is a modern jazz parable. Ware and Cooper-Moore shared formative years in Boston, where they talked and played music all day, until in 1973 the pull of New York’s jazz scene called them home. Cooper-Moore, Ware and William Parker were heavyweights of the Downtown loft scene, playing spaces like Ali’s Alley and Studio Rivbea, experiences that equipped Ware and Parker for the extended periods each would spend within the Cecil Taylor Unit, and for their eighteen years of artistic refinement and growth inside the David S. Ware Quartet. Muhammad Ali, an early loft regular and drummer on Albert Ayler’s Music Is The Healing Force of the Universe and Alan Shorter’s Orgasm, had already relocated to Paris with Frank Wright, when, in 1976, Cecil Taylor’s Unit came to town. Ware met Ali on that visit, and both men made a mental note that one day they must play together. Ali’s presence here is a direct blood-link back to the birth of free music in America ? it was his brother, the late and much-missed Rashied Ali, who replaced Elvin Jones in the John Coltrane Quartet and with whom Coltrane recorded Interstellar Space, his catalytic 1967 album of saxophone/percussion duos, a fraternal inheritance respectfully acknowledged here in Ware and Ali’s duo ‘Duality Is One’. Imagine the scene as all those shared histories came together inside that Brooklyn studio space. ‘Muhammad was already playing when I walked into the studio,’ Ware recalls. ‘I heard him live for the first time at that moment and thought, man, he is carrying the whole history of jazz drums in his playing.’ ‘The last 100 years of jazz, there was our rehearsal [for this record]’ Ware explains. Let’s get it on record now that this music is created as a way of learning about the future.” |
| AUS MUSIC (GERMANY) | |
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MIDLAND: Through Motion 12″ (AUS 1133EP) 12.00 Leeds-based producer Midland (aka Harry Agius) offers an excursion that explores the boundaries of 2-step, UK garage and techno. “Through Motion” shows Midland’s ability to seamlessly take the spirit of UK garage and fuse it with techno. The track’s moody piano melody is punctured by a dark, pitch-shifted vocal and encircled by his warm trademark atmospherics. “Shelter” is a brooding, cavernous affair whose vocals and whispery atmospherics make this the perfect late-night tool. Includes a remix by Tevo Howard. |
| BEST WORKS (GERMANY) | |
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MARIO & VIDIS: Plastic People 12″ (BWR 011EP) 12.00 This unique partnership is the brainchild of dance music aficionado DJ Vidis. He teamed up with top Lithuanian producer Mario Basanov in 2007 to form the most influential local production combo and to deliver what could be the freshest-sounding, most adventurous house music around. With a few singles for Endless Flight and Future Classic, and also remix work commissioned from Soul Clap, John Talabot, André Lodemann, Marcus Worgull, and Softwar, their future looks bright. Features Vytautas Sondeckis, Dolcevytas and Fabian Dikof. |
| BETHLEHEM-KING RECORDS | |
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FELICE TRIO, DEE: In Heat LP (BS 10000LP) 11.50 A James Brown produced soul/jazz instrumental record by this Ohio band, originally released in 1969. Tracks include “Oh Happy Day,” “Wichita Lineman,” “Summer In The City,” “There Was A Time” and “All The Time.” “The music in this album is a ‘mixed bag’, whether your ‘Stroke’ is Soul, Rock, Blues, Folk or Bossa Nova — it’s here to hear AND ALL WITH AN UNDERLYING Jazz Beat.” — James Brown |
| BIG DADA (UK) | |
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DELS: Gob 12″ (BD 12177EP) 11.00 “Appropriately, the lead remix for the project comes from David Andrew Sitek himself. ‘Super passionate’ about the song, the producer spent over two weeks in and out of the studio perfecting his mix, a combination of classic era boom-bap drums, melodic catchiness and trademark audio atmospherics. Untold, on the other hand, tools his remix much more for the dancefloor, cutting into DELS’ vocals to produce a slowburner very much in the mould of his recent Stereo Freeze EP for R&S. The third and final mix comes from a newer name, Ry9n, whose brittle ‘Hot Breath’ dancehall rhythm has already been getting early plays on Rinse FM.” |
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DELS: Gob CD (BD 179CD) 15.50 “Kieren Dickins aka DELS is a new type of rapper (which is another way of saying that he’s more than just a rapper). Dickins recorded GOB with just three producers, all of whom he has collaborated with for a significant amount of time and all of whom are more interested in creating something with him than in giving him a beat to rhyme on. Micachu is perhaps best known for her ‘indie’ work with her band The Shapes but her interest in grime and hip hop is as well documented in a series of mixtapes and videos on YouTube. Together she and DELS create the bad-trip anthem ‘Melting Patterns’ and ‘Violina,’ which catches all the disorientation and anger of a relationship break-up. Longtime mentor and friend Joe Goddard of Hot Chip is represented by both ‘Trumpalump’ (featuring his own beautifully melancholy/hopeful chorus) and Shapeshift, plus a brand new track, ‘Capsize,’ which dissects something of the current political situation in the company of Roots Manuva (the only guest MC on the record) — a kind of ‘Ghost Town’ for a new generation.” |
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DELS: Gob 2LP (BD 179LP) 20.50 2LP version with free download code. |
| BOX OF CEDAR | |
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NADLER, MARISSA: Marissa Nadler CD (BOC 001CD) 16.00 “Marissa Nadler’s Kickstarter funded self-titled self-release. Brian McTear produced the album, which Nadler says is the ‘most honest, natural record’ of her career.””You’ll want this music to never end…best severe and complex emotions that we’ve possibly never recognized in this or previous lives.” — LA Weekly |
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NADLER, MARISSA: Marissa Nadler LP (BOC 001LP) 18.00 LP version. |
| CAPITOL | |
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MAD RIVER: Mad River LP (ST 2985LP) 11.50 Exact repro of the debut album from this San Francisco psych band, originally released in 1968. “Mad River offered a darker brand of psychedelia than their Bay Area brethren; dissonant chord changes, oriental scales and unexpected rhythmic changes definitely did not make for a mellow vibe.” |
| COCOON (GERMANY) | |
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LE TEXIER, ARNAUD: Elusanes 12″ (COR 085EP) 12.50 Arnaud Le Texier’s debut EP for Cocoon Recordings is borne by his deep understanding of melancholy melodies; especially “Elusanes” with its piano keystrokes coming directly from the basement and the ample Detroit strings proves with hymn-like intensity that deep sensuality and unquestioning dancefloor ecstasy can be two sides of the same medal. Besides a beatless version of “Elusanes,” the hypnotic “Nightleads” with its bass guitar theme does already whet your appetite for the next sunrise in the Balearic dunes. |
| COLOURFUL RECORDINGS (SWEDEN) | |
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ORANGE MUSE: Oyster 12″ (COLOUR 003EP) 12.00 The third release on Colourful sees Orange Muse wander into darker territories. “Oyster” comes with a rolling groove, techno rides and stabs straight outta D-troit. Add to that an infectious guitar loop and sexy vocal chants and you have a true floor-burner for the wee hours. On remix duty, John Selway delivers a seriously funky New York techno nugget and Lebstar shares a throbbing Afro-tech joint with loads of attitude, string hooks and strong percussion. |
| DAMAGED GOODS (UK) | |
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MILKSHAKES, THE: The 107 Tapes 2LP (DAMGOOD 363LP) 26.50 Gatefold 2LP version. “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.” |
| DE-LITE RECORDS | |
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KOOL & THE GANG: Live At The Sex Machine LP (DE 2008LP) 11.50 Gatefold exact repro reissue of the 1971 second album from Kool & The Gang. Tracks include “What Would the World Be Like …,” “Walk On By,” “Funky Man,” “Touch Of You,” “I Want To Take You Higher,” “Pneumonia” and “Try To Make A Fool Of Me.” |
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KOOL & THE GANG: Spirit Of The Boogie LP (DEP 2016LP) 11.50 Gatefold exact repro reissue of the eighth studio album from Kool & The Gang, originally released in 1975. “They’re the second-baddest out there…They make such bad records that you got to be careful when you play a new tape on the way home from the record store. Their groove is so strong you could wreck.” — James Brown |
| DERWIN (GERMANY) | |
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PROMMER & BARCK: Dr. Jeckyll And Mr. Hyde 12″ (DERWIN 002EP) 12.00 Cinematic deepness meets analog phatness on this single excerpted from the highly-anticipated album Alex And The Grizzly by Prommer & Barck. Hearing the original version of the track, Peter Kruder insisted on doing a Viennese version of “Dr. Jeckyll and Mr. Hyde” — a deep and sexy 12:35 minute workout. “Everything,” with Kim Sanders on vocals, gets a Prommer & Barck moody club treatment. Alex Barck gets his disco ball out on the intense, percussive remix for “Gladys Knight.” |
| DRUMPOET COMMUNITY (SWITZERLAND) | |
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CAVALIER (AKA AGNES): A Million Horses 12″ (DPC 035EP) 12.00 Agnès appears in his Cavalier guise with a splendid preview to his forthcoming album on Drumpoet Community. Agnès is known for his usual deep, dubbed-out minimal techno productions, but the Swiss producer is also exploring more house-influenced rhythms and textures. Agnès runs the Geneva-based label Sthlmaudio Recordings and kindly asks you to play these tracks loud and with a lot of bass in a dark room. |
| DYNAMIC TENSION (UK) | |
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SURGEON: Breaking The Frame 2LP (DTR 002LP) 23.00 “Outstanding explorative techno for the fearless, comes in killer gatefold sleeve. Absolutely and highly recommended!” |
| ECHOCORD (GERMANY) | |
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VLADISLAV DELAY: Latoma 12″ (ECHO 051EP) 12.00 Echocord welcomes Sasu Ripatti aka Vladislav Delay from Finland. Sasu is known from many projects, such as Luomo and the Moritz Von Oswald Trio. Now that Sasu has the Quartet, where he can fully search for the acoustic music and jazz-influences and beyond, the Vladislav Delay solo stuff will be focused again on electronic experiments. These two tracks shed light on where the project is heading. Something old, something new. Includes a collaborative remix from Ricardo Villalobos and Max Loderbauer. |
| ENJOY RECORDS | |
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CURTIS, KING: Soul Twist LP (ENLP 2001LP) 11.50 Exact repro of “king of the instrumental twist” King Curtis’ soul-stirring take on the dance craze. Includes covers of Ray Charles’ “What’d I Say,” Cannonball Adderley’s “Sack O’ Woe Twist” and Harold Ousley’s “Midnight Blue.” |
| EXPERIMEDIA | |
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LUUP: Meadow Rituals LP (EXP 015LP) 16.00 LP version. “Foregoing traditional genre boundaries, defying categorization, and embracing the distinct talents of its 19 participants, Luup involves a reexamination of convention by a thorough exploration of the instrument. Led by flautist Stelios Romaliadis, whose direction of the musicians allows for shimmering folk tendencies to mingle with fragile string arrangements and uplifting voice, Luup combines disparate elements of modern musical tendencies to examine man’s primitive nature. Meadow Rituals presents 8 paeans to unite man’s overwhelming distance from nature and self and a celebration of the reunion. Lilting melodies mix with ambient and new age directions; propulsive swells of strings and effervescent electronics make way for profound vocal harmonies to create a universal and timeless experience. Luup is: Stelios Romaliadis, Lisa Isaksson (Lisa o Piu), David Svedmyr (Lisa o Piu), Fotini Kallianou, Katerina Papachristou, Fotis Siotas, Lefteris Moumtzis (J.Kriste, Master of Disguise, Snakecharmer), Alex Bolpasis, Pavlos Michaelides, Andria Degens (Pantaleimon/Current 93), Giorgos Varoutas, David Jackson (Van Der Graaf Generator/Peter Hammill/Peter Gabriel), Elsa Kundig, Nikos Fokas, Nikos Papanagiotou, Greg Haines (Sonic Pieces), Georgia Smerou, Georgia Konstadopoulou, and Jennie Stabis (Lisa o Piu).” |
| FIRE (UK) | |
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DANIELSON: Grow Up/Wheel In The Sky 7″ (BLAZE 186EP) 8.00 “Grow Up, the first single from the forthcoming and much-anticipated Danielson full-length, Best of Gloucester County, required special mastering to allow for the sheer volume of attitude packed into it. Vinyl 7″ is of course the perfect format for such unadulterated ‘tude; it’s as if the song leapt from the full-length vinyl and embraced its own Napoleon complex. Perhaps the only ‘appropriate’ thing about this release is that the B-side is Danielson’s reimagining of the Journey classic, ‘Wheel In The Sky.’ All strut and swagger and burnin’ 2-step, it’s a wonder that the 7″ doesn’t melt to the turntable.” |
| G.E.D. SOUL | |
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COOLIN’ SYSTEM, THE: The Coolin’ System LP (GED 1002LP) 18.00 LP version. “In a city renowned for its country music scene, it takes a sharp group of musicians outside of the box to garner very much attention. Yet, a band like Nashville’s the Coolin’ System does it handily (and with a significant amount of style to spare). G.E.D. Soul Records is pleased to be the home for this Music City soul-jazz super group’s debut full length. The self titled album features choice interpretations of deep cuts from some of the genre’s greatest heavy weights. Jack McDuff, Richard ‘Groove’ Holmes, Eddie Harris and others get the ‘system’ treatment on this soul-jazz tour de force recorded live in the studio in the spirit of a jazz recording. Heavy on grooves and solid interplay between musicians gives this record the feel of being transported to a smoky jazz club back in the day.” Includes MP3 download. |
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MAGIC IN THREES: Magic in Threes LP (GED 1003LP) 18.00 LP version. “G.E.D. Soul Records proudly presents the Magic in Threes, a collection of eccentrically crafted, smoked out, locked out psychedelic soul recordings. The goal of this record was to simultaneously capture the essence of 70s library music, and Rudyard Kipling’s The Jungle Book. Over the course of the sessions, the album transformed into an amalgamation of styles from Latin joints to melodious expeditions into mystical soul music. This is the perfect record for a lazy day. Could it be the soundtrack to a movie that may not exist? Could it be an instrument to clear the mind of all distractions? It’s definitely an intriguing journey into the outer reaches of what a funk record is supposed to be. Simply put, this album is dressed to impress. Featuring an all-star cast of G.E.D. Soul players, movers, and shakers, the Magic in Threes know how to let it simmer.” Includes MP3 download. |
| GALA (COLOMBIA) | |
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OLARTE, PAULO: Mil Años 12″ (GALA 001EP) 12.00 The track “Mil Años” was written by Paulo Olarte and dedicated to his daughter Emiliana. This is a very South American love song, tearing apart all kinds of barriers between genres, but still being so in love with electronic dance music and its total functionality. Goldwill’s remix is a slow, melancholic monster which grows and grows to catch you and never let you go. So no more words and enjoy this piece of specially-designed acetate. |
| GEOMETRIK (SPAIN) | |
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ESPLENDOR GEOMETRICO: Mekano-Turbo LP (GR 2120LP) 19.50 This is the fourth album and a classic inside the discography of legendary and influential Spanish industrial cult band Esplendor Geométrico. Originally released in 1988, it’s now available again in its original format, reissued by Geometrik Records. Finally, the fury is unleashed in all its splendor. The superb three initial tracks are pure rhythmic adrenaline on which is supported the totally runaway voice of Arturo Lanz. “Rotor” would be even considered as an unintentional approximation to electronic body music, as would “Belew” and “Mekano-Turbo.” On the other hand, Gabriel’s stay in Melilla, North Africa imparts an influence from Arabic culture on tracks such as “Sheikh” and “Transmisión.” Considered by the media and many fans as the group’s masterpiece, the wonderful cover continues the customary line of showing strange machines and decadent industrial buildings. Includes an inner sleeve with rare photos and text. Numbered edition of 500 copies. |
| GET BACK (ITALY) | |
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CHALOT, VERONIQUE: J’ai Vu Le Loup LP (GET 724LP) 29.00 “Veronique Chalot was born in Normandy in the north of France, but it was in Paris that she first became interested in traditional French folk music. In 1974 she landed in Rome where she soon earned a small, but dedicated following. In 1979 she recorded her first studio effort, J’ai vu le loup, for the Italian Materiali Sonori label. Over the past 30+ years she has given hundreds of concerts, presenting her repertoire of traditional French/Italian folk songs and building awareness of that fascinating patrimony of antique melodies and dance rhythms. Since 2005 she has played with Veziana, an ensemble dedicated to early music from both sides of the Pyrenees.” |
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CHALOT, VERONIQUE: A L’Entree Du Temps Clair LP (GET 725LP) 29.00 “England may have its Jacqui McShee (Pentangle), but France and Italy have its Veronique Chalot. For the past three decades Veronique has dedicated herself to playing, recording and researching medieval, renaissance, and early folk music from France and Italy, helping to save these musical forms from total obscurity. A l’entree du temps clair, released in 1982 on the small Italian Materiali Sonori label, was recorded while Veronique was living and researching in Italy. Although it was only her second studio album, Veronique’s immense talent and sensitivity was already extremely evident. Here she sings and plays classical guitar (as well as the dulcimer and the hurdy-gurdy), backed by five Italian musicians playing a number of traditional instruments, including bouzouki, bagpipes, crumhorn, bendhir and bodhran, making this album of early French traditional music an enjoyable discovery even nearly three decades after its release.” |
| GET ON DOWN | |
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D-NICE: Call Me D-Nice CD (GET 51271CD) 17.00 “When Boogie Down Productions’ DJ/producer/hypeman D-Nice went solo in 1990, the world wasn’t quite sure what to expect. Taking over as KRS-One’s DJ after Scott La Rock’s murder in 1987, D-Nice was a relative unknown, despite having played a part in the group’s classic albums By All Means Necessary and the follow-up Edutainment. Setting out to make his name as an independent artist, he delivered Call Me D-Nice, an album that abandoned BDP’s militant political rhetoric in favor of a fun, upbeat attitude that played to his strengths: witty and boastful rhymes backed by funky, sample-based beats. The album yielded a #1 hit with the title track (along with ‘Crumbs On the Table’, which made the Top 20) and proved that D-Nice could do much more than just play the background. Out of print for over 20 years, D-Nice’s debut album Call Me D-Nice returns in an expanded edition housed in a 6-panel digipak featuring original and extended artwork with liner notes for the bonus cuts written by Noah Uman. Extended Audio includes 2 non-album cuts (produced by Scott La Rock) as well as 12″ mixes and instrumentals previously unavailable on CD format. Also includes the 12″ singles ‘Glory’ and ‘The TR 808 Is Coming.'” |
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IRVINE, WELDON: Sinbad CD (GET 51274CD) 15.00 “In 1976, jazz keyboardist Weldon Irvine was in a transitional phase of his career. Having spent years as Nina Simone’s band leader, he had developed into a full-formed, mature musician by the early 70s, creating a sound that combined modern jazz, soul, funk and blues with an underlying social and spiritual consciousness. Sinbad , his last ever album for a major label, marked the high point of that period. Mixing original songs with covers by Marvin Gaye (‘What’s Goin’ On’) and Stevie Wonder (‘Don’t You Worry ‘Bout a Thing’), Irvine led an exemplary group of players–guitarist Eric Bale, saxophonist Michael Brecker and a breakout performance by pianist Don Blackman, who also supplied vocals–on an ambitious, intricate musical journey that’s both technically brilliant and emotionally striking. Afterwards, Irvine found further success in writing musical stage productions, leaving Sinbad as one of his final–and greatest–recordings. Get On Down is proud to present Weldon Irvine’s masterpiece Sinbad as it was intended to be experienced, with a beautiful new digital transfer from the original analog tapes.” |
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YOUNG, LARRY: Larry Young’s Fuel CD (GET 51287CD) 15.00 Much-needed reissue of this landmark Larry Young album, recorded just a few years after the notorious Love Cry Want sessions that ultimately caused the downfall of the Nixon administration. “By the time Larry Young hit the studio with group Fuel to track this 1975 release he was already a seasoned jazz pro despite being in his 30s (young for jazz cat). His organ work in the 50s with Jimmy Forrest, Tommy Turrentine, Hank Mobley and others lead to being signed to Prestige as a leader and a string of incredible projects for both the Prestige and Blue Note labels throughout the 60s. His work with Tony Williams Lifetime on the 1969 album Emergency set the stage for the fusion movement even ahead of that genre’s landmark release Bitches Brew (where he appeared with Miles). By the 1975 Young was signed to Arista and ready to fire up a full on 70s style jazz fusion assault with his group Fuel. The sessions found Young behind the boards as producer and behind the keyboards as a player, utilizing everything from a Mini Moog to a Hammond B3, a Fender Rhodes to a traditional acoustic piano. The resulting project is thoroughly funky and often called the absolute best of his post-Blue Note recordings. Get On Down is pleased to put this classic, remastered from the original sessions, in front of a new generation of listeners hungry for a solid groove.” |
| HYDRA HEAD | |
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CAVE IN: White Silence CD (HDH 218CD) 16.50 “White Silence has an energy and a balance that feels like the work of seasoned vets, consummate professionals that have, with great heart, focus and authenticity, honed their songwriting ability in ways we feel fortunate to have witnessed firsthand. If you followed the member’s individual trajectories after Cave In’s un- declared 2005 hiatus, you’d have been witness to a spectrum of songwriting capabilities. Brodsky’s singer-songwriter eccentricities, Zozobra’s 2-piece metallic power, Cloud’s rock energy, and Doomrider’s thunderous roll; all tastes of the potential a re-unified Cave In might present. 2009’s Planets of Old was a four song return to form, a small taste of what Cave In were capable of producing with so much experience under their individual and collective belts.” Gatefold hardbound CD jacket. |
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OXBOW: King Of The Jews CD (HDH 221CD) 16.50 “Their long out of print sophomore release, available now in all its remastered and repackaged glory and arguable even truer to the beast Oxbow had in mind when they recorded it two decades ago. King of the Jews marks the second in Hydra Head’s lovingly currated Oxbow catalog reissue campaign.” Includes three previously-unreleased bonus tracks. CD housed in a paste-on mini-LP sleeve. |
| HYPERDUB (UK) | |
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KODE9 & THE SPACEAPE: Other Man/Love Is The Drugs (feat. Cha Cha) 12″ (HYP 010EP) 12.50 “‘Otherman’ backed with ‘Love Is The Drug’ is the lead single from Kode9 And The Spaceape’s second long player Black Sun. Coming from oblique angles, these two songs introduce the breadth of the album. ‘Otherman’ opens with a sombre, arpeggiated march built from wavering analogue synth drones, lulling the listener until Spaceape’s cracked communique interrupts the flow with downtrodden descriptions, wrapped around lop-sided rhythms. Sombre, flatline funk.” |
| ILLEGAL ART | |
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PEOPLE LIKE US: Welcome Abroad CD (IA 124CD) 15.00 “Vicki Bennett, under the People Like Us moniker, returns from several collaborations for her first solo album in several years. Stranded in the USA for an extended period after the Icelandic volcano eruption blocked her British homeland’s airspace, Bennett derived thematic material of displacement, travel, and a longing for elsewhere, from the natural disaster that caused her own predicament. Using collage as her main form of expression, she creates audio recordings, films and radio shows that communicate a humorous, dark and often surreal view on life.” |
| IMPORTANT RECORDS | |
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BARN OWL & THE INFINITE STRING ENSEMBLE: The Headlands CD (IMPREC 335CD) 14.00 “CD version housed in a digipak following the immediate sell out of the LP version. Full-length collaboration between Ellen Fullman, Theresa Wong, and Barn Owl produced by The Norman Conquest. Barn Owl’s extended drones and Theresa and The Norman Conquest’s strings are the perfect accompaniment to Fullman’s Long Stringed Instrument; a product of her own invention. This is an album of deep material of a complexly emotional nature. Eternal ragas for the infinite now.” |
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FULLMAN, ELLEN: Through Glass Panes CD (IMPREC 336CD) 14.00 “In 1981 Ellen Fullman began developing the Long String Instrument, an installation of dozens of wires fifty feet or more in length, tuned in Just Intonation and ‘bowed’ with rosin coated fingers. Fullman has developed a unique notation system to choreograph the performer’s movements, exploring sonic events that occur at specific nodal point locations along the string-length of the instrument.””In composing ‘Event Locations No. 2,’ I set out to focus more strictly than I ever had on detail in the choreography of my notation. Through writing the piece I designed ways to add more specific information in the score. The tuning uses a set of pitches based in the key of A, in combination with Arnold Dreyblatt’s tuning system based on F. These two roots generate tones in common but also complex or ‘dissonant’ tones. I wanted to find a way to incorporate more dissonance into my sound and intentionally worked with beating frequencies in this piece. ‘Never Gets Out of Me,’ a duet with cellist Theresa Wong, and ‘Flowers’, a trio recorded with Travis Weller and Henna Cho, are adaptations from ‘Stratified Bands: Last Kind Words’, originally composed for the Kronos Quartet in the Other Minds Festival. The composition is based on ‘Last Kind Words Blues,’ a haunting song by Geeshie Wiley recorded in 1930.” — Ellen Fullman. |
| KEYSOUND RECORDINGS (UK) | |
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BIAS & GURLY: Roll 12″ (LDN 021EP) 11.00 Keysound presents the first proper collaboration between two of the UK bass underground’s most seminal producers, Zed Bias and Steve Gurley. Entitled Roll, it’s an explosive, dark UK funky record that’s brimming with garage swing, vocoder funk, jungle rudeness and an edginess straight out of the “roots of”-era dubstep. The 12″ is backed with a rolling “Debt Repaid” remix from Keysound label boss Blackdown. |
| KOMPAKT (GERMANY) | |
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GUSGUS: Arabian Horse 2LP+CD (KOM 231LP) 18.00 Gatefold 2LP version with bonus CD of the entire album. 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. |
| KYE | |
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HELM: Cryptography LP (KYE 011LP) 16.00 “Helm is the ambiguous solo moniker of London-based sound architect Luke Younger. Although, perhaps best known as one half of the pioneering avant-drone outfit Birds of Delay, it is in the more esoteric work of Helm that Luke’s art takes on its most radical shape. 2010’s debut LP To An End confirmed that in an age of fleeting trends and fly-by-night fancies, there were still a few old souls prepared to knuckle down and deliver the goods that people want to receive. Cryptography carries forward that noble mindset, presenting a new five-part suite of expertly rendered electro-acoustic study. Using processed piano, Casio MT-40, cymbal and guitar strings Cryptography steers the Helm sound through a melange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in classic UK post-industrial fashion. Indeed, had it been conceived of 30 years prior, it would be easy to imagine Cryptography winning a seat in the United Dairies, or Dom America catalog, such is its commitment to homemade exploratory zeal. Cryptography arrives in a full color sleeve, with insert, in a hand-numbered edition of 400 copies.” |
| L’AROME PRODUCTION (FRANCE) | |
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AKALE WUBE: Akale Wube LP (LAP 013LP) 16.00 “Ethiopian grooves Akale Wube transforms an Ethiopian sound into a retro-futuristic soundtrack which makes you dance from head to toe. It is an improbable story: one that reunites a group of young Parisians with the Swingin’ Addis sounds of the seventies. In October 2008, five musicians got together on a wild project: to delve into the repertoire of the Ethiopian golden age, as defined by the producer Francis Falceto, to whom we owe the series of reissues ‘Ethiopiques.’ ‘The idea was to transcribe songs from this period and rearrange them to the sound of our times. First off, it eliminated the need to write songs that risked falling into Ethio-jazz cliches. The aim was not to bring about some artistic revolution through our work but simply to give and take pleasure by performing this music!’ Through this retro-futuristic alchemy, the Akale Wube quintet was born: a curious name borrowed from a song by the great saxophonist Getatchew Mekurya, a bit of an old-fashioned expression which can by translated as ‘my beautiful’ in Amharic, a poetic metaphor which also means ‘beauty of the soul.’ Body and soul! The Great Black Music currency can be found here, reinvented at every second. Take for example Mulatu Astatqe’s classics, the master of Ethio-jazz, songs like ‘Metche New’ by Teshome Sissay, or even some other lesser known rarities…Akale Wube delivers an original vision which transfigures the original version. ‘One of the challenges was to play the songs without a singer.’ The vocal parts are thus interpreted by the flute, starting with the bansuri on Ayalqem Tedengo: the opening tune by Alemayehu Eshete, the godfather of local funk, which uncorks the album. The group takes on another challenge by glorifying a song from the Eritrean repertoire called ‘Bazay’. It couples swing and straight eighths to develop a dance-floor tune full of breaks and counterpoint. Finally, the ultimate challenge was to integrate four of their original compositions into this journey, guided by the good sense of groove. ‘Nebyat’, a juicy ballad stained with psychedelic jazz, evolves through a post-rock direction, while ‘Jawa Jawa’ (meaning ‘to sway, to swing’ in Amharic) is a prototype of funk soul jazz breakbeats, agile percussion and subtle keyboards, brass playing in unison and a guitar riff in the tradition of The Meters. ‘Kokob’ is based on a slightly broken up reggae riddim. This track contains a sample of Haile Selassie’s historic speech at the United Nations in 1963, the same one used by Bob Marley in his emblematic ‘War’. Last but not least, the minimalistic ‘Ragale’: some light melodica touches, brushes barely grazed by the drummer and the deep blow of the tenor sax close this chapter by opening some new horizons.” |
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MEKURYA, GETATCHEW: Ethiopian Urban Modern Music Vol. 5 LP (LAP 014LP) 16.00 “Getatchew Mekurya is probably the most revered veteran of Ethiopian saxophone. A real giant, both physically and musically. Not only is he at the very top level of Ethiopian saxophonists, but he is the ‘inventor’ of an extremely distinctive musical ‘style.'” |
| LATITUDES (UK) | |
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A STORM OF LIGHT: Untitled LP (GMT 023LP) 17.00 LP version. “The lineup for A Storm of Light’s session includes founders Josh Graham & Domenic Seita, Geoff Summers on drums, plus Will Lindsay (Wolves In The Throne Room) guesting on guitar, and new singer Zohra Atash. The result is a volcanic display of doom-laden metal, complete with a chilling appearance from the legendary Lydia Lunch. This is end time music for people who welcome darkness with open arms. Features covers of Joy Division’s ‘Day of The Lords’ and Big Black’s inimitable ‘Kitty Empire.'” |
| LES PRODUCTIONS FLUORESCENTES (FRANCE) | |
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TONTON MACOUTE: Mureedil LP (FLUOR 001LP) 27.00 “Tonton Macoute is a French band formed in 2006. With a stock of cheap instruments, the trio wanted to find a dense, subtle and massive sound, in order to create motorik soundscapes, psychedelic drones, electric hypnosis and timeless storms. Rehearsals and recordings took place in a basement. Using the studio as an instrument, all the tapes were re-worked to produce this LP record titled Mureedil. Early listeners mentioned experimental rock and compared the music of Tonton Macoute to F/i, This Heat, Harmonia or Sonic Arts Union. Their first LP is also the first record released by Les Productions Fluorescentes, available now in an edition limited to 300 copies.” |
| LIEBE DETAIL (GERMANY) | |
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ANETTE PARTY (FEAT. ANITA COKE)/PATLAC: Moreno/Twilight 12″ (LIEBE 037EP) 12.00 One of Lüneburg, Germany’s local heroes along with Matthias Meyer, rising talent Patlac provides a rich and headstrong slice of emotional house with “Twilight.” Typically tight and reduced beats swell with dubby bass and precise studio sheen, as a beautiful bell melody blossoms and unfurls midway into the track. Definitely late-night music for the blissed-out moments, Patlac shows off his talents with triumphant understatement. |
| LIGHT IN THE ATTIC | |
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VA: Our Lives Are Shaped By What We Love: Motown’s Mowest Story CD (LITA 064CD) 15.00 “You know the old saying, ‘Go west, young man?’ Well, it’s far from cliche. Over the years, some have hit the road in search of Hollywood’s glitz and glamour, others, simply for warmer climes, but in the early 1970s, Detroit-native and Motown founder Berry Gordy Jr. brought his musical family to the left coast, one piece at a time. He began by launching the Mowest subsidiary in 1971, a new L.A.-based label dedicated to coastal grooves and an eye towards the top of the charts. In 2011, Light In The Attic Records is completely honored to present the first ever compilation of this now legendary label: Our Lives Are Shaped By What We Love: Motown’s Mowest Story (1971-1973), an adult portion of sweet soul, heavyweight funk, and even a dose of potent West Coast hippy rock. Forty years later, it’s time for the rest of the world to rediscover what a treasure trove of soulful sounds Mowest left behind. Our Lives Are Shaped By What We Love is a lovingly prepared 16-track CD with epic re-mastering from the original master tapes by engineer Dave Cooley (Blue Note, Warp, Stones Throw, Now Again), extensive liner notes from project curator Kevin ‘Sipreano’ Howes (Jamaica-Toronto series, Doug Randle, Rodriguez, Monks), and Strath Shepard’s (Pacific Standard) impeccable graphic design. This is a slice of Motown like you’ve never heard or seen before, so let’s head to the beach, set up shop, and max out to the rhythm. Looking at the Pacific, it appears that Mowest’s surf is just about to break.” Artists; Frankie Valli & The Four Seasons, Odyssey, The Sisters Love, G.C. Cameron, Syreeta, Suzee Ikeda, The Commodores, The Nu Page, Lodi and Thelma Houston. |
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VA: Our Lives Are Shaped By What We Love: Motown’s Mowest Story 2LP (LITA 064LP) 24.00 Gatefold 2LP version. |
| LION PRODUCTIONS | |
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VA: Groove Club Vol. 2: Cambodia Rock Spectacular! CD (LION 655CD) 18.00 “Recorded in raw, bare bones conditions, mostly live and with traditional Cambodian instruments finding their place alongside found keyboards or guitars, the music of the Khmer rock musicians transformed the nightlife of the Cambodian capital, Phnom Penh — and many years later seduced countless listeners around the world with their groovy sound. The rise to power of the anti-Western, fanatical Khmer Rouge in 1975 caused drastic and permanent changes for Cambodia. These years saw social upheaval in the form of massive famines, selective executions and a brutal campaign of genocide responsible for the deaths of an estimated two million Cambodians, many in the notorious ‘killing fields.’ Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth (‘the Emperor of Khmer Music’), Ros Sereysothea (‘The Golden Voice of the Royal Capital’), and Pan Ron met their deaths at the hands of the Khmer Rouge. The music of these honored musicians and others live on in this exclusive collection, assembled with much love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. The music is wild and anarchic, rhythmic and undulating, sometimes sweet and lyrical, but always moving. Cambodia Rock Spectacular! captures that deep soulfulness ingrained in the best music; and along with its sister album, Cambodia Rock Intensified!, it is perhaps the most definitive collection of classic Cambodian rock music to appear on the scene to date. Packaged in a deluxe case book with a 36-page booklet filled with rare photos and info on the khmer rock movement.” |
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VA: Groove Club Vol. 3: Cambodia Rock Intensified! CD (LION 656CD) 18.00 Sister album to Cambodia Rock Spectacular! (LION 655CD). “Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an Ethiopiques way) or sweet and lyrical, but always moving and with that deep soulfulness, regardless of actual musical genre or style, that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far: crucial Khmer rock tracks, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. Without further ado, welcome to Cambodia Rock Intensified. Packaged in a deluxe case book with a 36-page booklet filled with rare photos and info on the khmer rock movement.” |
| LOAD RECORDS | |
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FUNGUS BRAINS: Ron Pistos Real World LP (LOAD 132LP) 15.00 “Vinyl only release limited to 650. Essential reissue of the 1983 classic by Melbourne, Australia’s Fungus Brains. While it does feature a horn and unbridled guitar heaviosity from a very young Mick Turner (Dirty Three, Venom P. Stinger, Sick Things, Cat Power), it also sounds current with other AU records of the time from bands like the Birthday Party. This record received recognition in both Forced Exposure & Touch & Go ‘zines at the time. Only approach if you like rock music & hallucinatory free range sounds.” |
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BLACK PUS: Primordial Pus CD (LOAD 133CD) 14.00 “Black Pus is Brian Chippendale (Lightning Bolt) & on this, their 5th full length, a lot of the looped drum pop that has been percolating in this project’s gene pool is drawn so much closer to the surface. Insanely long saccharine loops are pushed, pulled, screwed & tattooed all over your face. With this ammo, an enduring record of stone-etched brute pop is forged. Comrade, now is the time, take up the fight, strap this pack on & blast off into the land where Space Shuttles no longer tread.” |
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BLACK PUS: Primordial Pus LP (LOAD 133LP) 14.00 “This is the first vinyl full length from Brian Chippendale’s (Lightning Bolt) Black Pus. Be prepared to have your senses leave your body & obsessive/compulsive jitter overtake your reason in this buffet of freon electronic entropy.” |
| LUSAFRICA (FRANCE) | |
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TRAORE, BOUBACAR: Mali Denhou CD (LUSA 562492) 19.00 “Malian superstar Boubacar Traore is the undisputed king of the African blues. Only his voice can blend the Niger and Mississippi river styles with such moving authenticity. His unique, inimitable, self-taught guitar technique owes a great deal to his kora influences, but its shades and phrasing also show influences of legendary American bluesmen such as Blind Willie McTell, Robert Johnson and Muddy Waters. Mali Denhou, Traore’s first new release in six years, finds the great singer on top form, earthy and biting. The album features stellar harp playing by Frenchman Vincent Bucher.” |
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CHANTRE, TEOFILO: meStissage CD (LUSA 562512) 19.00 “meStissage is the sixth studio album by Cape Verdean Teofilo Chantre. As Cesaria Evora’s appointed composer, Chantre has penned many beautiful songs such as ‘Ligereza,’ ‘Um Pincelada’ and ‘Crepuscular Solidao.’ His work is characterized by a strong melodic sense and harmonic sophistication that blends in a kind of swinging Creole jazz. meStissage features Marc Esteve as well as a guest appearance by Bernard Lavilliers who, after covering a Teofi lo Chantre song on his latest release, joins him here for a duet.” |
| M=MINIMAL (GERMANY) | |
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KREUZBERG: Kreuzberg LP (MINIMAL 006LP) 15.50 Kreuzberg is the project of drummer and composer Andreas Peters and DJ Jens Strüver (Borngräber & Strüver, J.R. Plankton). In their childhood they played in the same football club somewhere in West Germany and met again 20 years later in Kreuzberg/Berlin. They realized that in their lives music always played an important role and as their interests in musical styles were highly compatible, they created the project Kreuzberg. The tracks are based on a drumset, vibraphone (bowed), turntables and bass, which is the only synthetic element of the record. The music is influenced by dub, club music, minimal music and Conny Plank-era Krautrock. The result: acoustic movies and pulsating movements that are in no hurry. Time doesn’t matter when you listen to this music. |
| MADLIB MEDICINE SHOW | |
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MADLIB: Madlib Medicine Show No. 9 – Channel 85 Presents Nittyville CD (MMS 009CD) 16.00 “Madlib follows his detour into jazz with a punch-you-in-the-face return to hip-hop form — a collaborative album with Detroit rapper Frank Nitti. Madlib and Detroit-based rapper Frank Nitti first collaborated on Jaylib’s ‘McNasty Filth,’ from the seminal Champion Sound album. Back then, Frank was one half of the rap-duo Frank n’ Dank and he and his partner were the late J.Dilla’s go-to MCs. Madlib liked what he heard; he promised Frank that one day, he would work with the budding rapper on an album. Seven years, hundreds of beats, a bunch of blunt smoke and far too many cross-country trips later, and this is the result: a hazy, funk-filled rap album, done as only the Beat Konducta can do.” |
| MAINSTREAM | |
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FOSTER, FRANK: The Loud Minority LP (MRL 349LP) 11.50 Gatefold exact repro reissue of this politically-charged jazz record. Later established as the name of Frank Foster’s big band, The Loud Minority’s theme song was a Black Power movement classic and Foster went on to lead the Count Basie Orchestra after Basie’s death. |
| MIDNITE RECORDS | |
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HASTINGS ST. JAZZ EXPERIENCE: Detroit Jazz Composers Ltd. LP (MR 1976LP) 11.50 Exact repro reissue of this 1976 spiritual/soul jazz record. “A truly fabulous Big Band album of spiritual jazz from Detroit with a thirty plus member line up featuring Tribe and Strata East stalwarts such as Phil Ranelin, Miller Brisker and Nasir Hafiz plus guest vocalist Kim Weston of Motown fame.” — Orgy In Rhythm |
| MMM (GERMANY) | |
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ERIK & FIEDEL: Elektro Cut 12″ (MMM 001EP) 13.00 2011 repress. “Wild distorted electro tracks.” |
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ERIK & FIEDEL: Donna 12″ (MMM 002EP) 13.00 2011 repress. “Legendary disco/techno hybrids.” |
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MMM & SOUNDHACK: 10th Anniversary EP 12″ (MMM 003EP) 13.00 2011 repress. “After celebrating the 10 years anniversary last year, MMM and Soundhack have a split release together. This true double A side features fresh current productions as well as ‘from the vaults’ tracks, goodies they found on tapes from back in the days, when they just started these projects. “ |
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MMM: Nous Sommes MMM 12″ (MMM 004EP) 12.00 “Fiedel & Erik Errorsmith produce perfect rave disco – tip!” |
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MMM: Dex 12″ (MMM 005EP) 12.00 “Party guaranteed, sub heavy and subtly rhythmical world musics infected deadly sounding techno cuts – tip!” |
| MUNSTER RECORDS (SPAIN) | |
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LOS COYOTES: Aqui Estoy De Nuevo 7″ (MR 7233EP) 8.50 Reissue of this legendary single from 1983 on which Los Coyotes introduced the Latin influence into their psychobilly origins, creating a sound never heard before and which has been hugely influential ever since. |
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LA POLLA RECORDS: Y Ahora Qué? 7″ (MR 7234EP) 8.50 Reissue of this Basque punk band’s debut EP from 1983. Four crude and angry tracks that hit you like a punch to the jaw. |
| MY BEST FRIEND (GERMANY) | |
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TUBE & BERGER VS. FRANK SONIC: The Swarm 12″ (MBF 12080EP) 12.00 Tube & Berger vs. Frank Sonic create a timeless dance tune with “The Swarm.” Put Steve Bug in a room with DJ Pierre and this is what you might get. Minicoolboyz have crafted a very cool remix for after hours, relying on the steady sound of a mosquito swarm. “Autan” is similar in style and warmth and keeps the beat sexy and attractive until the very end. Small stunts, reductive rhythm, controlled, cool drive… a winner. |
| NINJA TUNE (UK) | |
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MR. SCRUFF: Wobble Control 12″ (BD 12288EP) 10.00 “Mr. Scruff returns with a synth heavy, low slung 4/4 number featuring a wiggling centipede synth line & unruly bass, scruffed up in his warm & dusty production style.. the sound of electronic instruments enjoying themselves! The second track see’s Nickodemus & Zeb from Brooklyn’s legendary Turntables on the Hudson crew tackle ‘Music Takes Me up’, adding a ton of bump & a ladle of synth to Alice Russell’s raw vocals.” |
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DAEDELUS: Tailor-Made 12″ (ZEN 12281EP) 10.00 “An exclusive 12″ release for Record Store Day, Tailor-Made is a delicious amalgam of wiggly keyboard lines, four-to-the-floor kicks, drum box flourishes and woozy, beautiful vox from Milosh. It builds and builds into a frenzied, ecstatic Daedelesque finale which will have you itching for more. Remix duties are taken care of by highly-rated fellow LA-er Jennifer Lee aka TOKiMONSTA. She gives it some of the LA Beat Scene lope while sneaking it a double-time shuffle all her own. As well as London based producer/DJ/composer Sam Shepherd aka Floating Points who has quickly become one of the most respected and sort after musicians in modern music.” |
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TOBIN, AMON: ISAM CD/BOOK (ZEN 1682CD) 31.00 “Limited edition CD & 40 page hardback book — featuring images by respected Saatchi Collection artist Tessa Farmer.” |
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TOBIN, AMON: ISAM CD (ZEN 168CD) 15.50 “Re-drawing and blurring the lines between psychedelia and sci-fi, between art and entertainment, between sound design and melody, Amon Tobin has created the finest, most intense work of his very considerable career, an extension and refinement of everything he has achieved thus far, a crowning achievement in the process that he describes as ‘re-ordering the things around me.'” |
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TOBIN, AMON: ISAM 2LP (ZEN 168LP) 20.50 2LP version with download code. |
| NON STANDARD PRODUCTIONS (GERMANY) | |
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NSI (NON STANDARD INSTITUT): Sync CD (NSP 009CD) 14.00 “Max Loderbauer & Tobias Freund prod. 24 pieces for drummachine and sequencer.” |
| NOW-AGAIN | |
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HECTOR & THE MALCOUNS, KARL: Tamanrasset LP (NA 5076LP) 21.00 “For all intents and purposes, Karl Hector might as well be another nom-de-plume of Jay Whitefield (producer and guitarist for the Poets of Rhythm and the Whitefield Brothers) who, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Alongside Bo Baral, other members of the Poets of Rhythm and crack Munich-based session musicians, Whitefield, Myland and Curlija crafted nearly twenty tracks for their debut, Sahara Swing, an album that swung with influences from across the African diaspora. The trio will now release a series of vinyl-only EPs — of which Tamanrasset is the first — that will culminate in their second album. Tamanrasset ‘s five songs demonstrate The Malcouns’ deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk; the song ‘Girma’s Lament’ – its title an homage to the great Ethiopian pianist, arranger and vocalist Girma Beyene – is a great representation.” Silkscreened sleeve; limited edition of 1000 copies. |
| NUMERO GROUP | |
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FATHER’S CHILDREN: Who’s Gonna Save The World CD (NUMERO 037CD) 14.00 “As much spiritual adherents of black sounds as they were of black Islam, Father’s Children was born in the dirt and grime of Washington, D.C., and incubated in local producer Robert Hosea Williams’ less-than-immaculate suburban beltway garage. Hailing from the Adams-Morgan neighborhood, in 1973 Nick Smith, Billy Sumler, and Ted ‘Skeet’ Carpenter created a lost document of gritty soul, concerned with its own time and place, stripped of the L.A. gloss that permeated the group’s own 1979 ‘debut’ for Mercury. Unreleased until now, Father’s Children’s true freshman offering is an amalgam of sunny vocal group harmonies, fuzz-guitar solos, shimmering keys, bubbling percussion, spiritual prophecy, and dub experiments. Who’s Gonna Save The World gets the full Numero treatment, with extensive notes and scores of unpublished photos.” |
| OSTGUT TON (GERMANY) | |
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TOBIAS.: Leaning Over Backwards 2LP (OSTGUT 009LP) 18.00 2LP version. Tobias Freund’s debut album for Ostgut Ton also serves as the album introduction to his Tobias. moniker, giving a fascinating and profound insight into his special world of music and sound science. Being a part of the music business since 1980, you could easily fill books with his works and creations. Formerly based in Frankfurt am Main and now happily living in Berlin, Tobias. started his quest in sound as a synth avant-gardist with a Korg MS20, worked a day job as a studio engineer (i.a. Milli Vanilli and today for Aerea Negrot, Nina Kraviz and Heartthrob, amongst others), remixed, released as Pink Elln and with projects such as Sieg Über Die Sonne and NSI (with Max Loderbauer) and runs his own label Non Standard Productions. On this album, Tobias. renounces the ubiquitous dictate of computer synchronization. Degraded to a plain recording device, the computer makes way for the classic drum machines Roland TR 808 and a Korg Mini Pops. Known for having a life of their own, their unpredictability wins over standardized convenience. Tobias.’ sound gets recompensed with dynamics and an agility that doesn’t lack attention to detail, accuracy and thoughtfulness. Rooted in jam sessions with just beats and efx units, the moods and music on Leaning Over Backwards range from unswerving club tracks to occasional ambient or drone-like atmospheres or meet up as hybrids. Take “The Key,” for instance — produced in Santiago by Tobias. and his long-standing colleague Uwe Schmidt (Atom TM), you can hear splintered beats and gloomy pads expanding into Drexciyan depths. It all comes full circle with “Now I Know.” Equally fantastic and fey, Tobias. makes use of Aerea Negrot’s (Hercules & Love Affair) remarkable voice, turning the closing track into a longing piece of Blade Runner pop music. Leaning Over Backwards bewitches with its nonconformity and almost frightening idiosyncrasy. Tobias. creates a style of techno that is far away from steamroller kick drums and the rules of functionalism — this is techno as a perpetual motion machine. |
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HOPPNER, NICK: A Peck And A Pawn 12″ (OSTGUT 049EP) 12.00 Berlin’s Nick Höppner continues his exploration into an ever-developing and rich production vocabulary. The rough goes with the smooth in perfect harmony on “A Peck And Pawn.” The spaced-out and traveling “She Parked Herself” features bubbling percussion and pretty melodic structures fusing with an analog bassline in this high-tech and positive jam. “Swivel Flick” slows the pace in a warm, dubbed and droning thinkpiece that really shows off Nick’s talent for a non-standard groove. |
| P&C RECORDS/REEL MUSIC | |
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CRAWFORD, CAROLINE: My Name Is Caroline CD (PCD 72006CD) 16.00 “Caroline’s Crawford’s career first began at the age of 15 on Motown Records where she recorded loads of songs but released relatively few! She re-surfaced on Philadelphia International in the early ’70s with one brilliant single and a completely unreleased album, which stayed in the can as a result of disagreements with Gamble & Huff. An uncompromising singer, she teamed up with Hamilton Bohannon and sang background on his hits ‘South African Man’, ‘Foot Stomping’ Man’ and ‘Summertime Groove’. Bohannon wrote, produced, arranged and directed the seven cuts. All Music Guide’s Andrew Hamilton writes: ‘His patented rhythmic, shuffling sound interspersed with some ballads make this an extension of his ‘Summertime Groove’ album which featured Crawford’s vibrant vocals. This is good. Mercury’s neglect kept this album from improving their bottom line or Crawford’s career, in spite of infectious ditties like ‘Tell Me You’ll Wait’ ‘Coming On Strong,’ and ‘Caroline Breakdown’. A classic soul album from a very underrated singer!!” Packaged in a mini-LP style cover in a dust sleeve with obi strip. |
| PALETTE | |
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TEJADA, JOHN: The End Of It All 12″ (PAL 039EP) 12.00 Palette re-releases The End Of It All, originally released in 2006 — quite possibly the last GOOD AMERICAN TECHNO RECORD, EVER. A classic, melodic Tejada piece, with heavily-distorted chords underpinning a spheric, slightly sentimental chime melody over hard-as-nails, handclapping beats. With its sneaky bassline, acid chirps and bubbly percussion sounds, the B-side takes us down a slightly more sinister path. |
| PERLON (GERMANY) | |
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PROPER, SAN: A Cat Called Mice 12″ (PERL 085EP) 14.00 Perlon presents a 3-tracker by San Proper. On this one, the Amsterdam-based musician not only introduces “A Cat Called Mice” besides offering to “Cut Yo Hair”; San also managed to discover the epic “Lost Track Of Time,” a song that has been lost for more than 800 years. |
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DYGAS, MARGARET: Margaret Dygas 2×12″ (PERL 086LP) 22.00 2×12″ version. With a sound born in New York, ripened in London and refined in Berlin, Margaret Dygas is an artist whose sound possesses a true international resonance. Born and raised in Poland, at age 11 Margaret and her family moved to Germany, before finally relocating to San Jose, California. Surrounded by old school hip-hop as a teenager, her discovery of house music came in the early ’90s, following a move to New York in order to study fashion at the renowned Fashion Institute of Technology. Captivated by the British dance scene, Margaret moved to London in the summer of 1999. Becoming a regular fixture on London’s electronic music scene, Margaret went on to play clubs that included Fabric, The End and Herbal, holding a residency at AKA for Underline’s label night. It was following her move to Berlin that Margaret started producing and writing her own music. After her debut release, Day After (for Jay Haze’s label Contexterrior), Margaret followed with the See You Around EP, released in 2008 on Non Standard Productions and the Invisible Circles 12″ for Perlon (2009). 2010 marked the release of Margaret’s first full-length album How Do You Do (PSCD 001CD). Released on Japan’s Power Shovel Audio, the album was inspired by the book Peoplewatching, a guide to body language by British zoologist Desmond Morris. Miss Dygas goes next level for Perlon with six songs in 46 minutes. |
| PERMANENT VACATION (GERMANY) | |
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POLLYESTER: Earthly Powers LP (PERMVAC 079LP) 17.00 LP version. 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. |
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PIONAL: Last House On The Left EP 12″ (PERMVAC 081EP) 12.00 Pional aka Miguel Barros is probably Spain’s best-kept secret when it comes to electronic music production. Handcrafting a sound that explores house, deep textures and Kraut influences, Pional’s three track Last House On The Left EP shows influences ranging from Moodymann to Matias Aguayo, from Caribou to Grizzly Bear. Miguel’s edit skills have been proved refixing Ariel Pink’s Haunted Graffiti and Matthew Herbert and his remix ability has been requested by Delorean, Clinic and Space Ranger. |
| PHILLY GROOVE/BELL | |
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DELFONICS, THE: The Delfonics LP (PG 1153LP) 11.50 Exact repro of the pioneering Philly soul group’s self-titled third album, originally released in 1970. The band’s best and an example of Thom Bell’s timeless production. |
| PICAP (SPAIN) | |
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VA: Barcelona Progressiva 2CD (PICAP 911000CD) 34.00 “Compilation featuring rare single tracks and some rarities from the early bands of the psych/prog scene from Catalonia. Featuring Maquina, Agua de Regaliz, Jordi Sabates & Om, Jarka, Om, Pau Riba, Pau Riba, Ia and Batiste. Includes booklet with liner notes & pictures.” |
| PLANAM (ITALY) | |
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ERIKM & LUC FERRARI: Visitation LP (PLANAM ARIE) 27.00 “Visitation, created on April 1st, 2011 is a very unique kind of collaboration between two French sonic artists, master Luc Ferrari and eRikm. Here is eRikm direct testimony about this new work: ‘When the sun set on April 1st, 2011 I heard through the windows of my house the repetitive song of a night bird. Madeleine brought me immediately back to Luc Ferrari¹s electroacoustic piece Presque Rien N° 2. I became curious about comparing the bird that was officiating in the garden of Cap15 (in the North area of Marseille) with the bird of Presque Rien. My curiosity triggered the desire to play Luc¹s piece in the acoustic space of my house. With my rudimentary recorder I moved inside and outside the house moving back and forth between both spaces. I played with the depth of field, the beat between these two birds separated by 34 years and immersed myself in these acoustic events. This Ursprung or temporal Klein bottle was recorded and edited in one single sequence shot.” Very hard to confront with one of the all-time masterpieces of modern creation as Luc Ferrari’s Presque Rien N° 2… but listening to this piece you immediately get the impression of a perfectly accomplished work, published now on LP on your favorite label. So here is the first ever LP by eRikm, elegantly released with Presque Rien iconic mouth picture on the sleeve; dedicated to Brunhild Ferrari and to Natacha Muslera. Edition limited to 350 copies.” One-sided release. |
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VOGEL, MICHEL: Ronde Matutinale À Amillis/Berenice LP (PLANAM OHM2) 27.00 “Planam proudly presents the second LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogel’s artistic activities started in 1960 when, as a painter under the materic influences of Antoni Tapies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His research developed with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and especially the Fluxus artists, supported and pushed him to carry on his acoustic explorations while his sonic creations got closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. After the deep cosmo night music of Une petite music de nuit (Vogel’s first LP) Planam decided to issue two more early-morning oriented realizations, or ‘Ronde mattinale à Amillis’ and ‘Berenice.’ These alfa-wave improvisations for ‘prepared’ gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions. Edition limited to 270 copies with full colour space cover and inner sleeve.” |
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WELTTRAUMFORSCHER: Herzschlag Erde/Verdunkelt Die Sinne LP (PLANAM WTF) 31.00 “Right on time for its 30th anniversary, Herzschlag Erde, cassette debut album of Die Welttraumforscher, is being re-released in a collaborative effort between the labels Planam and A Tree In A Field. The new, limited vinyl edition includes a large-format, 20-page booklet as well as the previously unreleased follow-up album, Verdunkelt die Sinne. Die Welttraumforscher is one of Switzerland’s most enigmatic musical projects, with a catalog that not only spans more than 30 albums, but also films, stories and countless illustrations. These documents are the only proof that Die Welttraumforscher actually exists. Small creatures with big, gentle eyes, more reminiscent of friendly ghosts than of scientists (Forscher), are depicted with child-like innocence and painstaking attention to detail. Their universe also includes such characters as the ‘Moon Pope’, Kip Eulenmeister and Leguan Rätselmann. Together, they experience weird adventures with a touch of science fiction, metaphysics and dadaism. As Die Welttraumforscher themselves put it: ‘We are working for the next world’. No wonder that those of us stuck in the here-and-now are not always able to make sense of it. The man behind this phantom band is only mentioned in the small print: ‘Lyrics, music and illustrations by Christian Pfluger for Die Welttraum-forscher.’ Not unlike musical kindred spirits The Residents, Pfluger remains in the shadows, creating a mystique. However, instead of concealing or disguising himself at shows, he just very rarely plays live at all. This veil of mystery, the borderline-esoteric mysticism, plus the fact that the lyrics are almost exclusively in German, might explain to some degree why Die Welttraumforscher have always led a niche existence. Among musicians, however, they have already gained cult status. Mouse on Mars, Neoangin, and Harald ‘Sack’ Ziegler are just a few known admirers. Together with other musicians, they released a remix LP on Felix Kubin’s Gagarin label in 1999. Other well-known aficionados are Dieter Meier (Yello) and German astronaut Hans-Joachim Roloff. Herzschlag Erde sets a musical and artistic course that has remained largely unchanged in the following 30 years. New, affordable technology such as the 4-track-cassette home studio made it possible to record music alone and with simple equipment; ‘We work with what we have, not with what we’d like to have.’ Technological constraints are compensated by an unbounded imagination, yet the final result remains playful and intriguing. The opening track, ‘Traum der Welt’ (i.e. Dream of the World), is also a manifesto of sorts: ‘…they are […] coming to us. Die Welttraumforscher, music from the far end of our thoughts, Neither-Nor sounds, and dance ambushes.’ Edition limited to 350 copies including a large (20 page) booklet with sinister photos, surreal drawings and lyrics in German and English.” |
| POLYDOR | |
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BROWN, JAMES: Reality LP (PD 6039LP) 11.50 Exact repro of this 1974 album. Tracks: “Reality,” “Funky President (People It’s Bad),” “Further On Up The Road,” “Check Your Body,” “Don’t Fence Me In,” “All For One,” “I’m Broken Hearted,” “The Twist” and “Who Can I Turn To.” |
| POWER PLANT RECORDS (GERMANY) | |
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RYOM, JESPER: Nature Boy 12″ (PPR 002EP) 12.00 Jesper Ryom’s refined musical universe sees samples and live guitar merge and mesh into a kaleidescopic whole. The Nature Boy EP begins with the restless liquid ripples and refracted rays of “Godt Begyndt” — a skippy, syncopated house tempo provides the grounding and the momentum, as the shimmering melody turns in a circular motion in the mid-distance. A softly distorted vocal refrain floats by, while gentle reverb tangents and rhythmic guitar strums add to the track’s bittersweet reverie. Remix by La Fleur. |
| PRE-CERT HOME ENTERTAINMENT (UK) | |
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ANWORTH KIRK: Avonwaith LP (VHSX 003LP) 18.00 Avonwaith is the second vinyl-only release by the ambiguous Anworth Kirk for the Demdike Stare/Finders Keepers-curated Pre-Cert Home Entertainment. Expanding on the concepts shared in 2010’s virtually unobtainable self-titled debut, Avonwaith constructs dense melodic and narrative sound poems upon a skeletal framework of non-musical elements such as basic magnetic communication, secular religion and primitive mechanical industry. Composed and compiled around fake-loric nonlanguage/electric codes and forbidden information, Anworth Kirk uses the phonographic format as an archive of sonic and poetic commentary (evidence) concerning corruption in pre-war local industry, perverted belief systems and scientific invention. Part musique concrète, part folklore, part-pulp-fictitious, part Neorealist, this indulgent patchwork of mechanical folk/pop and non-music combines essential influences of electric Smithsonian releases, sound poetry, Zden?k Liska, Ilhan Mimaroglu, basic Carnatic music, Letterism, Pierre Henry, Oramics in Ardwick, Massiera, Lloyd M. Williams, Stella Crenshaw, Bruno Nicolai, Suzanne Ciani, Eastern European fiction, AgitProp, L.S. Lowry, J.G. Frazer, Gurdjieff, Kommune pop groups and futen theater. With Avonwaith, Anworth Kirk attempts to draw a line between fantastical subjects based on corruption of belief systems and hypocrisy in the workplace, alternative religion, persecution, Early Freemasonry, drug abuse and Egyptology set against the backdrop of the cotton industry and the “Hive Of Industry” in the North of England — and its exotic global developments. Parts of this disc are presented in both Stereo and Mono and it is to be played at 45RPM with a low-gram stylus pressure. Vinyl limited to 420 copies. Cut at Berlin’s Dubplates & Mastering. |
| QUINTESSENTIALS (UK) | |
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AZUNI: Soulship 12″ (QUINTESSE 022EP) 12.00 Some more proper house music from new Quintessentials signing Azuni. The lads have been making a name with an excellent debut album on Sthlm Audio and further releases on labels like Drumpoet Community. Ranging from Kerri Chandler-type tracks like “Do It To Me” to the hip-house “Feel It” (featuring vocals from Bolo) to uplifting, old schoolish tunes like the Rob Mello remix to the deep and pumping “How Wonderful (You Are),” it’s all there. |
| RCA | |
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LUCIEN, JON: Rashida LP (APL 10161LP) 11.50 Exact repro, originally released in 1973. “Like Lucien’s first effort (1970’s I Am Now), Rashida didn’t set the world on fire commercially speaking, but it solidified Lucien’s status as a purveyor of intelligent romantic ballads and poetic if not gushy lyrics. Even to fans of jazz/r&b/pop, Lucien is a love or hate proposition and Rashida was the effort that all but etched his persona in stone. Produced by Shep Meyers and Larry Rosen, Rashida, displays Lucien’s soothing baritone and romantic nature with much aplomb.” –All Music Guide |
| RITI | |
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MORRIS & AGUSTI FERNANDEZ, JOE: Ambrosia CD (RITI 011CD) 13.00 “A state-of-the-art duo recording from two masters of improvised music. Joe Morris (guitar) and Agustí Fernández (piano) create new musical vistas using rich melodic invention, resulting in completely unique and unprecedented sounds that challenge the ear and enhance the spirit. These two listen closely and approach their music as inventive virtuosos, constantly breaking new ground on their instruments and arriving at a place of originality that could only happen right now. Ambrosia was recorded October 20th 2010 at Firehouse 12 Studios in Morris’s hometown of New Haven, Connecticut and mixed the next month at FCM Studios in Fernandez’s hometown of Barcelona, Spain, the amazing audio on this recording captures every minute detail and timbre that emerges from the two instruments, highlighting the constant stream of musical invention. This CD also represents the current state of improvised music as it exists in the Global community of musicians. Morris and Fernández are each widely considered to be leading voices in improvised music in the US and Europe. Their individual artistry and versatility seem limitless. Combined they have performed with nearly all of the best-known figures in improvised music.” |
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MORRIS WILDLIFE, JOE: Traits CD (RITI 012CD) 13.00 “All improvised quartet music by four acclaimed leaders in free jazz and improvised music. The superior collective interplay on this recording is matched by the individual virtuosity of the four players, each a master voice on their respective instruments. Led by the driving energy and instantly formal playing of Joe Morris on bass, who makes his deepest case yet to be considered one of the great bassists in free music, this amazing group operates as a model of collective interaction creating spontaneously realized pieces that are vivid, grooving, driving, soulful, adventurous, demanding and richly rewarding. The two lead voices on saxophone, Petr Cancura and Jim Hobbs each display complete command of their instruments and push them to new and beautiful places that are rooted in the tradition of saxophone music. All of this is held down by the deeply rooted and energetic drive of master drummer Luther Gray, whose playing on this recording is nothing short of heroic. At once encompassing what must be considered the history of free music drumming in every statement he makes, Gray commands tremendous force and renders it with graceful musical poise.” |
| ROTI RECORDS | |
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REGAL DEGAL: Speckled Fruit 12″ (ROTI 001EP) 14.00 “Following the Format Worth cassette release on RVNG Intl., Regal Degal return with Specked Fruit, a smash n’ grab 12′ maxi-EP of outsider lysergic pop for mutant sound huffers n’ handsome dweebs. The first side crams in five jams clinically and cynically treated for fourth eye clarity. Demonstrating the Brooklyn trio’s formative songwriting, tracks like ‘Pretty Busy’ and ‘Eaten Alive In Front of Stained Glass’ work at Swell Maps and The Pop Group levels, while ‘Peace On Repeat’ and ‘The Digest’ perfectly reference the early 90s takin’-a-piss-pop of The Cows. The B-side is a portable tape recorder mess of manic practice panic. Recommended record of a record that could have been released on Recommended Records. Edition of 300. 3-color spray-painted stencil sleeve artwork.” |
| RVNG INTERNATIONAL | |
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CLEAN PLATE: Clean Plate LP (RVNGNL 006LP) 21.00 “During the Great Blizzard of 2010, Julian Grefe and Justin Geller of Pink Skull alongside Quentin Stolzfus (Azusa Plane, Mazarin) holed up in a two hundred year old barn with twenty some odd (and some not) synthesizers, the mighty Pink Skull Modular, a 1 inch 8-track, and enough mushrooms to shelter a village of Smurfs. The result of this meeting of the mind-melters is the Clean Plate album, an analog inner space journey in the tradition of Tangerine Dream’s Phaedra and Brainticket’s Voyage. Gurgling pads, stalactitic arpeggios, whole synth hog drones, groans and moans, guide the listener through the tube into a sublime union with an ominous reality abyss. Clean Plate is the unusual precursor to Pink Skull’s forthcoming album on RVNG Intl, Psychic Welfare.” |
| SAHKO (FINLAND) | |
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WEGNER, BASTIAN: Elmsfeuer CD (SAHKO 024CD) 22.00 “A sparse, subtle jazzy, wonderful virtual sound track.” |
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Ø: I’m Bleeding Now LP (SAHKO 025LP) 20.00 “Wonderful Mika Vainio electronics.” |
| SANDWELL DISTRICT (UK) | |
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SANDWELL DISTRICT: Sandwell District CD (FFCD 001CD) 17.00 “A collection of tracks and versions from the Sandwell District – killer spaced out tripping techno – tip!” |
| SARGENT HOUSE | |
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BORIS: Attention Please CD (SH 055CD) 15.50 “Iconoclast Japanese trio Boris are widely known for their ability to breach styles and stretch sonic boundaries of all that is heavy, psychedelic, droning and downright cathartic. But, Attention Please is more like a complete redefining of their potential in several ways. First and foremost, it is the first album on which all vocals are sung by lead guitarist, Wata. While she has previously sung on a couple of songs for singles and her own solo recordings, the entire 10-song album features her intimate, multifaceted vocal style. Secondly, the songs on Attention Please have a sultry, intoxicating catchiness to them. It’s melodic without sounding pop. It’s psychedelic without sounding dated. It’s heavy without relying on barre chord riffs.” |
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BORIS: Attention Please LP (SH 056LP) 24.50 Gatefold LP version with poster, lyric insert, and mp3 download card. |
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BORIS: Heavy Rocks (2011) CD (SH 058CD) 15.50 “Heavy Rocks opens with fitting aplomb as a driving drum beat catapults a thunderous drop-tuned guitar riff headlong into the Sabbath meets Eddie Hazel pummeling of ‘Riot Sugar’ (featuring guest backup vocals by Ian Astbury). Boris’ bristling thrash meets ethereal psychedelia (‘GALAXIANS’, ‘Window Shopping’) and lush, languorous nearly 13-minute songs ‘Missing Pieces’ and ‘Aileron’ navigate explosive quiet/loud dynamics with inventive use of song structure and emotionally-wrenching melody. Heavy Rocks is at once both a reinvention of Boris’ magical ability to combine elements of myriad genres as much as it is a return to form, expanding and developing on the ideas explored on the original 2002 Heavy Rocks album. Boris invited some very, uh, heavy friends to contribute to songs the album, including longtime collaborator and Boris’ touring second guitarist Michio Kurihara (Ghost), Ian Astbury (The Cult, BXI), Faith Coloccia (Mamiffer) and Aaron Turner (Isis, Mamiffer, et al.) It’s worth noting that all of them tracked their parts in Tokyo, not via file transfer.” |
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BORIS: Heavy Rocks (2011) 2LP (SH 059LP) 27.50 Gatefold 2LP version with download code. |
| SIDEWALK | |
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BAXTER, LES: Hell’s Belles LP (ST 5919LP) 11.50 Exact repro of the soundtrack to Maury Dexter’s 1969 biker flick. Mostly instrumentals and some fuzz guitar. |
| SIGE | |
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MERZBOW/MAMIFFER/HOUSE OF LOW CULTURE: Lou Lou…In Tokyo 2LP (SIGE 007LP) 34.00 “It was a cold and tumultuous spring day in Tokyo. The date was March 7, 2010. In between sheets of rain, the occasional snowflake could be seen, briefly floating among its more liquid counterparts. The weather set the perfect mood for a night of quiet melody and explosive noise – for this was the combination of elements woven together and unleashed on this particular occasion by the participants in Mamiffer, House of Low Culture and Merzbow. Mamiffer on this occasion was comprised of core members Faith Coloccia and Aaron Turner, joined by local heavy rock/experimental hero Atsuo (of the long running, largely unclassifable Japanese group Boris). Utilizing electric piano, tapes, guitar, gong and tape delay, the trio of Coloccia, Turner and Atsuo created stark soundscapes based around pre-existing compositions, finding plenty of space for free improvisation and intuitive interplay within the framework of each piece. The set was comprised of tracks from both new and old Mamiffer albums, ending with the debut of ‘Lilac’ – a previously unreleased song built around disintegrating guitars and buzzing metallic luminance. House of Low Culture, comprised of main members Turner and Coloccia, was joined by both Atsuo and noise magician Masami Akita (aka Merzbow) for a nightmarish take-over of the HOLC track ‘Ice Mole.'” Hand-numbered edition of 330. |
| SMALLTOWN SUPERSOUND (NORWAY) | |
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DISKJOKKE: Sagara CD (STS 204CD) 17.00 “The Sagara project began life in 2009 when Diskjokke was commissioned to create a one off piece for top Norwegian festival Øya. He was given free reign as to what this project might entail, & encouraged to travel almost anywhere to find the right people to work with. He researched the Indonesian Gamelan tradition, & reached out to a group called Sambasunda (led by Ismit Rutchimat). Diskjokke then spent two weeks in Bandung, Java, staying in their studio recording traditional instruments, sounds & ideas. Written, produced and recorded in Oslo, many of the sounds on Sagara were recorded various places in Indonesia, like the crickets from the Bandung jungle, the waves of Bali, etc.” |
| SMALLVILLE (GERMANY) | |
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DIONNE: Back On The Planet 12″ (SMALL 023EP) 12.00 Smallpeople member Dionne aka Just von Ahlefeld debuts on his co-owned Smallville label. Entering the Smallville Record Shop in Hamburg City on a rainy afternoon, you would find co-owner Dionne working on some arrangements of his tracks. The room fills up with that unique kind of deepness and beauty we already know from his releases on Underground Quality, Laid and Tersiptone. Dionne is Back On The Planet with a heavenly 3-track EP to spread sweetness and love on the dancefloor. |
| SOUTERRAIN TRANSMISSIONS (GERMANY) | |
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EMA: Past Life Martyred Saints LP (SOU 021LP) 18.50 Gatefold LP version. On 180 gram vinyl with download code. “Past Life Martyred Saints is a fiercely individual record, made by a musician with a fearless and courageous approach to her art. It hits as hard as a cold slap in the face– and will leave its mark on you.” — Pitchfork |
| STIL VOR TALENT (GERMANY) | |
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SCHWIND, NIKO: Good Morning Midnight Part 1 12″ (SVT 061EP) 12.00 Here comes the first vinyl EP from Niko Schwind’s Good Morning Midnight (SVT 060CD). “Midnight” is percussive tech-house that features some pretty wasted vocals, stomping bass sounds and pizzicato strings. “Shine” features an oldschool bassline, some great vocal samples and a wonderful piano melody. “Wake Up” (featuring Staller) is percussive and funky tech-house that includes some vintage organs. David August’s exclusive remix features vocals by Fran and is an emblematic, energetic ’90s house track that still feels very 2011. |
| STRAWBERRY RAIN | |
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AKA: Hard Beat 2LP (STRAW 001LP) 26.00 Gatefold double LP version. “First anthology from Indonesia’s heaviest psychedelic and progressive funk rock group. AKA featured on Now Again’s Those Shocking Shaking Days compilation (2011). Originating from Indonesia’s second largest city, Surabaya, East Java, AKA is an acronym of Apotik Kali Asin. Starting off their careers as an infamous local band with notorious crowd pleasing antics, AKA regularly went through repertoires of Steppenwolf, Grand Funk Railroad, James Brown, Jimi Hendrix, Cream and Three Dog Night before finding a significant audience outside their home city. It was soon after that the band signed with a Jakarta based label, Indra Records that they started producing a steady release of albums, including 11 studio LPs and a couple of compilations. The lead singer Ucok Harahap – who famously idolizes James Brown- is perhaps the most notorious rock performer in Indonesia’s pop history, infamous for brandishing (amongst others) coffins, whips and stripping naked on stage during performances. Sadly due to recording English based, heavy psychedelic/progressive funk, AKA’s music failed to gain popularity at the time of its release. Today, AKA is recognized as one of Indonesia’s top rock bands of all time, and for good reason. With this release, we are proud to offer an Anthology encompassing AKA’s heaviest & funkiest moments.” |
| SUBTEXT (UK) | |
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EMPTYSET: Demiurge 12″ (SUBTEXT 003EP) 11.00 Emptyset is the pioneering project from Multiverse boss James Ginzburg aka Ginz, and the DJ and curator Paul Purgas. Heavily inspired by Bristol’s lineage of dub and system-shaking sonics, Demiurge continues the project’s deconstruction of the club experience and the magnification of the unplanned and unexpected textures that emerge from amplified sound. The resulting music is born from this investigative metamorphic process, the spine of rhythm scraped and exposed to extreme sonic pressure — bass music squeezed to its limits. |
| SUBWAY (SPAIN) | |
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H.P. LOVECRAFT: H.P. Lovecraft II LP (HPL 069LP) 29.00 “Second album by this American psychedelic band, released in 1969 just when the group had relocated to San Francisco. Acid drenched psychedelic rock of the highest order, still haunting and dark sounding but this time offering a more progressive approach. Featuring West Coast psych classics like ‘Spin, Spin Spin’, ‘Electrallentando’, ‘High flying bird’, ‘Mobius Trip’ and many more.” Gatefold sleeve. |
| TAMLA | |
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ISLEY BROTHERS, THE: This Old Heart Of Mine LP (TM 269LP) 11.50 Exact repro, originally released in 1966. “That intangible, soul-stirring, toe-tapping quality which has come to be known as the Motown sound is perfectly exemplified in the Isley Brothers’ first album from Tamla. All the elements are here — the sincerity, the expert musicianship, the technical excellence and the intimate rapport.” |
| THRILL JOCKEY | |
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FRIEDBERGER, MATTHEW: Old Regimes LP (THR 262C-LP) 14.00 “Old Regimes is the third album released in Matthew Friedberger’s 2011 six album series Solos. Matt’s vocals are present and a Lyon and Healy semi-grand harp was the only instrument used on Old Regimes. Matt is Rock-n-Roll musician and songwriter Matthew Friedberger, a Chicagoan. Mr. Friedberger considers R-n-R an anti-vocational sphere of endeavor, as is obvious from its epithet, so spelled, Q.E.D. Therefore a C.V. is drastically inappropriate.” |
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PONTIAK: Comecrudos 12″ (THR 275LP) 14.00 “Comecrudos is a new 25 minute 12″ vinyl only EP. This release was created as a soundtrack to the bold landscape Pontiak encountered on a drive from Phoenix to the Big Bend area of Texas. Pontiak was captivated by the sprawling landscape, the immensity and complexity of the geology and the beauty. They camped in an old volcano crater under a full moon and hiked ridges alongside the Rio Grande. Comecrudos is a soundtrack for the drive on Route 385 southbound from Marathon, Texas. The band recommends listening to the album whilst driving, windows rolled down, music at full volume, the dust hanging in the air. Or on the subway – imagining you are in a car driving with the widows rolled down, music at full volume, the dust hanging in the air.” |
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BARN OWL: Shadowland 12″ (THR 277EP) 14.00 “The new material on Shadowland takes inspiration from the devotional sounds of Popol Vuh and Alice Coltrane and also possesses the pitch black weightlessness of Fushitsusha and early Tangerine Dream. With waves of guitar soaring over liquid synthesizers tones, Barn Owl combine lush, melancholic serenity with cacophonous, deconstructed guitar to exhibit a visceral meeting of light and dark. Cyclical themes were explored heavily: mantric guitar processions, swelling bass waves, and fluttering tremolo hypnotism. Shadowland was recorded by Phil Manley (Trans Am) in San Francisco. For the overall sound of the EP, the band focused on using monolithic stacks of tube amps and sent guitars and synthesizers alike through them and utilized intense amounts of stereo delay.” |
| TICO RECORDS | |
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PALMIERI, EDDIE: Mambo Con Conga Is Mozambique LP (LP 1126LP) 11.50 Originally released in 1965, this record introduced Manny Oquendo’s “Mozambique” percussion rhythm to the NYC Latin jazz scene. |
| TIGERSUSHI (FRANCE) | |
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YES WIZARD: Elephant & Castle 12″ (TSR 045EP) 11.00 During a recent R&R mission in the South East Coast town of Ubatuba, Brazil, Joakim found himself privy to a local urban legend of a music composer going by the name of Yes Wizard. Revered by many, but unrevealed to all, Joakim set out to find the artist and the body of work. The tracks he acquired were futuristic, tropical, dark, voodoo dancefloor bombs. Remix by Duke Dumont. Already receiving support from Erol Alkan and Rob Da Bank. |
| TOMMY BOY | |
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AFRIKA BAMBAATAA: Looking For The Perfect Beat 1980-1985 2LP (TB 1457LP) 21.00 2001 release. “Together with other visionary DJs such as Grandmaster Flash, Afrika Bambaataa can be credited with inventing hip-hop in the late 1970s and early 1980s. His musical innovations and genuinely collaborative style –considering any record fair game to infuse with a hip-hop beat — made him a pioneer in the form. Moving from a live band approach to a more high-tech sound resulted in the classic smash hit ‘Planet Rock’ in 1982.” |
| TRAFFIC | |
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PLANET PATROL: Planet Patrol CD (TEG 75516CD) 18.00 “Considered one of the most choice gems of the electro movement, Planet Patrol’s 1983 debut release is back in effect. Their first 12″ was pulled together from material that did not get included in Afrika Bambaataa’s break dance national anthem, ‘Planet Rock’. After the success of the resulting single, ‘Play At Your Own Risk’, Tommy Silverman paired the group with Arthur Baker to work up this full length classic. The group which consisted of Rodney Butler, Melvin B Franklin, Herbert J. Jackson, Michael Anthony Jones & Joseph Lites may have only turned out one complete long player, but fortunately for us it’s a benchmark in the electro sub-genre. Anchored by ‘Play At Your Own Risk (Remix)’ this album features more of what Electro fans crave; heavy 808s and more analog synths than you could possible fit into one room not to mention an electric sitar on the track ‘It Wouldn’t Have Made Any Difference.’ Traffic Entertainment Group is proud to announce the re-release of the seminal hip-hop/electro classic. Fully licensed and remastered from the original analog source material, Planet Patrol’s self-titled effort sounds better than ever and comes packed in a handsome digipak to keep collectors smiling.” |
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UNIQUE AND DASHAN: Black To The Future CD (TEG 76537CD) 16.00 “‘This is protected by the red, the black and the green.’ With this now infamous phrase, X-Clan’s Professor X introduced the world to Unique and Dashan on Black to the Future, a record thought forever long lost to hip-hop history, now resurrected for the first time ever on CD. Originally released only on LP and cassette, this extremely rare 1989 album captures the urgent, forceful political and spiritual message of Unique and Dashan, two rappers associated with the legendary X-Clan and part of the Blackwatch Movement. Their natural chemistry, vital lyrics and hard-hitting beats (including ‘Double Trouble,’ produced by New York house legend Todd Terry) make this an essential addition to any hip hop fan’s collection. After being out of print for over 20 years, Traffic Entertainment Group, in partnership with Warlock Records, is proud to present Unique and Dashan’s lost classic for a new generation of listeners. Remastered from the original analog tapes, this extended edition of Black to the Future includes four rare tracks originally included on a German-only 12″ single and is packaged in a handsome four-panel digipak featuring artwork and design based on the original LP picture sleeve.” |
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JUST ICE: Masterpiece CD (TEG 76539CD) 16.00 “As the final release of his storied tenure on iconic New York rap label Fresh/Sleeping Bag Records, Just-Ice’s Masterpiece brings the rapper full-circle with an album that lives up to its title. Having shocked the hip-hop world with the release of his landmark debut Back to the Old School in 1986, the Bronx-based rapper shot to fame with an aggressive, tough-talking style and high-profile co-signs from KRS-One, Chuck D and Kurtis Mantronik, among others. By 1990, Just-Ice was a veteran of the rap game, having survived clashes with the police and fellow rappers (Run-DMC), and he poured all of his experiences into Masterpiece. With production duties handled exclusively by the legendary Grandmaster Flash, Just-Ice crafts an album that brings his brash style and rugged street stories to life with flawless precision. Now, for the first time ever on CD, Just-Ice’s Masterpiece is presented with a new, high-quality digital transfer from the original analog tapes, packaged in a digipak based on the original LP sleeve design.” |
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SPARKY D: This Is Sparky D’s World CD (TEG 76540CD) 16.00 “In the 1980s, as hip hop caught fire around New York, Sparky D was coming up in the Van Dyke Projects in Brownsville Brooklyn. She would go on to be one of the first recorded solo female rappers and rise to hip hop stardom. Early in her career she was a pivotal player in what came to be known as ‘The Roxanne Wars.’ It all kicked off with UTFO’s ‘Roxanne Roxxane’ followed by Roxanne Shante’s debut Roxanne’s Revenge and then a salvo back at Shante’ with UTFO and a female MC known as ‘The Real Roxanne.’ Sparky D then started a trend that ran for what some say was over a hundred assorted answer records and nearly the rest of the decade by jumping into the Roxanne trend with ‘Sparky’s Turn (Roxanne, You’re Through).’ Massive spins and sales throughout the city followed. The success of the cut lead to another handful of 12″ releases, and this release, her proper full length debut This Is Sparky D’s World, produced by her boyfriend and old school legend Spyder D. Though the record didn’t take off to the extent that her label mates Boogie Down Productions found with Criminal Minded…well, what ever did take off like Criminal Minded. To this day the release serves as a testament to the power of one of Hip Hop’s first female MC’s, after all, This IS Sparky D’s World. Traffic Entertainment Group in partnership with B-Boy records is proud to release this extended version of the album, out of print in any format for over 14 years. Housed in a handsome 6 panel digipak featuring extended artwork and audio including all the 12″ cuts, mixes and instrumentals from Sparky’s classic ‘Throwdown’ and ‘I Can’t Stop’ vinyl singles.” |
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WHODINI: Escape CD BOX (TEG 78507CD) 18.00 “Whodini’s reign on top of the rap world may have been short-lived, but no other group captured the spontaneity, creativity and showmanship of hip-hop’s early years like this New York trio, and never as powerfully as on their 1984 sophomore album Escape. Having introduced their funky, danceable aesthetic the year prior on their self-titled debut, Escape built upon that foundation by expanding their sound with bigger arrangements and sharper performances from rappers Jalil Hutchins and John ‘Ecstasy’ Fletcher. The result is not just Whodini’s best album, but one of the defining works of the era. Led by the monster single ‘Friends’ (which Nas sampled for his biggest hit ‘If I Ruled the World (Imagine That)’ over a decade later), the album produced the smashes ‘Five Minutes of Funk’ and ‘Freaks Come Out at Night,’ songs that helped establish hip-hop as more than just a passing fad and a commercial force on the radio. Having been out of print for years, Traffic Entertainment Group is proud to present Whodini’s landmark album in a special edition, packaged in a deluxe slip case box, featuring audio remastered from the original analog tapes and additional instrumentals, a capellas and 12″-only mixes never before released on CD, plus poster with artwork based on the original 12″ single design.” |
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KOOL MOE DEE: Kool Moe Dee CD (TEG 78511CD) 18.00 “With his impeccable sense of style, slick rhymes and signature wrap-around sunglasses, Kool Moe Dee was one of hip-hop’s first bonafide superstars. Though many now know him mainly for his long-running battle with LL Cool J, Moe Dee, who’s career started as a member of The Treacherous Three in the late 70s, helped establish a new benchmark for rappers in the 1980s: moving away from the roots of the party-rocking emcee and opening the door for experimental flows and complex lyricism to become part of the hip-hop lexicon, he also became the first rapper to perform at the Grammy Awards. His debut album Kool Moe Dee shows all sides of the artist; the storyteller with an eye for detail (‘Little John’), the socially conscious poet (‘Monster Crack,’ ‘Go See the Doctor’) and the songwriter capable of penning a smash hit record like ‘Do You Know What Time It Is?’ With the assistance of producer Teddy Riley (Guy, Michael Jackson), Kool Moe Dee crafts an unforgettable, timeless debut which Traffic Entertainment Group, in partnership with Sony Music, is proud to present in this special reissue, featuring audio remastered from the original analog tapes, a bonus track previously only available on 12″ vinyl and packaged in a six-panel digi-pak case.” |
| TRESOR (BELGIUM) | |
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FUTURE BEAT ALLIANCE: Grey Summer 12″ (TRESOR 242EP) 11.00 Future Beat Alliance’s 3rd EP for Tresor sees Matthew Puffet in a much more uncompromising frame of mind. Having spent some time playing a residency at Tresor alongside Vince Watson, Redshape and Psycatron, you can feel the dancefloor has made an impact on his musical direction “I guess it’s more of a darker approach to my sound, while still maintaining a certain amount of soul within the music; a little bit of light towards the end of the tunnel!” |
| TRI ANGLE | |
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HOLY OTHER: With U 12″ (TRIANGLE 004EP) 12.50 12″ version. This is the debut release by elusive producer Holy Other. Following on from critically-acclaimed records by Balam Acab, oOoOO and How To Dress Well, With U is the fourth release on Tri Angle records. Taking the alien kinetics of UK garage, the euphoric highs of vocal house and the slow sensuality of R&B, Holy Other has created a sound that’s as melancholy as it is beautiful, spectral and yet slightly at unease with itself. Playing these five songs feels like a slow, solitary walk into the city night, lights flashing around you, muted where once they seemed to shine more brightly. With U was recorded in Berlin, Gothenburg and Manchester, where Holy Other currently resides. |
| TVT/RUMAL-GIA | |
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SCOTT-HERON & BRIAN JACKSON, GIL: From South Africa To South Carolina LP (TVT 4340LP) 11.50 1998 reissue. From South Africa To South Carolina was originally released in 1976 on Arista Records and merges African sounds with mid-70s jazz fusion. Includes the rhythmic opener “Johannesburg.” |
| TYPE (UK) | |
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AR: Wolf Notes LP (TYPE 093LP) 18.00 Originally published in a limited CD edition of merely 200 copies, Wolf Notes is the debut album from *AR, the collaborative project of Autumn Richardson and Richard Skelton. While both are already accomplished solo musicians, Wolf Notes marks a stunning new chapter in their canon, and like all great collaborations, takes the finest elements of each, moulding it into a pitch-perfect whole. Those of you familiar with Skelton’s previous works, most notably Landings, might be surprised to hear that the central instrument on Wolf Notes is the human voice. Autumn Richardson’s glassy, lilting echoes haunt the record like distant spirits, with her melodies kneaded and obscured by Skelton’s patented treatments and signature strings. The central theme is established with relative ease, but is allowed to shift like the tides, pushing and pulling throughout the record’s duration. Wolf Notes might be split into five distinct parts, but they are all simply sections in a very defined whole, and are not intended to be heard in isolation from one another. At times you might get the feeling that this is music being piped through from another era — music untouched by the tragedy and disappointment of our development as a race. It is music mercifully free of the tropes that trip us up and the trends that scratch on the grubby windows of the music scene. Wolf Notes is music dedicated to the natural world, to the remnants of civilization rather than modern mistakes, and listening to it feels like a rare, beautiful privilege. Cut at Dubplates & Mastering in Berlin, pressed up in a limited edition of 500 copies for the world. |
| VAMPISOUL (SPAIN) | |
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VA: Sensacional Soul 2CD (VAMPI 043CD) 22.00 2006 release. 37 groovy Spanish soul & funk stompers from 1966-1976. Fuel for igniting dance floors and parties: that’s what Spanish soul was during the second half of the sixties. It was an eruption that filled the locals of major cities and touristy spots with sweat, dance, diversion and recognition. Soul didn’t explode in Spain until after 1965 (the first hit was The Four Tops’, “Reach Out I’ll Be There”). Soul was approachable and had playful-vindicating references (messages in favor of civil rights didn’t fall on deaf ears in a country subjected to the Francoist Dictatorship) which made it an ideal style for all young audiences. But once they were adopted by soul, other problems arose. The brass section is one example: it wasn’t easy finding musicians who knew how to play the trumpet, saxophone or the trombone. Despite this fact, the tourist phenomenon contributed to a great number of foreign musicians establishing themselves in Spain, enriching the sound of many groups dedicated to black music. With all these ingredients soul in Spain was possible — and with good groups too. Hundreds of bands from all over the country added to the new music paradigm and many managed to record. Some became success stories of Spanish pop, others were known in smaller realms and disappeared into obscurity. For that reason Vampisoul is pleased to offer a selection of the best of Spanish soul and funk from the ’60s and early ’70s: music to dance to, from Benidorm to Tokyo… and back. Artists: Los Buenos, Shelly Y La Nueva Generacion, Martes 13, Tony Ronald, Los Impala, Top Show, Henri Vidal Y Su Grupo Pop, Conjunto Don Pelegrin, El Fin, Conjunto Nueva Onda, Presidents, Els 5 Xics, Los Gritos, Los Huracanes, Los Dixies, Los Grimm, Z-66, Los Pekeniques, Manual Gas, Circulos, Finder’s, Henry & The Seven, Salvajes, Eurogrup, Jesse & James, Grupo Anonimo, T.R. Selection, Cuatro Monedas, Las Y Gregory, Augusto Alguero, Conexion, Koldo, Frank Miller & Hispania Soul, Calibre 38, Duo Inter, Los Zinkos and Jimmy Stone. Deluxe digipack with a massive 40-page booklet of extensive notes and photos. |
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CANNIBAL & THE HEADHUNTERS: Land Of 1000 Dances CD (VAMPI 048CD) 12.00 2005 release. Cannibal & The Headhunters were born as a 4-piece vocal band in East L.A. and became immortal with their “Land Of 1000 Dances” — and that glorious “na-nananana” part. The song climbed to every U.S. chart and soon — when Richard “Scar” Lopez, Bobby “Rabbit” Jaramillo, Joe Jaramillo and Frankie “Cannibal” Garcia (whose nickname was born when he bit another kid during a fight) were 15, 16, 17 and 18 years old- the band was requested to tour with the Motown Revue, The Beatles, The Rolling Stones, The Righteous Brothers and many other bands all across the U.S. They also appeared on a number of television shows such as American Bandstand, Shebang, Hollywood A Go Go, Hullabaloo and Where The Action Is. In this anthology you’ll find not only the radio-edited version of that hit single, but also a long-lost unedited version (the one they originally cut) and a live version crediting all their might. Cannibal and the Headhunters’ style was molded on the soulful sounds of ’60s Motown vocal groups, and their approach was absorbed by many Mexican American groups in East Los Angeles at the time, which shaped this community’s own music scene, creating a style of its own known as the East Side Sound. In despite of the fabulous success of “Land of 1000 Dances” Cannibal & The Headhunters were much more than a one-hit-wonder case. These kids hit hard and they recorded their good share of amazing classics. And here is the proof: a complete compilation showing all their might and talents, mixing rock, doo-wop, soul — all in that East L.A. Chicano style. |
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NEW SWING SEXTET, THE: Monkey See, Monkey Do LP (VAMPI 049LP) 16.50 LP version. Incredibly The New Swing Sextet remains as a connoiseurs’ delicacy, as they are unfairly unknown among the general public. Vampisoul’s aim is to change this. They combined Latin soul and swingin’ jazz in a very groovy way and were always appreciated and respected by the Latin community of New York. They played both for the “barrio’s” beneficial events and for the hippest clubs in Manhattan or private parties for the rich uptown. This is the first anthology of the great Latin swing combo The New Swing Sextet. To be filed next to (and enjoyed as) similar artists like Tito Puente, Dave Pike and Cal Tjader. |
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MURRAY, MICKEY: Shout Bamalama CD (VAMPI 053CD) 12.00 2004 release. Mickey Murray was a powerful performer who was signed to Sun Records’ SSI International in the late ’60s. Written by Otis Redding, “Shout Bamalama” rose up the R&B charts, just missing the Top 10 in 1967. But follow-ups like his self-penned Lonely Room and the hard funk of Hit Record failed to generate any chart action, leaving Redding’s song as the biggest career hit for the Southern singer. This collection brings together the best of Murray’s SSI tracks and demonstrates his fine skills as a singer. A surprisingly hard to find album of groovy soul cuts. Here are loads of great cuts, like “Hit Record,” “How many Breaks Can One Heart Take,” “Got You On My Mind,” and the eerie “Lonely Room.” In “Shout Bamalama” he imitates Redding, and he sings in a lower, less hectic voice on the other songs — except for “Flat Foot Sam” and “Sticky Sue,” which are as boisterous and backwoods as “Shout Bamalama.” The ballads — “Lonely Room,” “Pledging My Love” (a sweet remake of Johnny Ace’s classic), and “Am I That Easy to Forget” (slow Southern blues) — are well-done and memorable. On “Hit Record” and “Mama Got the Wagon” you’ll swear you’re listening to James Brown, whereas tracks like “After What I’ve Been Used To” and “The Pig and the Pussy Cat” harken back to memories of Stax Records and their patented horns. The sound is a mix of Sound Stage Seven southern soul with funkier production — and Mickey’s voice is nice and raw, and works great with the material. |
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ALEGRE ALL-STARS, THE: Best Of (Nos Vamos Pa’ La Luna) CD (VAMPI 057CD) 12.00 2005 release. The first Alegre All Stars was recorded in 1961, and it became an inmediate favorite of Latin-oriented musicians and the so-called “super-hip.” The public did not take to it so rapidly, and it became a “sleeper.” In retrospect we must remember it was released at the time when the Latin record business was geared mostly for the “le lo lai” market (a typical Puerto Rico festival). Guitar music of trios and quartets were the thing then. The Latin dance music of New York was limited to the connoisseur (i.e., DJs, musicologists, merchant marines and the Palladium crowd). Eventually it had its impact: it was loose, relaxed and it ventilated many brain cells. It blended Latin and jazz, improvised yet melodically interesting because the soloists were not guessing, they were confident, they knew their horns, skins and tonsils and were playing and singing for themselves at a party. Not a recording session, a real party. Without charts, less restrictions and less organized, it was therefore free to swing and be creative. Over the years the Alegre All Star albums have become classics, and this album is a compilation of their best. |
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VA: A Golpes CD (VAMPI 060CD) 12.00 2007 release. Original soundtrack of Juan Vicente Córdoba’s film, written by Guateque All Stars , a project of the Spanish hip hop DJ/producer, Zeta. This soundtrack stands out for its great variety of styles, although perhaps hip hop is the best represented genre, featuring contributions from artists such as Ikah or R de Rumba with Mala Rodríguez. Other artists include: Hombre Kanino, La Costa Brava, Joe Bataan, Manuel de Angustias, Eddy McLean, Vacazul, Nayim Alal, Black Sugar, Kingcho Nest y Su Banda and Dr. Distorsion. |
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BATAAN, JOE: Call My Name CD (VAMPI 065CD) 12.00 2005 release. It’s a great day at El Barrio: Joe Bataan is back. The sun is melting the sidewalks, the fire hydrants are color fountains, surrounding where the kids dance and enjoy themselves. It’s a holiday because East Harlem’s best known ‘afrofilipino’ is back. The local radio DJs are playing Joe Cuba, Johnny Colon, Cheo Feliciano, Hector Lavoe… Rhumba fills the streets, playing with the airwaves. 110th street is a celebration. The creator of Latin soul has not only lost nothing of his essence, but he has multiplied his energy to show who was the first one to join the Latin essence with the black feeling. Recovering the mestizo feeling, electric and proud. As the saying goes, whoever hits first hits twice, and there’s no rival for Bataan. Repeat his name, loud and clear. Because the songs of Call My Name are the echo of the neighborhood, songs that could both have been recorded 30 years ago as much as they could be the introduction for the next name from Spanish Harlem worthy of attention. Timeless, classic and as genuine as the names who figure in the album. The saviours of rythm are in the city and an infectious concoction fills the streets. The funk pulsation with the soul feeling, no compromises, right into the guts. The songs written by Daniel Collás are stones proudly and firmly thrown into the mind. Each and every song in this album is a ray of light that melts the cold asphalt and shakes the knees of the inhabitants walking above it. |
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BATAAN, JOE: Call My Name LP (VAMPI 065LP) 16.50 LP version. |
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VA: Highlife Time 2: Nigerian & Ghanaian Classics 3LP (VAMPI 129LP) 25.50 3LP version. …From The Golden Years. This is the second volume in Vampisoul’s Highlife Time series, chronicling Nigerian and Ghanaian highlife heroes both renowned and sorely under-represented. Professor John Collins (musician, composer, prolific writer about African music and eminent musicologist at the University of Ghana) has traced the roots of highlife music back to the 1880s on the Gold Coast, now known as Ghana. He sees it as a fusion of rhythms from the West African coast, from Europe, from the Caribbean and from African-Americans in both South and North America. During the Second World War, swing was introduced by British and American servicemen based in Ghana. As a result, the large dance orchestras gave way to the smaller highlife dance bands. The most famous was the groundbreaking Tempos band, led by trumpeter ET Mensah, which incorporated Afro-Cuban percussion, played by the band’s finest drummer, the pioneering Kofi Ghanaba (aka Guy Warren of Ghana). It was their brilliant fusion style that made such an impact on Nigeria in the 1950s. Nigerian journalist Benson Idonije, however, is by no means alone in believing that while Mensah must be saluted for the cultural legacy he left behind, he was not responsible for introducing highlife to Nigeria: “Highlife has always been with us (Nigerians), at least since the guitar or mandolin banjo was introduced to our folk and indigenous music to bring about its very first contact with Western instrumentation and music. That type of music just did not attract the kind of mass appeal that Mensah’s Tempos band generated.” When Mensah’s highlife first blew into Nigeria, Bobby Benson’s Jam Session Band were playing mostly swing and ballroom tunes along with the other leading Nigerian dance bands. Bobby had the foresight to realize which way the musical wind was blowing and highlife then began to dominate his repertoire. Over time, his 11-piece band featured the future stars of Nigerian highlife: Sir Victor Uwaifo, Bayo Martins and trumpet players like Zeal Onyia, Roy Chicago, Chief Bill Friday and, of course, an ambitious young player called Victor Olaiya. By 1952, Olaiya had become the leader of Benson’s second band, Alfa’s Carnival Group, but then he felt his moment had arrived and he launched his own highlife band, the Cool Cats, at the West End Café in Lagos. The many influential Nigerian musicians his bands spawned and nurtured over the next two decades included Sir Victor Uwaifo, John Akintola (aka Roy Chicago), Peter King, Cardinal Rex Jim Lawson, Eddie Okonta, Agun Norris (of Empire Orchestra), Celestine Ukwu (of Anambra), Bala Miller, AC Arinze, Osita Osadebe and, most famous of all, Sunny Ade, Tony Allen and Fela Kuti. Highlife became the fashionable soundtrack to independence in both countries (Ghana 1957, Nigeria 1960) and an essential foundation to the new musical styles that were to develop — but as the ’60s rolled on, the music evolved differently in each country, diverging as different forces came into play. However, in both countries economics meant that big highlife bands were difficult to maintain, and the ever-growing popularity of the electric guitar, aided and abetted by the sounds of the successive waves of the beat, blues and rock booms from the USA and the UK, meant that guitar highlife became a very cool direction to take. Rex Lawson and Sir Victor Uwaifo led the development of the guitar-oriented variant of highlife, but the terrible crisis of the 1967-1970 Nigerian (or Biafran) Civil War brought its own set of musical changes. In 1971, the Soul To Soul music festival was held in Accra. Several legendary American musicians played, including Wilson Pickett, Ike & Tina Turner and Carlos Santana, and in the subsequent Ghanaian roots revival new guitar bands and stars arose in Ghana. Includes an 8-page insert with artist photos and extensive liner notes by experts Rita May and Max Reinhardt. |
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GAROTAS SUECAS: Mercado Roque Santeiro 7″ (VAMPI 45054EP) 8.50 Vampisoul is very excited to announce the arrival of their latest artist, Brazilian psych/soul- garage-pop combo Garotas Suecas. Sweaty, funky, exotic, committed, Garotas Suecas (“Swedish Girls,” in Portuguese) hail from São Paulo, Brazil and offer up a hearty, full-throated stew combining the best elements of their country’s homegrown Tropicália with Anglo-American soul and freakbeat. This single is the ideal introduction to their music; the record bursts with fuzz guitars, polyrhythms, scorching female backing vocals, big horn sections and heavy psychedelia. |
| VERY FRIENDLY/SUSAN LAWLY (UK) | |
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WHITEHOUSE: Total Sex 2LP (VFSL 002LP) 25.50 2008 release, restocked. Hard to believe the extraordinary second album from Whitehouse was recorded back in 1980 — a development and expansion of the pioneering electronic techniques which were demonstrated on the debut Birthdeath Experience. Also included on this double vinyl set are the two rare songs from United Dairies’ Hoisting The Black Flag compilation. |
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WHITEHOUSE: Erector LP (VFSL 003LP) 20.00 2008 reissue, restocked. Originally recorded in 1980, Erector was harsher and less “industrial” sounding than the first two albums and arguably became the seminal influence, along with the 150 Murderous Passions LP, for the subsequent wave in the mid/late ’80s of noise projects (in particular Japanese); also featured for the first time in vinyl format is the originally banned cover art by Steven Stapleton. |
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WHITEHOUSE: Great White Death LP (VFSL 007LP) 20.00 2010 release, restocked. So celebrated are the songs from the classic Great White Death that, upon its release in 1985, it was almost an instant greatest hits compilation, full of memorable, super-sleazy tracks of extraordinarily dynamic yet abrasive production values. This incredible sounding, newly-mastered heavy vinyl LP shows the full range of William Bennett’s voice and the accompanying electronics, especially notable on filthy epics like “You Don’t Have To Say Please” and “I’m Comin’ Up Your Ass.” |
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WHITEHOUSE: Quality Time LP (VFSL 012LP) 20.00 2009 release, restocked. Recorded in 1995 by Steve Albini and William Bennett in Chicago, Quality Time, marked the end of the mid-period Whitehouse with an album containing the original version of the notorious “Just Like A Cunt” featuring Philip Best on vocals, and the indescribably disturbing “Baby.” Also features the beautiful cover artwork by Trevor Brown. |
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WHITEHOUSE: Bird Seed 2LP (VFSL 015LP) 25.50 Restocked. 2009 reissue, originally released in 2003. Bird Seed was the transformational album following the release of the seismic Wriggle Like A Fucking Eel, where Whitehouse first shockingly employed all kinds of new technology, incorporating acoustic elements such as African djembes and doundouns for their sound, featured also on the extraordinary “Cut Hands Has The Solution” and “Munkisi Munkondi.” Featuring Peter Sotos, responsible for the infamous title track. |
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WHITEHOUSE: Asceticists 2006 LP (VFSL 016LP) 20.00 Restocked. 2008 reissue, originally released in 2006. “However artfully framed on white gallery walls, I can look you in the eyes and see what you spend your time doing when it gets dark and messy.” To experience the incredible Asceticists 2006, is to bare your fragile soul beyond what you would normally wish to know amidst ear-shredding Afro-noise madness on each of the seven tracks. |
| WAH WAH RECORDS (SPAIN) | |
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RAVERS, THE: Bad, Bad World (Ravers Going Underground) LP (LPS 095LP) 28.00 “Wah Wah proudly unearths another lost gem from the past, this time by studio-exploitation German band The Ravers, a.k.a The Tonics. Under the production of Herbert Hildebrandt (ex-member of The Rattles, credited on some internet blogs to be some kind of German Kim Fowley), members of The Rattles/Wonderland (Achim Reichel) and The German Bonds produced a series of studio albums as cash-in operations, among them some very known works like Hell Preachers Inc. or Bokaj Retsiem. Bad, Bad World is one of those amazing releases. Having in mind the hardest beat/psych rock sounds of the era (the LP was originally released in 1969) and the rhythms that move a dancefloor, they produced this superb collection of groovy Hammond/fuzz/wah-wah driven freak rockers. More than one song here should be on any genre DJ’s bag, the most direct one being ‘What You Can Do For Your Country,’ but with the whole LP packed with cool songs moving from the Kinks inspired ‘We’ve Got Too Much’ to early Deep Purple Hammond versus lead guitar duels.” |
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LE SYSTEME CRAPOUTCHIK: Aussi Loin Que Je Me Souvienne… LP (LPS 096LP) 28.00 “The debut LP of the band was released on Flamophone in 1969. It shows our friends delivering a very cool pop sound which pays tributes to the more McCartney-esque side of the Beatles, but mixed in a very personal way with the pop/psych/prog air of its era. Saving the distance, since Le Systeme Crapoutchik have a unique sound of their own that makes it hard to compare to anything else – and even not having such a baroque production – this LP could be the French equivalent to Billy Nichols’s Would You Believe. First time ever reissued on vinyl, from the original master tapes and reproducing the original gatefold cover, plus an insert with liner notes by Jean-Emmanuel Dubois & Marc Argenter. In a limited edition of only 500 copies.” |
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LE SYSTEME CRAPOUTCHIK: Flop 2LP (LPS 097LP) 42.00 “The second LP of the band was posthumously released on Flamophone in 1970. It was released as a double LP that collected all their single & EPs output plus other material recorded during the band’s short life-span. Great echoes of The Bee Gees are heard on their early 7″ releases, but again retaining a strong own personality that makes it difficult to find such a unique sound in other bands. A double LP housed in a gatefold colorful sleeve in a limited edition of only 500 copies, plus an insert with info and graphic material.” |
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LE SYSTEME CRAPOUTCHIK: Le Systeme Crapoutchik LP (LPS 098LP) 28.00 “The band reformed for a comeback in 1975 and this self-titled LP was their final release, the testament of a group that should be regarded as one of the biggest pop outfits in France. Features a bonus track from a non-LP single plus the original insert with lyrics and photos. Limited edition of only 500 copies.” |
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ILOUS & DECUYPER: Ilous & Decuyper LP + 7″ (LPS 099LP) 28.00 “Bernard Ilous came from a music lovers family, his parents were into jazz and classical music and the young Ilous inherited that sensitivity to the point of teaching himself to play guitar and piano. He discovered R&R and started doing covers of The Beatles and Bob Dylan, but he soon showed skills to write his own compositions. He showed his work to music publisher Gerard Tavernier who signed him to his company and thus some of Ilous songs appeared on LPs by Francoise Hardy, Eric Charden, Johnny Hallyday, Dick Rivers, a.o. In 1969 his friend Claude Putterflam left his job at Vogue to create Flamophone records and he produced a single for Ilous, who was willing to release his own songs by himself. Very soon Ilous joined forces with Patrice Decuyper with whom he would record the amazing LP on offer here. Issued also on Flamophone in July 1971, its blend of folk & pop brings to mind echoes of The Beatles, Crosby, Stills, Nash & Young or Joni Mitchell. The sound on the LP is amazing, they took one whole year to produce it, as they were using free studio hours now and then to stay into a budget, and they played most of the guitars and keyboards and were helped by friends from Le Systeme Crapoutchik on other instruments. The production is excellent and the compositions are amazing, probably one of the most impressive French-sung LPs of all time, and a must for lovers of 60s and 70s perfectly arranged & produced, well crafted works. It is reissued on vinyl for the first time since its original release, mastered from the original tapes and featuring a bonus 7″ containing the two songs from their 1972 non-LP single plus an insert with liner notes. In a limited edition of only 500 copies.” Gatefold sleeve. |
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OPHIUCUS: Ophiucus LP (LPS 100LP) 28.00 “Ophiucus released their debut LP in 1972. It is one of the masterpieces of French psychedelic/progressive/folk music, and members of the band included Jean-Pierre Pouret -who had recorded with Sylvie Vartan, Antoine and Herbert Leonard a.o.; brothers Alain and Bernard Labacci (a.k.a. Tom & Jerry – they even supported Jimi Hendrix on a TV appearance) and Michel Bonnecarrere, who had founded the band Zoo. The sound production is amazing, as it used to be with French albums of that era, basing its strength on acoustic guitars and vocal harmonies, but not refusing to add subtle layers of electric arrangements, even featuring a couple of totally electric Hendrix-influenced songs (‘Djarbouka’ should become a classic among those dee-jaying at heavy psych parties from now on!). And the band’s performance is top level! This amazing album was even planned for an international release and looking for that they even produced a version of it with English lyrics (which can be found on the bonus tracks of the currently available CD release by Lion Productions), but we are sticking to the original release, with the original French-sung versions of the songs, and respecting the beautiful original artwork. It is reissued on vinyl for the first time since its original release, mastered from the original tapes and featuring an insert with liner notes. In a limited edition of only 500 copies.” |
| WEIRD FOREST | |
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M.B.: Symphony For A Genocide LP (WEIRD 058LP) 16.00 “M.B., aka Maurizio Bianchi, has enjoyed a deserved renaissance in recent times as a new generation discovers his charred brand of industrial noise, particularly the artist’s formative early 80s period before he disappeared in pursuit of religion. In the ensuing years, many of these early records became prized collector objects, garnering hundreds of dollars — if they could even be found. Bianchi has since returned to creating music and many of those pricey releases have been re-issued on vinyl except for what’s widely considered to be his seminal work from that time, Symphony for a Genocide. Weird Forest is proud to rectify this situation. To the uninitiated, Symphony may sound like so much noise with its unyielding factory-of-death buzzsaw sound making Throbbing Gristle’s industrial music almost top-40 by comparison. But buried underneath the unrelenting martial rhythms and analog siren sounds is a great deal of musicality, including synth melodies and basic chord progressions. Bianchi uses all these elements at his disposal to create a gripping audio portrait of the grim subject matter. Re-issue is strictly limited to 500 copies and is a near-exact reproduction of the original Sterile Records release, including hand-stamped labels and inserts just like the 1981 issue.” |
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NOVELLER: Glacial Glow CD (WEIRD 068CD) 12.00 “Sarah Lipstate is Noveller and Glacial Glow is her most assured, accomplished statement to date. Lipstate largely sheds the distortion and feedback present in much of her earlier work. Instead, she relies on instantly memorable melodies, a wider sonic palette, and excellent pacing to deliver arguably her best album. Noveller announces her intentions from the opening track, appropriately titled ‘Entering’, as the syncopated rhythm of the melody represents a new twist from her previous guitar work. This is only the hors d’oeuvre for the stunning ‘Glacial Wave’, which drifts along serenely until Lipstate rains down gorgeous arpeggios like icy shards from the heavens. Other pieces feature sparse arrangements anchored by pulsing throbs which evoke a subtle, creeping anxiety more menacing than the feel-good retro-horror soundtracks making the rounds these days. Throughout Glacial Glow, Lipstate exercises restraint and a fleeting melancholy feeling pervades the album. It says something about an album’s quality when the closing track, ‘Ends’, is chosen as the lead-off video. Ocean sounds combine with the lovely chord progression and guitar lines to create an uplifting, yet slightly wistful feeling and a perfect bookend to the record.” |
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NOVELLER: Glacial Glow LP (WEIRD 068LP) 18.00 LP version on clear vinyl with full-color, double-sided insert. |
| WOLF AND LAMB | |
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LONELY C & BABY PRINCE: Not So Lonely EP 12″ (WLM 014EP) 12.00 Gadi Mizrahi (Wolf + Lamb) and Charles Levine (Soul Clap) present their first production together as Lonely C & Baby Prince. With strains of funk, soul, disco and contemporary electronic music, the duo leaves you spellbound with this collection of tracks. “I Remember Those Days…” is a vintage ’80s pop track, sounding like Egyptian Lover meets Prince, “Be Yourself” takes a more hip-hop turn, and “Herpulese & Love Disease” experiments with melodic sonic frequencies, robotic cries and house funk. |
| WORLD VILLAGE (GERMANY) | |
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TERAKAFT: Aratan N Azawad CD (WORLD 479052) 19.00 “Formed in 2001, the Malian group Terakaft (whose name is Tamashek for ‘caravan’) affirms its reputation as a genuine desert blues-rock band in this, its hypnotic third album. With their swirling guitar riffs, subterranean bass and shattering percussion, these blue bloods of the Sahara mine the legacy of master guitarists John Cipollina and Jimi Hendrix. The stark, harsh conditions of the desert permeate their wild riffs, and they are the perfect embodiment of all that is wild and free in desert blues today. Terakaft was formed in 2001 with a line-up that included two former members of Tinariwen. The band features a perfect mix of two rhythm guitars (one keeping the beat effortlessly, the other soaring and sweet) and the deep, heartbeat tones of the bass, resembling the delicate but strong steps of a camel making its way through the desert.” |
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