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MAYFIELD, PERCY: My Jug And I LP (4M 805LP) 21.00
“This 1966 record is the first of 2 albums Percy Mayfield recorded for Ray Charles’ Tangerine label. A masterful songwriter who’s touching blues ballad ‘Please Send Me Someone To Love’ was a number one R&B hit in 1950, Mayfield was Ray Charles’s favorite author during the ’60s handing him such gems as ‘Hit The Road Jack’ and ‘At The Club’ and so was signed to the Genius’ label. A true master at expressing the innermost feelings, tangled with vulnerability and sensibility: ‘Life Is Suicide’ and ‘River’s Invitation’ are two perfect examples that, along with the wonderful title track, are both included in this timeless classic.” On 180 gram records.
LALI PUNA: Move on/After All Stop 7″ (ANOST 023EP) 7.00
“Move On,” taken from the Lali Puna album Our Inventions (MORR 098CD/LP), is a track that summarizes pretty well what Lali Puna is about: it starts with a quite abstract and kicking beat that is accompanied by Valerie Trebeljahr’s voice but then the refrain comes in: and thanks to the generous harmonies, the whole song now suddenly blossoms out, but without losing focus. The previously-unreleased flipside features a long introduction that uses the voice as a transcendent instrument.
AGF: Gedichterbe CD (AGF 015CD) 15.50
Gedichterbe is a project by AGF (Antye Greie) that investigates German poetry and the heritage of the German language within electronic music and society. Including the first-known female German poet Frau Ava (11th century) and today’s “wunderkind” poetess Ann Cotten (born 1982), poets were chosen from the romantic period of the 18th century, from Jewish poets during the 20th century and poets from East/West Germany after World War II. Personalities from the German electronic music scene help AGF interpret the poems: collaborators vary from the famous techno DJ Ellen Allien, the underground avant-garde legend Gudrun Gut, the prolific German rapper Pyranja, Berlin’s electronic star Barbara Morgenstern, the scandalous Gina D’Orio from Cobra Killer, and more. AGF presents poets and poems close to her heart, and here the relationship between sound and music is investigated and interpreted. So how does this sound? Can Quio rap Frau Ava? Do Friedrich Schiller and Karoline von Gnderode stand the test of time? Can Else Lasker-Schler and Paul Celan inspire us today? The music is radical modern and contemporary minimalistic, supporting the poetry as well the history around it. The historical text is interpreted with digital sound technology and aesthetics. Sometimes poems are deconstructed and cut-up and processed to the point of non-recognition, sometimes the poems remain pure and untouched. The voluminous CD book includes numerous calligraphic drawings by AGF and an extended scientific text in German by Christine Lang about language and sound in context of this work. Other contributing artists include: Quio, TBA and Bothnian Draale Pack.
BLACK VOICES, THE: On The Street In Watts LP (ALA 1970LP) 11.50
Exact repro of this 1970 release from New York’s The Black Voices. Politically-charged street poetry a la The Last Poets. Tracks include “Black Pussy,” “Pimping, Leaning And Feaning,” “We Must Love Black People,” “I’ll Stop Calling You Niggers” and “They Shot Him.”
13 & GOD: Old Age 7″ (N 027EP) 11.00
Limited and hand-numbered 7″ with the songs “Old Age” (album version) and the “Luck & Fear” remix by Console. Screenprinted cover (silver and black on natural cardboard/red and black on natural cardboard).
SAROOS: Yukoma 7″ (N 028EP) 11.00
Morr Music artist Populous refits the “Yukoma” track and gives the original tune’s bubbling electronics, airy field recordings, and poignant synth melodies an electro-house backbone. While Saroos’ ambient bell sounds and tribal percussion loops percolate in the distance, Populous toys with synthesizers, vocal samples, and compressed dance beats, all of which give his remix a fresh edge. Anticon’s Jel throws in his beats on “Outrigger,” giving the track a fresh new vibe. Produced and rearranged by Odd Nosdam.
JULES UND JAZPER/OLIVER SCHORIES: Lake Point/Toronto 12″ (AG 001EP) 12.50
Amuse Gueule is a new label from Mecklenburg-West Pomerania that doesn’t only dedicate its love and passion to electronic music but also dedicates itself to a very special manual activity, cooking! In this case, Jules Und Jazper and Oliver Schories will show their skills on the label’s first EP, preparing delicious ear-candy for you. Elegantly-seasoned Detroit techno with tremendously extensive notes and delicate flavor.
GOLDBERG, SAM: Having Had Forgot LP (ARBOR 094LP) 15.00
“Having Had Forgot marks a distinct departure from Sam Goldberg’s past recordings, both his lush electric guitar and synth work as well as his borderline-pop project Radio People.Having Had Forgot features Sam working with a rotating ensemble of Midwestern musicians (Tiger Hatcherys Ben Billington, Mike Forbes, and Andrew Young; as well as J. Guy Laughlin, Ben Osbourne, and Jeff Host; for a total palette consisting of acoustic and electric guitar, field recording, percussion, synthesizer, saxophone, double bass, and clarinet). The result is eight careful, delicate songs; varied in instrumentation, but presenting the same elegant consideration of mood and contemplation as his solo works. Private music from a young man; a contemporary offering in the tradition of ensemble records on Windham Hill from William Ackerman and Mark Isham; the opportunity of actualizing personal moments through various actors and the unique textures they are each able to contribute to the whole. In an edition of 500 records with full color jacket and inner sleeves.”
OUTER SPACE: Outer Space LP (ARBOR 098LP) 15.00
2011 repress. “John Elliott’s Outer Space project is a laboratory for electronic investigation. Acting as a continuance of the studies of mid 20th century electronic music composers such as Nik Pascal and Laurie Spiegel, Elliott’s music is deeply indebted to the inner workings of the electric signal. Acting almost as a meditation, through the simple gesture of translation Elliott’s process begins to reveal itself as electricity is converted into acoustic pressure and potential; the melody of physics. The six recordings on the album are each a microcosmic view into Elliott’s practice; a keystone, illuminating his solo practice as well as his work as a member of Emeralds. Composed and recorded over the past three years without the use of digital synthesizers and arpeggiation; a record closely connected to a personal path, attempting to make sense, to understand one’s journey. Mastered by Keith Fullerton Whitman; pressed in an edition of 650 copies on clear vinyl with full color gloss covers and heavy stock printed euro-style inner sleeves.”
COLEMAN, ORNETTE: The Shape Of Jazz To Come LP (SD 1317HLP) 14.00
“Ornette Coleman’s Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven’t come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece’s tonal center had seemed to be.” –All Music Guide. 180 gram exact repro reissue, manufactured by Rhino. Originally released in 1959.
COLEMAN, ORNETTE: Change Of The Century LP (SD 1327LP) 12.00
“The second album by Ornette Coleman’s legendary quartet featuring Don Cherry, Charlie Haden, and Billy Higgins, Change of the Century is every bit the equal of the monumental The Shape of Jazz to Come, showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers’ interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer.” –All Music Guide. Exact repro reissue, manufactured by Rhino. Originally released in 1960.
KIRK, ROLAND: Here Comes The Whistleman LP (SD 3007LP) 12.00
“Here Comes The Whistleman showcases Rahsaan Roland Kirk in 1967 with a fine band, live in front of a host of invited guests at Atlantic Studios in New York. His band for the occasion is stellar: Jacki Byard or Lonnie Smith on piano, Major Holley on bass, Lonnie Smith on piano, and Charles Crosby on drums. This is the hard, jump blues and deep R&B Roland Kirk band, and from the git, on ‘Roots,’ they show why. Kirk comes screaming out of the gate following a double time I-IV-V progression, with Holley punching the accents along the bottom and Byard shoving the hard tight chords up against Kirk’s three-horn lead. The extended harmony Kirk plays — though the melody line is a bar walking honk — is extreme, full of piss and vinegar.” –All Music Guide
SCHIENHAMMER, SVEN: Altostratus Translucidus CD (BINE 022CD) 15.50
Named after a condensed, rainfall-including weather situation, Sven Schienhammer develops a directorial melange of dub influences, chord arrangements, minimalism and field recordings over the course of 11 tracks. Both individualistic and drawer-defying, Schienhammer arranges compressing instrumental compositions without any copycat allures whose sensitively spreading emotionality draws from the analog production methods. Its emphasis on warm and cold chords in particular in combination with playful fields of white noise files shifts the album near Wolfgang Voigt’s minimal Gas imprint as well as the early pre-’90s home-listening era in both dramaturgy and sound. On Altostratus Translucidus, Sven Schienhammer puts across technical skills in combining the diffused intensity of minimal club aesthetic with powerful chords whose unpretentious minimalism modulates the first half of the album, making it easily recognizable. The album’s final quarter is heavily devoted to resonating dub and abstract trip-hop interconnections between the pads which reflect Schienhammer’s influences in aesthetic modesty. Thus all the tracks form a closed system which portray the essential quintessence of the album’s meteorological title: volume – concentration – discharge. The associated focusing of auditive expression manages the balancing act between new age chill-out and half clock-steered club feeling. Altostratus Translucidus draws its energy from the unparalleled presentation of not being pigeonholed in a single genre while musically reflecting current events. Often labelled the heir of Basic Channel , the artist softens the basic attitude of his musical lead and wipes out his traces in the raw and analog grain of his music through meditatively-unfolding rhythms.
DJ MADD: Dub Marine 12″ (BLACKBOX 008EP) 11.00
DJ Madd is fast becoming one of dubstep’s stars, receiving DJ support from the likes of Gilles Peterson, Rinse FM’s DJ Youngsta, and more. “Dub Marine” became something of an anthem when it was released in early 2010 with its rolling drums and raw, junglist bass, but has been revised by Kryptic Minds into a dubby killer with stripped-back percussion, tense atmospherics and slabs of pure sub pressure. “Good Old Days” showcases his style perfectly — minimal yet funky.
DJ MADD: Blank Space 2×12″ (BLACKBOX 014EP) 18.00
DJ Madd’s “Blank Space” has been a permanent fixture on DJ Youngsta’s weekly Rinse FM show with halfstep drums, subterranean bass and sci-fi synth-work. “Pitfall” takes things deeper still, as Madd teases the most basic elements out into a hypnotic dub version. “Murder 96” taps into the possibilities of 140bpm jungle to create a surefire dancefloor weapon while Madd teams up with Phaeleh for “Ritual,” filled with lush string arrangements and vocal snippets matched by growling subs, hard-smacking snares and searing mids.
GREEN, GRANT: Alive! LP (BLP 4360LP) 12.00
“Alive! is the hardest funk LP Grant Green recorded during the later phase of his career, capturing a storming gig at Newark’s Cliché Lounge. The sweaty club atmosphere adds something to the music that’s difficult to pin down, yet unmistakably present — a certain organic quality that isn’t as noticeable on Green’s studio albums of the time. Moreover, Green sounds more like the captain of his ship, with greater assurance in his musical direction and more strut on the R&B material. Drummer Idris Muhammad is a monster in this live setting, and he helps push Green (plus the rest of the band, which includes organist Ronnie Foster) even farther with his kinetic, continually evolving funk rhythms.” Exact repro reissue, originally released in 1970.
ROEDELIUS: Wie Das Wispern Des Windes…Like The Whispering Of The Wind LP (BB 066LP) 17.00
180 gram LP version. Bureau B reissues the eleventh solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1986 on the small Norwegian label Cicada. If we can agree on 1969 as the year of Cluster’s inception, then Roedelius needed a good 17 years to discover the aural qualities and musical beauty of the grand piano for his own compositions. More precisely, he must have become aware of the grand piano during the recording sessions for Jardin Au Fou (1979) and Lustwandel (1981) in Peter Baumann’s Paragon studio. Another five years would pass before he built an album entirely around the piano, with electronic elements altogether absent. There is no sign of the Farfisa organ or indeed any of the synthesizers which had previously been such a common feature of Roedelius’ solo works. The piano sounds were left untreated. Indeed, he was clearly so fascinated by the sonority and potential of the Bösendorfer grand piano that, a few overdubs notwithstanding, he dispensed with virtually all distinguishing features of his musical approach. On Wie Das Wispern Des Windes, Roedelius played his way into virgin territory, as new to his listeners as it was to him. It’s no wonder that Wispern was released not on a specialist electronic label in Germany, but on a small Norwegian label called Cicada. Rarely has the title of a Roedelius album (trans. “Like the whispering of the wind”) so poetically and yet so accurately described its content. Roedelius expands his études towards amorphousness; then suddenly, a disarmingly familiar melody appears, from a completely different source, perhaps (Harmonia? Cluster?). To continue the poetic theme of the LP’s title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless. Liner notes by Asmus Tietchens.
AKA AKA & THALSTROEM: Varieté CD (BUR 001CD) 17.00
AKA AKA produced their debut album with Thalstroem. Since their first mutual live appearance at Watergate in March 2010, they have traveled around all over Germany, Austria and Switzerland, leaving behind smiling faces. Thalstroem who plays the trumpet and the EWI (Electronic Wind Instrument), adds a new, floating and harmonic layer over AKA AKA’s productions. Therefore, besides the familiar dancefloor-oriented tracks, you can expect some more melodic productions on their common album Varieté — for instance, their cover of “The Rip” by Portishead, which they recorded with the Austrian singer Betty Lenard. But you can hear it also on their own tracks like “Springtide” or “Été,” and you know what this sound says: join us on a green summer lawn. But an album by AKA AKA wouldn’t be an album by AKA AKA without a club-approved run which starts with “Bretterbude” and “Nozzle” and continues with a 2011 re-edit of massive club hit “Woody Woodpecker.” Among these floor-smashers, the typical Burlesque Musique sound will not be missed! “What Matters,” their second collaboration with Umami, the addition of drummer Lizzy and the percussionist Manu Manou show how widespread but still consistent an electronic album can be.
ART ENSEMBLE OF CHICAGO: A Jackson In Your House LP (BYG 302LP) 14.00
Repressed. Second volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. “This album was recorded in Paris on June 23, 1969 during the Art Ensemble’s initial days in France with just a quartet (Roscoe Mitchell, Lester Bowie, Malachi Favors, and Joseph Jarman). A shockingly formalist album though far from conventional in any way.”
SHARROCK, SONNY: Monkey-Pockie-Boo LP (BYG 337LP) 14.00
Repressed. 37th volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. The quintessentail Actuel album and your basic cornerstone of Free Music 101. “An album recorded in Paris (on June 22nd, 1969) with his wife Linda plus Ben Guerin (bass) and Jacques Thollot (drums). Sonny Sharrock was one of the top avant-garde guitarists and his playing was intense and ferocious. He mixed together Jimi Hendrix and Pharoah Sanders.” “Sharrock was the first guitarist to really embrace fire music. He wanted his playing to mirror the emotional scream of the tenor saxophone.” –Thurston Moore and Byron Coley.
SHEPP, ARCHIE: Live at the Panafrican Festival LP (BYG 351LP) 14.00
Repressed. 51st volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. “Striking live performances recorded at the first Panafrican Festival in Algiers during July of 1969. Archie Shepp with a stellar line-up including Clifford Thornton, Grachan Moncur III, Dave Burrell, Alan Silva, Sunny Murray and poets Ted Joans & Don Lee teaming up with Algerian and Touareg musicians for some wonderful and haunting ethno new jazz.”
VA: Five Years Of Cargo Edition 2CD (CARGO 001CD) 21.00
In 2006, Leipzig-based DJ and producer Matthias Tanzmann set up Cargo Edition to serve as an extension of the stylistic spectrum of its parent label Moon Harbour Recordings. Five years on has seen Cargo Edition develop into an independent platform with its own unique voice and family of illustrious artists, each adding to the label’s character; from the multi-layered and melodic tracks of Sven Tasnadi, Markus Schatz and Juno6, to the detailed aesthetics of Michael Melchner, from the reduced, dry sounds of Vera to the functional house of Ekkohaus. On top of A&R-ing Cargo Edition, Matthias Tanzmann also contributes his own original and remix work for the label. Unsurprisingly, the label is very excited to celebrate the fifth anniversary of Cargo Edition with its first label compilation. As well as the whole Cargo Edition family submitting their own exclusive tracks, new friends and members such as Livio & Roby, Ralph Sliwinski and Skipson also contribute exclusive material. On the bonus CD, Berlin resident Ekkohaus reviews Cargo Edition’s history with a very special DJ mix. In his own words, “I selected the right moments from the Cargo Edition discography to create a flow that allows the label’s signature sound to unfold, and showcases its spectacular artists.” With the bonus mix, Ekkohaus demonstrates that he’s not only an outstanding producer and live act, but also a great DJ.
JAAR, NICOLAS: Pépé Bradock & Dave Aju Remixes 12″ (CCS 057EP) 12.00
Here is the first volume in a series of remixes of tracks off of Nicolas Jaar’s Space Is Only Noise (CC 009CD/CCS 055LP) album. Pépé Bradock presents two versions of “Too Many Kids Finding Rain In The Dust.” His Blind Pig mix features Balkan strings while the “Train Fantôme Poke” version features grinding industrial scrapes and psychedelic whispers. Dave Aju turns the title track into a late ’80s dancefloor workout Martin Hannett would have been proud of.
GUMMIHZ: Head Rush 12″ (CLAAP 004EP) 12.00
Claap label-head GummiHz is back with four new cuts welcoming the summer heat. “Head Rush” is a captivating piece reminiscent of that ’90s NY house sound — a nod to the past with a touch of now. “Secret Voyage” taps into a more Balearic atmosphere — a captivating arpeggio frames a very elegant arrangement of organic rhythmic elements. “Ruff Passage” is a dubbier cut reminiscent of ruff house producers of yore.
VA: Eleven Years Cocoon Recordings: Selected Remix Works 2CD (COR 025CD) 23.00
The Cocoon label celebrates its 11th anniversary with a glorious 2CD compilation of tracks. Those who have followed the output of the most successful German label for electronic dance music since 2000 to date are aware of the fact that Cocoon’s aim is to further the development of sound instead of sticking to nostalgia. Against this background, it may be a temporal coincidence but also totally logical that, on the occasion of the eleventh anniversary, this compilation breaks with traditions which people have come to like. So, the focus of CD1 does not lie in celebrating only the “best of” tracks, but rather in nine tracks from the past six years which have, without doubt, made some impact on clubs and dancefloors worldwide, but whose stories have not been musically “told” so far. It all begins with Alejandra Iglesias aka Dinky, whose “Acid In My Fridge” has ultimately taken her into the top league of producers. Lee Curtiss, Ryan Crosson, Seth Troxler and Shaun Reeves — the Michigan collective Visionquest — turns the musical masterpiece into a marvel of fragmented dub techno in a breakbeat disguise, where the 303 takes over the controls again in the end anyway. Carlo Lio pumps a maximum of distortion into Dubfire/Huntemann’s “Diablo,” while Steve Rachmad brilliantly purges Joel Mull’s club hit “Harmonautic String” of 2007, and Gary Beck unfolds presumably the mightiest bass on this CD with his interpretation of Pig & Dan. This CD also presents such great coalitions as Guy Gerber and Kollektiv Turmstraße, Roman Flügel and Martin Buttrich, Tim Green and Argy, Paul Ritch and 2000 And One, but at least one of the tracks deserves a special mention: that what the Croatian sound wizard Petar Dundov has hauled out of Extrawelt’s “Titelheld” can confidently be seen as one of the emotional moments of glory of techno in the current decade. On CD2, Patrick Kunkel presents an 80-minute mix made from 21 tracks of the label’s history. With Roman Flügel’s “Geht’s Noch,” Koletzki’s “Der Mückenschwarm,” Timo Maas’ “Subtellite,” Minilogue’s “Jamaica” and “The Secret” by Joris Voorn, the mix makes absolutely clear how deep the marks are that Cocoon has left in the acoustic memory of the club scene. And so, the 11 turns into a mathematical parable of acoustic and rhythmic felicity. Other artists include: EMT, Glove, Legowelt, Len Faki, Reboot, Nick Curly, Julian Jeweil, Stephan Bodzin, Guy Gerber & Shlomi Aber, Jacek Sienkiewicz, Lucio Aquilina, David K and Loco Dice.
BEYER & DORIAN PAIC, ADAM: Cocoon Heroes 2CD (CORMIX 034CD) 23.00
The Cocoon team around Sven Väth has chosen the motto “Cocoon Heroes” for the twelfth Cocoon Ibiza season. Not as self-adulation, as in the end, all participants — whether they are behind the decks, the bar or, above all, on the dancefloor — are the true heroes of the night. And as the official warm-up for this mega event series, Cocoon presents the fifth edition of the Ibiza Summer Mix, mixed by Adam Beyer and Dorian Paic. One of the true highlights of this season is Adam Beyer’s anticipated performance — the Drumcode label head is, together with Richie Hawtin, Jeff Mills and Sven Väth, one of the most influential figures in electronic dance music. Often being a guarantor for stringent and hard techno as a producer, Beyer proves his musical complexity as a DJ with an energetic tour de force between hypnotic, percussive tech house, dub and acid, and finally surprises the listener with a distinct affinity for meaningful vocal samples. With some brilliant tracks from Function, Radio Slave, Joel Mull, Paul Ritch, Jesper Dahlbäck and, first and foremost, with Beyer’s collaboration with Alan Fitzpatrick, the sweat is most certainly going to be pouring out all over the dancefloor. Dorian Paic, Frankfurt resident and co-owner of the record store authority Freebase as well as label head of Raum…Musik, has been an essential part of the Rhein Main scene for many years now and is part of the line-up at the grand opening party at Amnesia. Those who have already experienced Paic as a DJ know about his matchless talent for making tastefully reduced but nevertheless unmistakable tech house jewels that tell their own very unique story. With his hypnotic and relaxed mix, Dorian oscillates within an artistic synthesis that distinctively bows to the roots of minimal techno, while also selecting artists like Zip & Baby Ford, Daniel Bell, DJ Sneak and Daniel Stefanik, reveals the mind of a true connoisseur. Especially in the consonance of those two very different types of modern electronic dance music, the listeners will be enchanted at home and on the dancefloor. Other artists include: Midland, Dave Manuel, Alex Dolby, Emmanuel Top, Skudge, Marc DePulse, Hermanez, Samuel L. Session, Paris The Black Fu, The Martinez Brothers, Santos, Reset Robot, Pascal Mollin, Steffen Deux, Luca Morris, Darius Syrossian, Rejected, Ben Klock, Tiger Stripes, Mark Henning, Terence:Terry, Lawrence, Cally, The Martinez Brothers, Rio Padice, Priku, Franco Cinelli, Anonym, Guillaume & The Coutu Dumonts, Sascha Dive and Johnny Fiasco.
MZ.412: Domine Rex Inferum CD (CSR 145CD) 16.50
Reissue of MZ.412’s 2001 Satanic masterpiece! The inventors of black industrial take you on a misanthropic journey through a claustrophobic vortex, filled with sinister dark ambient and threatening industrial atmospheres. Domine Rex Inferum is a less noisy affair than previous MZ. 412 albums, maintaining lower frequencies for a more intimidating experience. Originally limited to 2,000 copies, now carefully remastered and reissued with two bonus tracks in a matte digipak with spot varnishing.
MZ.412: Infernal Affairs CD (CSR 146CD) 16.50
Seven years after possibly their darkest and most subdued album Domine Rex Inferum, the black industrial pioneers MZ.412 stepped things up with a bombastic industrial magnum opus, originally released in 2006 on Cold Meat Industry. Opulent orchestral arrangements sit perfectly alongside cavernous dark ambient and blackened noise to create another monumental release from the Swedes who have dominated the scene since their inception in the early ’90s.
OLIVERWHO FACTORY, THE: I Can See 12″ (NT 002EP) 12.00
This is the second release by the German label Couldn’t Care More. The duo from Detroit, who by the way, run the stunning label Madd Chaise Inc., delivers fine Detroit tech deep house with a twist that will make you scream on the dancefloor. While the basic track is voluminously wafting and rawly pushing forward, vocalist Shonie C. tops it with her powerful and soulful singing. Both tracks are mastered straight to the point by A.O.S. Classic.
RADIO SLAVE: K-Maze (youANDme & Rhauder Rmxs) 12″ (CTZM 004EP) 12.00
youANDme and Rhauder present their interpretations of the Radio Slave track “K-Maze.” On clear vinyl.
BELTRAN, JOHN: Ambient Selections 1995-2011 3LP (DSR 088LP) 31.00
3LP version. Delsin is proud to present this best-of ambient compilation by one of their all-time producer heroes, John Beltran. The 16 tracks presented here include “Collage Of Dreams,” as featured on HBO’s Six Feet Under series, and other material from his sought-after albums originally released on Peacefrog and R&S. Beltran is a staple of the Detroit techno scene, releasing records on the Retroactive label that would later develop into his trademark contemplative, melodic style. Includes cuts from Earth & Nightfall (1995), Ten Days Of Blue (1996), Moving Through Here (1997), Going Home (2006), The Sky EP Series No. 2 (2000), his Placid Angles release The Cry (1997) his self-titled Indio release (1999), Americano (2002) and Human Engine (2006). With extensive back cover notes from the artist himself.
7K OAKS: Entelechy CD (ZEIT 013CD) 17.00
This is the second full-length album by the experimental/free-jazz quartet 7k Oaks, live-recorded in concert at the InterAct Festival in Hasselt. This new release is at the same time a confirmation of their musical background as well as an exploration of new territories: about an hour of full-blast energy, with a variety of directions ranging from walls of electro-acoustic noise to free-jazz bursts, hypnotic rhythmic patterns and lyrical melodic themes. It is the entelechy of an acorn to be an oak tree: the music flows naturally through the tracks of the disc, thanks to the mastery of these outstanding performers, able to drive the listener amongst the unexpected twists of their music in order to appreciate every pleat of their timbre. In short, Entelechy has it all: Alfred 23 Harth’s (Cassiber, Otomo Yoshihide New Jazz Quintet) blistering tenor squall, Fabrizio Spera’s (Ossatura, Blast) limitless percussion, Luca Venitucci’s (Zeitkratzer, Ossatura) ceaselessly inventive keys and Massimo Pupillo’s (Zu, Original Silence) masterful bass creates, unquestionably, a masterpiece.
SMITH/GILLY BUCHANAN, WAYNE: Dancing Machine/Me No Mix 12″ (DKR 049EP) 11.00
“Two mid 80s scorchers on the same killer riddim, each with dubs.”
ANDY/WAYNE SMITH, PATRICK: Ain’t No Me/Rain From The Sky 12″ (DKR 050EP) 11.00
“Another hot mid 80s riddim, two vocals and one dub.”
ANDY, PATRICK: Don’t Worry Yourself/Leave The Door 12″ (DKR 051EP) 11.00
“Top shelf channel 1 selections, both with dubs.”
SURU BOARD: Serious Thing 7″ (DKR 055EP) 5.50
“Monster one-away digital heat from 1987.”
BROWN, BARRY: No No No 10″ (DKR 063EP) 11.00
“Previously unreleased legendary dubplate tune from early ’80s.”
DJ PHONO: Welcome To Wherever You’re Not 2LP (DIYNAMIC 007LP) 20.00
2LP version. DJ Phono releases his first album on Hamburg record label Diynamic. Welcome To Wherever You’re Not is a work of heart, of emotions awakened and flourishing unrequited feelings. DJ Phono and his producer Jimi Siebels took their time in crafting a record that is between here and there, between the main floor and backroom, between big and small, between yesterday, today and tomorrow, between pop and club, or in short: in between worlds. One quality all of the 12 songs from Welcome To Wherever You’re Not have in common is their elegant reserve. They politely, cautiously, discreetly ask for a bit of attention without letting themselves get hustled into oblivion. “Soll Ich Ein Loch Graben?,” however, stands out as it unfolds into an imposing 8-minute rave drama: all the hands go up in the air when the bass drum finally kicks in towards the middle of the song. Björn Beneditz (WCW Gallery) and Carola Wagenplast (Jochen Schmith) created the art for the sublime booklet accompanying this album — each album is handcrafted and is therefore an individual piece of art. The forthcoming tour will comprise a delicate and yet serene chorography made of silicon crystals and computer science in the context of club music.
VOICES OF BLACK: Have You 2 Myself 12″ (DS 007EP) 12.00
A natural step across to Gadi Mizrahi’s vinyl-only imprint Double Standard has resulted in an EP that has allowed the cosmic duo Voices Of Black to explore their more languorous musical selves. Not a far cry from label buddies Soul Clap’s compelling mix of house, RnB and soul, Have U 2 Myself is smooth yet intoxicating, sun-soaked disco house. Worst Friends and Tanner Ross serve up the heat in their stylish remixes.
VA: Swing Diskoteka CD (EBM 020CD) 17.00
A spectre is haunting Europe — swing is not dead. In London, Paris and Berlin, people are swinging again. But as the youth of today has exchanged the gramophone for the turntable, the DJs are the new masters of this material and now they proffer electro swing. With tribute paid to the classics and masters of their art like Duke Ellington, Fred Astaire, Ella Fitzgerald or Bing Crosby, who are getting sampled and dusted, you can also hear the odd klezmer clarinet or guitar licks à la Django Reinhardt — Jewish and Gypsy swing. The players are not necessarily from Eastern Europe, though. Many Western European DJs and producers, especially in the fields of electro and house, now spice up their beat patterns with homemade samples and burlesque beats. Thanks to virtual networks, there is a busy exchange of new productions going on almost every day and electro swing parties are being thrown every weekend. Similar to Balkan music conquering the clubs a few years back, swing is now hitting the dancefloor. The masterminds behind that come from all over the place: Kormac from Ireland, Nôze from France, Imam Baildi from Greece, and as with the Balkan boom, a lot is going on in Germany and in Eastern Europe, of course! Shazalakazoo in Serbia, Matt Kowalsky in Poland or Mo Fun in Russia — the DJs are discovering swing and glamour is returning to the techno catacombs. Swing Diskoteka presents a wide spectrum of this new phenomenon, ranging from club sounds by Eldoko and cinescope scores from Smokey Bandits up to rather handmade songs by the likes of Jewdyssee. Many of the tracks here are exclusive to this compilation. From a music history point of view, it’s exciting to see how the different scenes are mixing now. This is even educational, as marginalized or half-forgotten music styles like klezmer, gypsy and now swing are playfully being woven into 2011’s sound carpet. Old school stylers meet rave kids in the Swing Diskoteka. The joie de vivre of swing meets the energy of electro. Finally.
CARTE BLANCHE: White Man On The Moon 12″ (BEC 5772876) 12.50
Here they go again, DJ Mehdi and Riton are Carte Blanche. Can’t stop, won’t stop. The new EP is called White Man On The Moon and includes the smashing “Jack On The Moon,” and next single “With You,” featuring Alexis Taylor from Hot Chip on vocal duties.
JUSTICE: Civilization 12″ (BEC 5772886) 12.50
Justice is an ultra-powerful compression of pop and baroque melodies, both dark and threatening; light-hearted and animated. 2007 was the explosion that turned the duo into the emblem of a whole generation: their first album was an epic soundtrack and a magnificent synthesis of our time. 800,000 sales worldwide and 4 years later, the album is considered a mainstay of the 2000s — one of the few that bridged the gap from the Pitchfork world to MTV without losing its credibility. Includes a 24×36 inch poster, plus mp3 download.
O’MALLEY, STEPHEN: Romeo Cassette (DEMEGO 017CS) 12.50
Part 2 of a 3 cassette series on Editions Mego. SOMA’s lucubrate excursion researching repetitive minimalist/primitive solo electric guitar is presented here in the form of pure abstraction and oversaturation. Recorded at the underground venue/library Uganda in January 2011, situated in Jerusalem’s new city. ?????? projects one man’s personal encounters within Jerusalem’s “old city” walls for a repeated time: the intensity, dementia and absurdity of the human condition; the magnetism & repulsion of Solomon’s ruin; encountering primitive arcane spiritualism and beauteous living passion; and being affected & subjected by these encounters. Listening instructions: focused, intently and without distraction or other purpose. Stephen O’Malley (SunnO))), Khanate): guitar. Artwork by unknown & Alexander Binder. Edition of 250 copies.
RIVAL CONSOLES: Kid Velo CD (ERATP 031CD) 15.50
Ryan L. West, the man behind Rival Consoles, strives to humanize and at the same time emphasize entirely computerized sounds to defy categorization in modern electronic music. According to West, this record was all about creating genuine emotions with a synthetic set of sounds. With track names that could be straight out of a comic strip, the atmosphere of this album reminds of video game sagas such as Zelda or Final Fantasy. Kid Velo makes the perfect fictional super hero with “Eve” being his fragile yet powerful female counterpart and “Vos” as the classic antagonist. Tracks like “S.P.K.R.S.” evoke images of an evil, corrupt police force, lurking deep in the futuristic suburbs. Surrounded by studio equipment, this record possibly is a result of spending more time with speakers than people. It doesn’t take much to see some parallels between the fictional character Kid Velo and its creator. Rival Consoles combines hard-hitting beats with catchy pop melodies, classical theory with dance. No wonder he released a split 12″ with label mate Ólafur Arnalds’ minimal-techno outfit Kiasmos. There is more to this artist than meets the eye, for those not content with 4/4 beat dancefloor stormers; West is fast establishing himself as both a sound designer and programmer, having repeatedly performed at the Tate Britain Museum in London, where he drew over 2,000 visitors into his unpredictable, yet detailed sound drawings “using self-created sound manipulation tools in MAX/MSP and Super Collider.”
SAM A LA BAMALOT: A Bird’s Leg 7″ (FACES 702EP) 11.00
Faces Records is proud to introduce a new “face” on board: Sam Verstraten aka Sam A La Bamalot is a new Dutch producer. Armed with an MPC1000, MicroKorg and a KaossPad, he creates futuristic soundwalls with crooked, broken vertebra drum patterns, while suddenly strange vocals shoot through your ears from left to right. “A Bird’s Leg” has been played on Gilles Peterson’s Worldwide show and “Crayonz” will bring back the rawness. An essential 7″.
GIANT SAND: Center Of The Universe LP (FF 173LP) 32.00
“Center Of The Universe was originally released in 1992, and is part of a series of Giant Sand reissues from Fire Fidelity. Giant Sand front man, Howe Gelb, holds Center Of The Universe close to his heart explaining that the record, ‘Could be my favorite…written in a one room cabin at the end of the road in the high desert around Joshua Tree where I lived for a few years…recorded back in Venice, California with the same slant as was instilled in the writing…adorned with the “psycho sisters” who show where the melodies in these songs were hiding…now through the miracle of remastering, these tracks sound more vibrant and alluring.’ What was a common approach to record making for Howe and Giant Sand, Center Of The Universe would be the last of a kind, ‘it marks the last time I could work like this, before the advent of family life was to take over and populate the day…this record marks the final time of isolation with a happy careless abandon and an immediate urgency delivered by a wired up acoustic guitar with stomp box distortion ready and willing.’ The experiment: to record a vocal in fragments while intentionally singing differently each time on the same song, then combining the takes instantaneously. The result was ‘Loretta And The Insect World.'” Includes download code.
GIANT SAND: Purge & Slouch 2LP (FF 174LP) 48.00
“After the commercial and critical success of 1992’s Center Of The Universe, Giant Sand looked to lay down the instinctive and impulsive spark of the band onto record, ‘Believing in recording in “the moment of impact” to result in a “perfect harvest,” where a song gets captured the first time it ever gets played, and this record marks the moment where 98.5 % of it was done like this.’ Howe was planning on it being his Metal Machine Music album, but instead, ‘some real songs happened too many times in the process…songs I have never learned.’ Originally released in 1993.” Includes download code.
GIANT SAND: Ramp LP (FF 175LP) 32.00
“Ramp was originally released in 1991 and continues the program of Giant Sand reissues from Fire Fidelity. For Ramp, Giant Sand ushered in several new members to the fold, ‘including young bassist Joey burns, the stunning voice of 74-year-old Pappy Allen, and our sweet, sweet friend Victoria Williams. We had begun recording in Tucson and finished it back in Venice, CA at Mad Dog Studio again…the first track was produced by Dusty Wakeman and featured the late great Duane Jarvis.’ Howe describes that the experiment with Ramp was ‘to record an electric song live in the studio and have the pre-recorded acoustic bridge be slotted in by DAT machine while then starting up again with the electric part live at the same pace as before the DAT take was applied with its different beat. What made this tricky was the mechanical delay of the play button on the state of the art day machine…you can hear the result in ‘Warm Storm.'” Includes download code.
TURNER GROUP, VELVERT: Velvert Turner Group 2CD (FB 1002CD) 23.00
As a teenager in New York in the late ’60s, Velvert Turner realized the dream of countless aspiring guitarists when he befriended and received tuition from Jimi Hendrix. Blending acid rock, funk and soul, his only LP originally appeared in July 1972, and has been described as the greatest Hendrix-inspired album ever released. Both original mixes are presented here (for the first time), and the 2CD set comes complete with biographical liner notes. Housed in a gatefold card wallet.
TUUSANUUSKAT: Nääksää Nää Mun Kyyneleet CD (FR 078CD) 17.00
Tuusanuuskat is a collaboration between Es and Tomutonttu. The name of the project Tuusanuuskat is a play on words derived from the phrase “tuusan nuuskana,” (trans. “total shambles”). It is a Finnish saying that is used when something has broken to a million pieces. The phrase is generally used in a playful context, and often received with laughter. If you Google “tuusan nuuskana,” some of the first hits you’ll get are: “After birth; private parts tuusan nuuskana,” “Ferrari tuusan nuuskana” and “Steve Jobs mansion tuusan nuuskana.” Yes, they have chosen their name wisely. Es is a project of Sami Sänpäkkilä, a musician, filmmaker and the head of Fonal Records. To date, he has released five full-length albums, and made tons of short films and music videos. He also scored the soundtrack to the Swedish award-winning film Apflikorna. His music and films are experimental moodscapes that explore the themes of melancholy, pathos and hope. Tomutonttu (trans. “dust gnome”) is a human by the name of Jan Anderzén, a visual artist and leader of the respected avant-garde sound group Kemialliset Ystävät. Toy reed streams, mutilated vocals and groovy loops of animal noise are just some of the colors used to create the whirling mess that is the lonely song of Tomutonttu. His discography is a labyrinth reflecting the nature of his music. Together, they have prepared an experimental cocktail that sounds like two drunken masters of music, conducting the protons and neutrons travelling from their instruments to their skulls and back, to create a musical nucleus. The CD packaging displays Fonal’s customary attention to detail. It includes a striped acetate film, that when placed over the cover, creates an animated sequence of images. The illusion works on the persistence of vision principle. The cover is designed and produced by Jari Suominen (of fellow Fonal recording artists Jarse and Shogun Kunitoki).
GLENN, JEREMY: New Life 12″ (FCL 057EP) 12.00
Jeremy Glenn’s sun-drenched, twilight euphoria is perfect for driving home from the beach or partying seaside through the evening. But looking deeper, Jeremy is also unafraid to come bearing soul, daring to embrace his natural pop sensibilities, while also celebrating the underground scene that’s shaped him as a DJ. He has shared the decks with James Murphy, Tensnake and Andy Butler and performed live alongside Dam-Funk, Aeroplane and Alexander Robotnick. Remix by Alex Barck.
POLYPHONY: Without Introduction CD (GF 251CD) 13.00
“The great Virginia band that released this concept LP in 1971. Likened and compared to Emerson, Lake & Palmer as well as Uriah Heep, this organ dominated album does not disappoint!”
NICE & SMOOTH: Nice & Smooth CD (GET 53503CD) 17.00
“When the team of Greg Nice and Smooth B made their first appearance on Big Daddy Kane’s ‘Pimpin’ Ain’t Easy’ in 1989, they instantly became one of the most recognizable duos in hip-hop. Known for their catchy, lighthearted and humorous tracks, Nice & Smooth combined Greg Nice’s lyrical dexterity with Smooth B’s slow, talkative flow to create an often imitated, never duplicate style that won admiration from the likes of Kane, Tupac, DJ Premier and many others. Their self-titled 1989 debut proved their initial chemistry was no fluke, to quote their single ‘Early to Rise,’ they ‘kept coming back with more and more hits.’ Aside from that song, the album also contains ‘Funky for You’ and ‘Perfect Harmony,’ tracks that highlighted the pair’s unique delivery, sense of humor and ear for catchy beats. The group went on to experience further success in the subsequent years, but their debut remains possibly their best work, and a worthy inclusion on The Source magazine’s list of 100 Best Rap Albums of All-Time. In continuing their series of classic hip-hop reissues, Get On Down is proud to present Nice & Smooth’s long out-of-print debut album in a special edition, featuring audio remastered from the original master tapes and digipak packaging featuring the original album artwork.”
HEIDI: Heidi – Presents The Jackathon 12″ (GPM 148EP) 12.50
Presenting four exclusive tracks taken from the new jack compilation curated by BBC Radio 1 DJ Heidi. Soul Clap open the package with a slo-mo groovy number full of their typical funk and grind while Deetron delivers a rapturous cut aimed straight at the dancefloor. Exclusive collaborations come from Mathias Kaden featuring Gjaezon, who bring bags of energy while Lauhaus & Kabale und Liebe team up for a closing pinch of dirty house.
COMUS: East Of Sweden: Live At The Melloboat Festival 2008 CD (DPROM 085CD) 16.50
The seminal British progressive rock/folk band Comus is back. Their classic debut album, First Utterance, release in 1971, is on just about anybody who’s anybody’s list of “Desert Island” records. East Of Sweden is a live CD recorded at the Melloboat Festival in 2008, which was the first time the band had played live in 34 years. They were met with a tumultuous reception and this fantastic CD is a great document from that show. It is also the first release on the Dirter subsidiary imprint Gnostic Dirt, launched by Steve Pittis and David Tibet.
OTIS, SHUGGIE: In Session 2LP (CLP 3341LP) 21.00
2009 release. Collection of Shuggie Otis’ work as a studio guitarist. Tracks by Richard Berry, Johnny Otis, Big Joe Turner, Charles Brown, Louis Jordan, Joe Liggins And The Honeydrippers, Amos Milburn, Gatemouth Moore, Eddie “Cleanhead” Vinson, Pee Wee Crayton and Roy Milton. Gatefold sleeve.
UNDISPUTED TRUTH, THE: Face To Face With The Truth LP (G 959LP) 11.50
Gatefold exact repro reissue of The Undisputed Truth’s debut album, originally released in 1971. Featuring an amazing line-up of contributing musicians, including Dennis Coffey (whose work compiled on Vampisoul’s Big City Funk: Original Old School Breaks, VAMPI 078CD), Earl Van Dyke and Johnny Griffith.
MONUMENT: The First Monument LP (GUESS 081LP) 25.50
Heavy organ and guitar doom hard rock recorded in London in 1971 by the members of cult hard-rockers Zior. A must for fans of early Black Sabbath or Leafhound. High quality carton cover, pressed on 180 gram vinyl. Mastertape sound quality. Includes an insert with extensive liner notes by Andy Morten.
SUBWAY: Subway LP (GUESS 085LP) 25.50
180 gram LP version. Subway was a duo consisting of an American and a guy from the UK who released their only album in France in an edition of 200 LPs in 1972. They lived and played for some time as street musicians, even performing their compositions in the Parisian subway, hence the band name. Unfortunately, the album fell through, so the unsold records were melted, as was usual in France at the time. The band performed fantastic psych-folk music with prog-rock elements. An absolutely top album and a must for any psych and folk fan. This vinyl edition is housed in a high quality carton cover and pressed on 180 gram vinyl. Brilliant, fully remastered sound quality. Includes an insert with photos and liner notes.
RAINBOW FFOLLY: Sallies Fforth LP (GUESS 086LP) 29.00
Underrated UK psych-pop album from 1968 originally released on the Parlophone label. This is one of the most sought-after artifacts from the British psychedelic scene. Sallies Fforth will transport you to the swingin’ London-era in its full glory: well-crafted songs, inventive arrangements, charming home-made sound, nice vocal harmonies, crazy sound effects and more. Highly recommended to fans of Toytown pop-sike and sunshine-pop. File next to Koobas, Forever Amber, Ora, Kinks, Millennium-Sagittarius and the likes. Housed in a high quality carton cover with old-style backflaps and pressed on 180 gram vinyl. Mastertape sound quality. Includes one bonus track taken from their rare non-LP 45 and an insert with extensive liner notes by Brian Hogg.
SIMKO, KATE: Lights Out CD (HELLO 019CD) 17.00
This is the debut full-length album from Chicago-based Kate Simko. From delicate fluttering percussions on “Beneath” to “Machine’s Mantra”‘s effortless yet hypnotic drone, lines are blurred, genres are paired, and musical visions are created. From the magnetic Chicago vibe in “Mind On You,” to the dark, sexy meanderings of minimal mastery in “Last Breath” and “Bikini Atoll,” to the shuffling, Perlon-influenced “Mira Vos,” Kate offers up an impressive lot of songs that crossover from headphone listening to ignite the dancefloor. Her intricate rhythms and time-stopping harmonies offer up the perfect balance of savvy intellect and sensory pleasure. From song to song, the journey continues and after a vivid nine theme showcase, the voyage closes with the contrasting and groove-ridden “Had It All.” Summing up the creative emotion of “Lights Out,” “Had It All”‘s powerful rhythms and acid synth lines contrast with an aura of melancholy eeriness and vocals that are endearingly shy. The closing song’s wide-eyed groove and powerful passion leave us at a juncture outside of genre boxes and full of inspiration. Inspired by her peers, Kate has performed with leading artists like Ellen Allien, Magda, Anja Schneider, Sonja Moonear, Camea, and Cassy, earning their respect. Kate is supporting this release with a live world tour — a stunning and innovative cinematic event entitled “Lustre” alongside intermedia artist Jeffrey Weeter. Combining sound and image from worldwide cities and collaborators, “Lustre” will showcase moving and still images conjured by each individual album track in a highly-anticipated HD video display. No two performances will be the same while the film’s integrity still remains intact. Lights Out and “Lustre” is an experiment in non-linear storytelling and real-time creation, bringing the excitement of live music to a cinematic experience. As the artist herself explains, “I looked at the album as an art project — an installation of ten pieces that together form their own unique being.”
TIYISELANI VOMASEVE: Votswelani 12″ (HJP 055EP) 11.00
The first in a series of EPs of storming, squinty Shangaan Electro to herald the current European tour of Tiyiselani, the Tshetshas and producer Dog — and kicking off an extended series of Honest Jon’s twelves, with contributions from Actress, Mark Ernestus, Peverelist, Shake Shakir, Oni Ayhun, Ricardo Villalobos and Max Loderbauer, Burnt Friedman, Old Apparatus and Zomby, amongst others.
TSHETSHA BOYS: Anidyi Nyama 12″ (HJP 056EP) 11.00
Second in a series of EPs in support of the current Shangaan Electro tour in Europe.
ALBERICH: Psychology of Love LP (HOS 221LP) 21.00
“Long awaited first LP of heavy electronics command. For fans of Militia, Grey Wolves, Pal, and Esplendor Geometrico. Philosophies of war and love burn in the cauldron of mythology. Trade one power for another but be warned that energy can neither be created nor destroyed. Includes the tracks from the infamous ‘rumbala’ cassette that started it all. Edition of 200.” Paste-on sleeves with insert.
LUSSURIA: Ghost Entanglement LP (HOS 252LP) 21.00
“Long awaited first LP of phantasmal electronics domain. Seamless sound collage taking you through all the various rooms in the house. While blindfolded you reach for things familiar but everything feels different in the dark. A state of ambience is interrupted by deja vu. For fans of early CMI, Mlehst, and the atmospheric end of Goblin. Edition of 200.” Paste-on sleeves with insert. Edition of 200 copies.
STILLBIRTH: Toward Sailor LP (HOS 316LP) 21.00
“Long awaited first LP of imaginary electronics conversation. A story is told of people that never existed. Of happy depression. Of cures that never bloomed. A small bowl of grass is ground up by the pestle and gulf mist sprays the players on the rocky beach. For fans of Brume, Keith Rowe, and atmospheric Ramleh. Edition of 200.” Paste-on sleeve.
DAKOTA SUITE: The Hearts Of Empty LP (KK 063LP) 15.50
LP version. Following the release of The End Of Trying (KK 046CD) on Karaoke Kalk in 2008 and 2009’s The Night Just Keeps Coming In (KK 051CD), Dakota Suite are back with a new album of equally mesmerizing beauty. The band are led by Chris Hooson and completed by David Buxton and previously also Richard Formby. They released their first album in 1998 and The Hearts Of Empty marks the significant milestone of being the band’s 10th full-length studio album. All the compositions on The Hearts Of Empty are performed by David Buxton with a perfectly sparse instrumentation. This sublimely minimal combination of piano, double-bass and percussive brushes makes for a truly captivating sound. David really exhibits a mastery both in the concise nature of the arrangements as well as in their precise delivery. Every note sounds as if it is played with directed emotion, carefully placed and skillfully executed. Of course, it’s a cliché from the jazz scene, “it’s the notes you don’t play…” but the grain of truth within this generalization certainly applies to Dakota Suite. Their music is at times sombre, meditative and withdrawn, but never is it forced or over-cluttered. Every melodic and rhythmic change seems to flow naturally with the result that the music creates a wonderfully relaxed listening environment. Indeed, jazz has a strong musical influence on the style of the songs; most noticeable in the lilting piano refrain of “Eskimo Nebula” and the impeccable rim-shot and brushes drum work on “Vermont Canyon Road.” And while this rich, organic acoustic timbre pervades the entire album, there are a few exceptions, such as the scientifically-titled interlude “M-Theory” and the entrancing ambient tune “The Ladder,” which see a brief excursion into the more digital world of experimental electronics through the use of synths and looping. The energy of the recordings conveys a well-defined mood, such as on the title track, which is reserved yet uplifting at the same time. Although Dakota Suite may be inspired by jazz, they have taken it in an entirely different direction. The Hearts Of Empty goes way beyond the traditional concept of a jazz trio, foraying into fields such as new music, experimental and neo-classical, amongst other new terrains. Includes a free download coupon.
PADILLA, JOSE: Here Comes The Sunset Vol. 4 CD (KL 072CD) 17.00
Each summer, a new raft of dance compilations stake claim to represent “the real Ibiza.” But, if anyone deserves that accolade, it is José Padilla, who first arrived on the White Island in 1975 and who has been DJing there ever since. For Jose, it has been always great to experience different music and play around with the colors. As Jose says: “If it was grey, I’d play one way, if it was very bright, I’d play happy. I’d play with the mood.” Those sunsets have become legendary — an essential part of the Ibiza experience, climaxing in warm applause as the sun finally disappears beneath the waves. Those famous mix tapes evolved into the much-loved Café Del Mar compilation albums, conceived and compiled by José Padilla, which have now sold over 5 million copies around the world. In addition, José has gone from a poor barrio in Northern Spain, to a jet-set DJ lifestyle; guesting in London, Paris, Monte Carlo, Amsterdam, Miami, Italy, Moscow, Australia and serving as a musical ambassador for the island. All of José’s albums sound as great now as the day they were released, and new fans are still discovering the beauty of his exquisite taste as he continues to search out the finest music from around the world. José Padilla’s brand new compilation Here Comes The Sunset Vol. 4 is custom edited for Singita Beach Club in Italy. Singita is in line with the new beach entertainment trends that put the beach at the center of it all, and not only during the daytime. This mix perfectly captures the escapism that is Singita, embodying desire, strong emotions, sensational sunsets, exotic flavors and perfumes. Artists include: Prem Joshua, Smokey Bandits, Blundetto, Coyote, Blue Pilots Project, Ilya Santana, Eduardo Castillo, Worst Friends, Hard Ton, Bubble Club and Chris Nemmo.
PANDA BEAR: Surfers Hymn (Actress Primitive Patterns Extended Mix) 12″ (KOM 238EP) 14.00
Following the 7″ release of Panda Bear’s final single in the series that led up to the release of his new album Tomboy, Kompakt presents the Actress remix the way it was intended — a 12-minute epic remix straight for the summer masses. The B-side is marked only with a unique etching of the original 7″ artwork.
DOP: After Party 12″ (LAD 003EP) 12.00
Life And Death have recruited the undisputed kings of late night mayhem and madness for a tribute to that beautiful party after the party. dOP has infiltrated after-parties worldwide, secretly extracting pituitary secretions from the rowdiest party-goers at each of them. They then took these secretions, burned them in a special voodoo ceremony and immediately went into the studio to create a fitting tribute to the after-hours festivities we all hold so dear. Remixed by Clockwork and Le Loup.
VA: Love Edits Vol. 2 12″ (LOVEEDITS 002EP) 14.00
Part 2 in this mysterious series of Love Edits.
VA: The Definition Of Jak – The Definition Of Hope 12″ (LXRC 005EP) 17.50
Traxx, D’Marc Cantu and J.T.C. drop a three track EP on the burgeoning Lux Rec. imprint. Each artist delivers, with some pretty signature styles on display! A great EP showcasing these maverick sickos. 200 copies only. On white vinyl.
HOOD, ROBERT: Omega: Alive CD (MPM 012CD) 17.00
Following 2010’s triumphant Omega (MPM 008CD/LP) album that saw Detroit techno legend Robert Hood envisage the 1971 film The Omega Man as a techno science fiction opus, he now translates the suspense and tension of Charlton Heston’s last man on earth battle for survival into the frenetic energy of his own new live show. In 2011, Omega comes Alive. “When I began to put together ideas for The Omega live show, I wanted to bring together elements that would of course, reflect the movie Omega Man. I thought why not include a few past recordings, such as ‘Unix,’ ‘Side Effect,’ and ‘Minus’ but with a post-apocalyptic sound. The idea was to simply stay true to my roots and to represent the sci-fi essence of the movie’s theme. I added some unfamiliar elements such as ‘Bells At Dusk’ and ‘Minimal Minimal,’ as well as James Ruskin’s re-interpretation of ‘Alpha.'” On Omega: Alive, Hood takes the raw elements of the originals and builds them into a tense and pulsating live show that propels Omega into a new light. Opening with new track “Bells At Dusk,” Hood builds over a sparse drum pattern before a scattershot piano riff announces the unmistakable kick sound of the minimal master. “Run” keeps up with soft pads and then Hood drops one of the album’s key tracks with the staccato-strobe flash of “Alpha” as he works the original into a mesmerizing and melodic, string-inflected monster. Then we have new track “Minimal, Minimal,” whose hypnotic refrain could well be a call to arms across the world’s dancefloors this summer while Hood also re-works classics like “Who Taught You Math?,” “Unix,” “Minus” and “Side Effect” into his unique rhythm of vision. Finally Hood wraps the Omega story up with three bonus tracks including brand-new track “Atomic.” This is Omega: Alive. The saga continues.
MITCHELL, BLUE: Graffiti Blues LP (MRL 400LP) 11.50
Exact repro of the fourth album hard bop trumpeter Blue Mitchell released on Mainstream, originally released in 1973. Joined by the rhythm section of Joe Sample and Walter Bishop Jr. (keyboards), Freddie Robinson (guitar), Darrell Clayborn (electric bass), Ray Pounds (drummer) and Herman Riley (tenor saxophonist). The title cut features Don Bailey on harmonica.
COLUMBUS: Hubble 12″ (MAYOLOVE 001EP) 12.00
Munich neo-disco duo Columbus present their second single. “Hubble” is in the tradition of the classic Munich disco sound with sexy analog synth arrangements and hints of Supermax releases (R.I.P.). Ajello, In Flagranti and Pyjamas deliver some remixes.
JOHNSON, J.J.: Willie Dynamite LP (MCA 393LP) 11.50
Exact repro of the 1974 soundtrack to the legendary blaxploitation movie. Martha Reeves sings on opening track “Willie D.” Instrumental “Parade Strut” was sampled by Massive Attack, Wu-Tang Clan, Deee-Lite and Kanye West.
FORT MUDGE MEMORIAL DUMP, THE: The Fort Mudge Memorial Dump LP (SR 61256LP) 11.50
Gatefold exact repro of this Massachusetts psych band’s sole 1970 release. A female singer and a sound rooted in West Coast psych.
FOLSOM, ROBERT LESTER: Music And Dreams LP (MEX 030LP) 24.00
“The first of many reissues on the Mexican Summer slate brings forth a 1976 private press affair from Georgia’s Robert Lester Folsom, a high-quality and shimmering, unbuttoned-collar collection of marina rock and sunset ballads. Vaguely psychedelic and professionally rendered, this is a strong and consistent brace of soft rock, staid yet breezy, and one of the only MS releases you can likely share with your parents (or grandparents) without strange looks or much argument.” Includes download code. Numbered edition of 750. CD available on Riverman (BTR 051CD).
KRENG: Grimoire LP (MIA 016LP) 18.00
LP version. The less we know about Belgian sound alchemist Pepijn Caudron aka Kreng, the better. We know his debut release L’Autopsie Phénoménale De Dieu (MIA 010CD) appeared seemingly out of nowhere on the Miasmah label in 2009, but other than that, very little tangible information has surfaced. This sequel, the blackly-monikered Grimoire simply re-enforces Caudron’s shadowy legacy with a similarly dank concoction of cracked strings, creaking percussion and half-heard dialogue. Thankfully, however, Caudron has refined his craft in every way, from the artfully-restrained layering of samples to the deliriously magickal atmosphere he manages to conjure up. There is the sense even from the first few seconds of the record that you are transported out of time and reality, and as hoarse, alien breaths croak over oily bass drones, the poignant spoken words “You don’t belong here” become an apt anchor for the entire album. It seems almost too easy to compare Grimoire to a film soundtrack at this point; sure, Caudron has listened to his fair share of chilling scores but Grimoire is more than simply homage, and maybe the clue is in the title itself. Grimoires are books of magic, the most important of which had a stranglehold on cultures both ancient and more recently than most people probably care to realize. These books have slipped into folklore and legend, and like those faded pages of incantations, there is something deeply mystical and indescribable about Kreng’s music. Caudron’s background in theater no doubt forms a strong foundation for his compositions, but there is so much about his work that only creeps into the light after countless hours of study. These songs are best suited to moonlight, strong spice-laced liquors and the dark recesses of our painfully dull existence. Pepijn Caudron has formed a grimy, surreal ode to not only the past, but also what the future might hold, and from the sounds of it, we’re not getting off lightly. Includes a download code for the entire album.
JONSON, MATHEW: Learning To Fly 12″ (MINUS 108EP) 11.00
This is arguably one of the most exciting singular works of Mathew Jonson’s career, recalling his first Wagon Repair release: 2005’s Marionette, a record that continues to inspire cultish devotion 6 years after its release and thoroughly deserves every adjective for “hypnotic” and “anthemic” that’s ever been thrown at it. “Learning To Fly” retains those qualities while taking them yet further — a 12-minute sci-fi exploration that achieves that mark of classic electronic music production.
BAREM: After The Storm CD (MINUS 110CD) 15.50
There. Is. Nothing. Better. Than. A. Clear. Blue. Sky. After The Storm. Taken literally, the track listing for Barem’s debut LP represents that fleeting moment when nature puts its house in order, when calm and clarity triumph over chaos. Of course it also works perfectly as a metaphor for those fuzzy moments of self-reflection while sprawled on a hotel bed after another mind-blowing night at the controls, or while taking stock of a musical journey that’s about to culminate in a debut album for the internationally-renowned label that motivated you to start making music in the first place. Barem has always offered a more laidback counterpoint to the edgy sounds of some of his label mates. His decision to progress in a deeper, percussive direction began with the Kolimar EP and apart from the dark, ambient intro, this vibe dominates the first half of the album. “Is” and “Nothing” really showcase his skill at concocting instinctive, percussion-driven grooves, expressing a natural inner rhythm that exploits the full stereo field. Rich, rounded drum fills puncture the hidden space behind the beats, shimmering reverbs drench the cymbals while the bass lines remain reassuringly fat and familiar, gently hypnotizing as the LP settles into its groove. By the time we reach “Better,” the low pressure is beginning to break. Additional elements gradually make their presence felt as the beats continue to flay and splinter, phasing strings heighten the suspense and a delicate one note riff skips and bounces through spot effects and sprinkled vocal snippets as Barem coolly maintains the growing intrigue. As if to highlight the evolving nature of the LP, the transition to the more dubbed-out “Than” goes almost unnoticed as the gentle undertow begins pulling us into more familiar M_nus territory. Disorienting percussive delays start jarring into the void, indiscernible vocal slurs reverberate out into the corners of the room and warm, acidic bleeps start tapping at the doors of perception. By the time we reach “A,” the psychedelics have well and truly kicked in. The percussive onslaught of the preceding tracks gives way to a deeper, mystical atmosphere driven by shakers and hats and offset with cavernous delays and detuned pads that warp and envelope the collective consciousness in the orange-red glow of some ancient tribal ritual. The last four tracks are all about the future. “Clear” gives ground to an abstract, subsonic groove that hisses and crackles like the dying embers of the night, while “Blue” embarks on a spiral dive that represents Barem’s new unity of sound in one magic bullet. “Sky” then announces the final ascent with a long, seductive intro that crystallizes into an elegant melody, while the throbbing bass line generates another ecstatic rush of dark energy. On “After The Storm” we’re greeted with tribal rhythms, muffled brass sections and a superb fretless bass riff all benefitting from a shift in 6/8 blues time signature that gives the album finale a fittingly reflective sensation.
POOKS, TOM: Kazantip Live Mix CD (MOOVMIX 002CD) 17.00
French DJ/producer Tom Pooks releases a very special mixed compilation, bringing to your ears the unique atmosphere of the Ukraine’s Kazantip Festival. The Kazantip Republic invites Tom Pooks each year, so he decided to release a mixed compilation to share his experience. Last year, Tom Pooks opened for Carl Cox and the idea of this compilation became really serious, with the support of Mike Spirit, the minister of song and dance of the Kazantip Republic. Now, the French techno expert reveals a deep and strong mix, with 13 underground tracks and nothing but good vibes. Without any big names nor big hits, Tom Pooks delivers a brilliant mix, evolutionary and mental. This mix sounds like the freedom and magic of Kazantip, which has been a strong experience in Tom Pooks’ life: “My first time at Kazantip was something weird, arriving in the middle of nowhere, kind of lost in the south of Ukraine, even a bit scared: not my language, not the same food, not the same culture… but after being welcomed by Mike and his team, I found out the real spirit of Kazantip!” No doubt, this compilation is a real tribute to the Kazantip way of clubbing. Artists include: Veerus & Maxie Devine, V.Rotz, Obie Tryce, Small Town Collective, Redondo, Cactus Twisters, Threshold Production, Dead By Analog, Danny Martin, Joy Kitikonti & Bimas Jr., Android Cartel, Dibby Dougherty, Evren Ulusoy, David Laake, Oren Bi and Luciano Pizzella.
MULLAERT AKA MINILOGUE, SEBASTIAN: Move The Wave To Your Heart CD (MED 021CD) 15.50
Mule Musiq pool their strengths to release a exclusive mix CD by the Swedish heartbreaker Sebastian Mullaert, best known as one-half of the staggering duo Minilogue, called Move The Wave To Your Heart. In order to support all the needy people of Japan that suffered in the aftermath of the catastrophic earthquake on March 11, 2011, all earnings from the sale of this record will be donated to Japan’s Red Cross Society earthquake fund. Sebastian Mullaert aka Minilogue mixed an 11-track strong charity journey towards the widely-ramified Mule Musiq opus, that travels heartfelt from lively African-influenced house right into the cold, dubby heart of a German techno club. His journey starts tribal with the kalimba percussion-driven house deepness of “Kalimba Dance,” produced by Da Capo from South Africa, with the bass-heavy “Japan Japon” rhythm voyage of Mr. Raoul K, the man from the Ivory Coast that lives deep in the north of Germany. One of his brothers in spirit is Culoe De Song, who subsequently opens Minilogue’s mix with his emotional house trip “Ambush” towards an atmosphere that slowly grows from a summer-like outdoor party mood into a sweaty, compact club feeling. The first real step into the midnight arena is “Capital City,” a killer track by South Africa’s Moodswing that perfectly migrates after six breathless minutes into “Shades Of Grey,” a cool funk techno excursion by KAB & Mac. From that moment on, Minilogue digs deep in the shallows of the Mule Musiq catalog to find some of his solo and some of his Minilogue tracks like “Älva,” “Jakata A,” and “Hundraelva” beside arrangements like the touching “The Search and the Breaks.” As any DJ with the right feeling for a complete musical trip, Sebastian Mulleart fades out his mix with his airy 12-minute remix of “Ocean Wave,” originally produced by Kuniyuki Takahashi aka Koss. A long goodbye that tickles your fancy of more spheric tracks which oscillate between techno and house while taking the term deepness seriously. A stirring mix straight from the heart made for a good cause.
WHITFIELD AND THE SAVAGES, BARRENCE: Savage Kings CD (MR 306CD) 17.50
Back in 1983, Barry White (aka Barrence Whitfield) and Peter Greenberg were working at Nuggets, a used record store in Kenmore Square in Boston. Greenberg, who had previously played guitar in DMZ and The Customs, had recently quit his job playing guitar with Lyres and had begun to form an instrumental rock & roll band with ex-Lyres Phil Lenker on bass, Howie Ferguson (and Real Kids, too) on drums, and another Nuggets employee, Steve LaGrega, on sax. One day, Barry White began singing at the record store and — Barrence Whitfield And The Savages were born. The first iteration of the Savages went on to record two critically-acclaimed, blockbuster LPs produced by Greenberg that combined the best of ’50s/’60s rocking R&B with some high octane garage/punk thrown in. The first LP, Barrence Whitfield And The Savages, was released on Mamou Records in 1984 and has been recently reissued on Ace Records. John Swenson wrote in the Ace liner notes that in the dark days of the early 1980s, “The Savages kept rock & roll alive.” The original Savages recorded a second LP, Dig Yourself, on Rounder Records that rocked just as hard. According to Andy Kershaw of the BBC’s Old Grey Whistle Test, “What positioned Barrence and the band way beyond any other rock & roll of the era was a unique marriage of Barrence’s personality and R&B shouter élan to the bounce and insolence of Peter Greenberg’s essentially rockabilly guitar style. With the addition of much ill-mannered saxophone, we have here a band which embodied the heart and soul of rock & roll.” In 1986, Greenberg and Lenker threw in the towel and quit playing music, and the original Savages disbanded soon after. Barrence kept it alive touring worldwide and becoming internationally renowned for his wild performances. Spun out of a magnetic vortex in the mountainous, desert town of Taos, New Mexico — Barrence Whitfield And The Savages re-emerged — cleansed and revitalized. In 2010, Whitfield, Lenker and Greenberg decided to hang out in the desert and play some shows in the Southwest. This led to the recording of the Savage Kings LP, again produced by Greenberg, in December 2010. It was decided that Cincinnati, Ohio — the home of King Records — would provide the necessary inspiration to the Savages to produce a great rock & roll record. And it did! The core Savages line-up of Whitfield, Lenker and Greenberg was now ready to go, supported by an All-Star team on Savage Kings: Andy Jody has played drums for Pearlene, The Customs, Thee Shams, Viva La Foxx, Cincinnati Suds, Oxford Cotton and most recently with James Leg of Black Diamond Heavies; James Cole on piano and organ has played in The Customs, The Auburnaires as well as The Cole Brothers. Tommy Quartulli has played sax in The Kings of Nuthin’, The Allstonians and Darkbuster. Barrence Whitfield And The Savages intend to start touring Europe soon after the release of Savage Kings.
ROOTSMAN/MUSLIMGAUZE, THE: On-Line Jihad CD (MPS 006CD) 23.00
“‘With Bryn, his music was coming (from) somewhere in the future. There were reference points, but there wasn’t anything you could say that it was directly influenced by.’ So mused John Bolloten aka The Rootsman when he played back the DATs sent from Bryn Jones. Bolloten first became aware of Muslimgauze in 1993 in an issue of The Wire magazine, and was intrigued someone was doing unique recordings influenced both musically and thematically by the Muslim world. Yet, when he finally did listen to Muslimgauze music, there was something lacking (to his ears) in the sound that Bolloten could not quite place. However, he was drawn by the provocative art work, album and track titles, and the dedications to the struggles of Palestinians or others in predominantly Muslim countries. Bolloten worked in a roots reggae shop since the 80s, and before long became a ‘selecta’ at local clubs where he dropped the needle on the choicest dub cuts as The Rootsman. Before long, The Rootsman had his own night, ‘Dub Me Crazy’ at the Soundclash club in Leeds where he played alongside guest DJ’s, Andrew Weatherall (Two Lone Swordsmen), Justin Robertson (Lionrock), and Alex Patterson (The Orb). It was also during the early 90s when Bolloten produced his own brand of dub reggae, some Islamic-themed, since he was drawn that direction spiritually and became a convert. Bolloten’s first release was a 10″, Koyaanisqatsi on the Soundclash label, before founding his own Third Eye Music imprint to release both his own music and that of other worthy dub artists. Jones and Bolloten were finally introduced by a mutual friend during a Dub Me Crazy night, where the latter recalls, ‘I was expecting somebody in combat gear, a militant guy and there was this weedy guy in sandals. Not what I expected. I spoke briefly about him doing some mixes for me. I had an album out at the time (In Dub We Trust) and a few days later a DAT tape arrived.’ The DAT was a remix of In Dub We Trust (1995) off Bolloten’s Third Eye Music imprint, the first remix of many. Jones was not exactly an effusive personality, rather he communicated best through music and the DATs were his way of saying ‘hello.’ And the DAT’s continued to arrive until the two collaborated in the studio in what were prolific sessions. Dub is ideally experienced in a club setting with optimal speakers with pronounced low-end, and The Rootsman took special care to ensure the music was felt as much heard. These evenings, remixes, and subsequent collaborations became turning points in the sound of Muslimgauze where the missing element Bolloten sensed, finally arrived. The remix DAT is posthumously titled On Line Jihad and could be likened to when a crazed duppy takes possession of a roots dub studio; evidenced in the sudden Turrets-syndrome shifts in gain, acid bath distortion, schizophrenic panning, and random Jamaican patwa intonations amidst rocksteady guitar skanks, riddim wild, and staggered echo. Somehow, East Indian and Arab vocals and instruments make their home in Kingston, Jamaica to rally the poor and oppressed against first-world colonialist oppressors. Nowhere is this mood more exemplified in ‘Holy War (Part 1),’ which leads as insurrection amidst sustained calls of ‘God is Great’ in Arabic, followed by a rallying riddims, earth-shaking bass lines and shrapnel ricochets. The Muslimgauze Preservation Society is proud to offer Muslimgauze remixes by The Rootsman, and the collaborations. On Line Jihad is pressed exactly as received, set in super jewel casing with papyrus cover hand-printed in liberated Egypt, 18-panel fold open poster with liner notes, and glossy sticker. This is part one of a multi-part series.”
ALLAMI, KHYAM: Resonance/Dissonance CD/DVD (NAWA 001CD) 22.00
It’s not often that you stumble on a musician at the start of his career whose biography is as intriguing as Khyam Allami’s. Since taking up the oud (Middle Eastern lute) in 2004, he has already generated a “palpable buzz” about him and “left a trail of unforgettable live performances in his wake” according to the UK’s fRoots Magazine who recently put him on their cover. Whether at small independent venues, Birmingham’s alternative/experimental Supersonic festival, WOMAD or the BBC Proms in London’s Royal Albert Hall, Khyam always enchants with the lucid beauty of his music. His debut solo oud album, Resonance/Dissonance (released on his own label Nawa Recordings), is a rare and ambitious effort. It is a double-disc featuring a solo studio recording on the CD and a live performance of the entire album on the DVD. Musically, it is based on the concept of maqam (the modal system of Middle Eastern music), seemingly stark and simple yet overtly complex. Unusual approaches to the maqams combine with original, highly structured and detailed “composed-improvisations.” Recurring themes and melodic shapes render a cohesive narrative, accented by sensitive dynamics and rhythmic outbursts using unusual rhythmic cycles, all of which intertwine around complete compositions and a dark rendition of the traditional Iraqi maqam nawa. Mystical in its lucidity and abstract in its poetry, Resonance/Dissonance is unique, soulful, beautiful, dark, heavy and hopeful all at once. A truly boundary-crossing musical work for fans of Middle Eastern, classical, progressive, jazz, improvised, world and avant-garde. DVD: PAL format; Region free; 52 minutes; Stereo; DVD tracklisting — same as the CD; Color.
ENSEMBLE VORTEX: Corrales; Menoud; Garnero; Huguet; Schuler; Mihaylov; Zea CD (NEOS 11113CD) 21.00
Featured works: Arturo Corrales (1973): Canon fractal por aumentacion sobre una melodia poular (Folk you!) for recorder, violin and electronics. John Menoud (1976): Acephale for computer. Fernando Garnero (1976): Luminar for oboe, guitar, percussion, violin, and double bass. Francisco Huguet (1976): The Corners of this Section for computer. Denis Schuler (1970): Teh for voice, oboe, guitar, percussion, violin and double bass. Nikolay Mihaylov (1975): Flashback for tape. Daniel Zea (1976): Elegant Sparkling for violin, cello, double bass, clarinet and electronics. “Ensemble Vortex is a very unusual collective of musicians & composers (Geneva, Switzerland), composing and interpreting music of the XXI century — acoustic, electroacoustic, electronic — realizing a strong character of their own.”
VA: Concerti I CD (NEOS 20901CD) 21.00
Featured works: W.A. Mozart: Concerto for two pianos & orchestra. Franz Liszt: Concerto Pathetique. Bela Bartok: Concerto for two pianos, percussion and orchestra. Performed by: Grauschumacher Piano Duo, Franz Schindlbeck & Jan Schlichte, percussion, DSO Berlin, Ruben Gazarian, conductor. “Today, the GrauSchumacher Piano Duo is one of the most prolific piano duos worldwide, and a regular guest at many important festivals and concert halls, including the Schwetzinger Festspiele, Berliner Festspiele, Ultraschall, and Alte Oper Frankfurt. The duo frequently works together with such renowned conductors as Heinz Holliger, Bertrand di Billy, Georges Pretre and Zubin Mehta. An integral aspect of their programmatic conception is the juxtaposition of tradition and modernity. For this reason, Andreas Grau and Gotz Schumacher maintain an active dialogue with contemporary composers such as Peter Eotvos, Wolfgang Rihm or Karlheinz Stockhausen, who worked in close collaboration with the duo throughout the development of his monumental MANTRA for two pianists.”
FRIEDMAN, BURNT: Zen’Aku 12″ (NON 031EP) 12.00
Burnt Friedman presents a preview of his forthcoming new solo album. He uses instruments and rhythms not usually found in electronic music, rattling pots and pans and also presenting his latest technological breakthrough in the form of the rubber band guitar. Guest appearances come from Joseph Suchy (electric guitar), Daniel Schroeter (bass), Hayden Chisholm (reeds) and Takeshi Nishimoto (sarod). The limited edition sleeve artwork was created by Berlin artist Theo Altenberg.
LA VAMPIRES GOES ITAL: Streetwise 12″ (NNF 235EP) 14.00
“Four-song 45 rpm EP of raw 90s-style body workouts by NNF head mistress LA Vampires and Brooklyn rhythm-head Ital. Gritty dancefloor anthems filtered through tape-hiss and graffiti’d concrete. Jacket art by Spencer Longo. Limited edition of 700.”
VA: Carolina Funk: First In Funk 1968-1977 CD (NA 5036CD) 15.00
2008 release. “Now-Again Records presents the domestic issue of Carolina Funk, the fourth CD in the UK-based Jazzman Records series that produced the landmark Midwest, Texas, and most recently, Florida Funk compilations. For this installment, we’ve moved up the Atlantic coast to look at the vibrant and original scene in the two rural states of North and South Carolina. Curated largely by resident North Carolina researcher and collector Jason Perlmutter, Carolina Funk presents 22 of the best, rarest and most sought-after heavy funk songs ever recorded, with breakbeats to spare. Without any large urban centers, much of the musical output of the Carolinas has been limited to single towns, with bands and their records seldom venturing further than the state line. From inspired percussive instrumentals to heartfelt slabs of soul; from rediscovered tapes in the garages of retired musicians to funk 45s so raw that they were blessed by James Brown himself — this is Carolina Funk!” Artists include The J.D.’s, Wally Coco, Anthony Burns, The Black Exotics, Donnie Brown, George Campbell, Mongoose, Soul Impossibles, Dynamite Singletary, Sundia, The Tempo’s Band, Roy Roberts and more.
VA: True Soul: Deep Sounds From The Left Of Stax CD/DVD (NA 5079CD) 21.00
“Now-Again Records, in association with label-owner Lee Anthony, is proud to present the release of True Soul: Deep Sounds from the Left of Stax, a collection of rare and unreleased funk and soul music from the fabled Arkansas indie. Over twelve years in the making, this anthology — presented over the course of two volumes of CD/DVDs and one four-LP box set — seeks to establish True Soul’s rightful place within America’s funk and soul pantheon. As much as this CD/DVD set is about the adventurous, always-funky and oh-so-rare recordings that True Soul made possible, it is also about Anthony, the man. A true, American ‘up-from-the-bootstraps’ story, Anthony’s is one in which his frontiersman’s entrepreneurial spirit and vision remains undeterred as he sets up black-owned businesses in a post-Jim Crow South and succeeds in capturing recordings from the high water mark of America’s funk and soul movement. Anthony’s story intertwines with the renowned Sam Philips — an early mentor and patron — and Memphis’s Al Bell and Willie Mitchell — with whom Anthony collaborated as he tried to cultivate Little Rock’s funk and soul in the shadow of Stax and Hi Records. This anthology will make influence amongst the history of southern funk and soul is transparent, as his story of how he helped turn a stranded road band into the Gap Band. This comprehensive True Soul Records Anthology –presented in a 56-page, full color hardbound book chock full of photos, ephemera and extensive liner notes – not only carries the rare distributed funk and soul 45s that led the likes of renowned collectors DJ Shadow and Cut Chemist to Lee Anthony’s door in search of Anthony’s fabled ‘treasure chest,’ but also includes previously unreleased boogie, disco and party rap recorded in True Soul’s early-80s twilight. Accompanying legendary cuts such as ‘Slipping Around’ and ‘Doing my Own Thing’ is a DVD containing excerpts from The True Soul Revue television program, that captured live performances from the True Soul All Stars in 1973.”
MAKER: Maker vs. Now-Again CD (NAML 004CD) 16.00
“Chicago-area beatsmith Maker marks his Now-Again Records debut with Maker vs. Now-Again, an entry in the same ‘music-library’ series that saw the release of limited edition (and often not-for-sale) albums such Oh No vs. Now-Again and MRR-ADM’s unnamed ‘black-album.’ Emerging from Chicago’s underground hip-hop community of the late 90s, Maker’s role as producer kept him behind the scenes, tweaking levels and digging in the crates. Maker vs. Now-Again is a hip-hop exercise in those boom-bap era aesthetics: dusty drum breaksunderscore two bar loops and make for an accessible series of tracks perfect for synchronization. It’s no surprise, then, that Maker Vs. Now-Again has been featured in an Apple Ipad webisode and the Fox television show The Chicago Code.”
TOBIAS.: Leaning Over Backwards CD (OSTGUT 018CD) 15.50
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.
BLACK IVORY: Feel It CD (PCD 72005CD) 16.00
“Leroy Burgess, Stuart Bascombe and Russell Patterson were Black Ivory, an exceptional and occasionally brilliant soul group from Harlem that recorded throughout the ’70s and returned sporadically during the decades following” — Andy Kellman (All Music Guide).”The band first came to prominence in 1972 with their first single ‘Don’t Turn Around’, released on the indie Today label and which made #13 on the R&B charts. After two albums with Today, the band signed to Buddah Records for Feel It, an album described by music critic Andrew Hamilton as ‘ranking as good or better than the previous two.’ With help from such luminaries as Patrick Adams and ace arranger Tony Camillo, the album is heavy on the band’s trademark ballads with cuts such as ‘Your Eyes Say Goodbye’ and ‘Warm Inside’ along with probably one of their best ever songs ‘Will We Ever Come Together.'”
ADA: Meine Zarten Pfoten CD (PAMPA 005CD) 15.50
This is the long-awaited second album from German producer Ada on DJ Koze’s Pampa Records. Meine Zarten Pfoten (“My Tender Paws”) is the eagerly-awaited album by Lady Ada that everybody’s been longing to get a hold of for so long. Her second album after debut Blondie (AREAL 026LP) truly is a revelation. Ada has successfully cast off that four-to-the-floor yoke and has recorded songs that go way beyond all our well-known categories, hovering above everything in a state of serene disengagement. Ada aka Michaela Dippel has recorded all the instruments herself. The atmosphere builds up slowly, with nothing to prove — but then try listening to it over headphones: the sheer amount of sensory impressions is overwhelming. There are subtle textures, woven together with an apparent lightness and casualness. This is also the reason why Meine Zarten Pfoten took such a long time to record. Creating lightness is the most difficult task of all. This album is, nonetheless, more than just a loving hug, it is full of wit and sophisticated wisdom that gleams through the euphony of this music again and again. This record is your friend. It’s a shining light of beauty, glowing from the inside.
ADA: Meine Zarten Pfoten LP + 7″ (PAMPA 005LP) 20.00
LP version. Includes bonus 7″ and download code.
WOLFRAM: A Thing Called Love 12″ (PERMVAC 082EP) 12.00
Vienna’s Wolfram teams up with Eurodance legend Haddaway for an awesome single with remixes by Legowelt and KiNK. “A Thing Called Love” is a glowing masterpiece shooting straight into the heart of Eurodance. KiNK’s remix features a fat-ass bass line, a remarkable rim plus Haddy’s vocals. Legowelt’s remix creates some very special moments in the club, making you suddenly start hugging strangers. As a bonus, one of the most prolific album tracks, “Roshi” sees the light of day on wax.
FAR EAST FAMILY BAND: Tenkujin CD (ASH 3046CD) 17.00
The fifth and final release by Far East Family Band (if you include 1973’s Nihonjin, released under the Far Out banner), 1977’s Tenkujin was the first of the band’s albums to be released in the U.S. on the small and short-lived California-based All Ears label. Without Kitaro, who by this time had departed to pursue a solo career, the band reverted to its earlier ballad-based sound, this time supported on drums by former Samurai alumnus, Yujin Harada. The expected Pink Floyd influences appear in abundance, although this time the songs are sung partly in English and in Japanese. Another solid album from what many consider to be Japan’s finest new age/psychedelic group. Digitally remastered. Numbered, limited collector’s edition.
CAESAR, J.A.: Jashumon CD (ASH 3048CD) 17.00
“This mighty soundtrack for Shuji Terayama’s nihilistic movie of the same name contains all the elements necessary to reach J.A. Caesar’s intended pleasure-centers. Here, turmoil, mind-numbing repetition, abject misery and grisly partriarchs abound, and all orchestrated by Caesar’s damaged proto-metal and choral-led psychedelic sound. Mind-infesting in the truest sense, this soundtrack played in the dark is as certified a Gateway to the Underworld as any acknowledged classic by Faust, Magma, the Cosmic Jokers, Ash Ra Tempel or early Amon Düül.” –Julian Cope, Japrocksampler; Digitally remastered. Numbered, limited collector’s edition housed in a gatefold sleeve.
OHIO PLAYERS, THE: Skin Tight LP (SRM 705LP) 11.50
Gatefold exact repro of the fourth album from the legendary Dayton band. Originally released in 1974.
EINSTURZENDE NEUBAUTEN: Silence Is Sexy CD (POTOMAK 957052) 17.00
Reissue of Einstürzende Neubauten’s Silence Is Sexy, originally released in 2000 from singer Blixa Bargeld and his band partners (N.U. Unruh, Alexander Hacke, Jochen Arbeit and Rudolf Moser). A concept of “conceptlessness” was created at that time from a spontaneous idea (many thought it was an April Fool’s joke when Einstürzende Neubauten first stood on the stage at Berlin’s “Moon” on April 1, 1980; now over 30 years ago), from which the “brilliant dilettantes” developed their own strategy against social and musical architecture using metal pipes, feathers and machines. Blixa Bargeld constructed metaphor-laden poetry around which unique worlds of sound were built up from objects of the most varied origins. The band discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies. Hardly another German band has characterized the musical landscape as lastingly as Einstürzende Neubauten. Their influence on the music world was and is as great as their timeless character. Silence Is Sexy finally receives a long-awaited reissue on the band’s own label Potomak. The element of surprise was and continues to be routine for Einstürzende Neubauten. On Silence Is Sexy they masterfully celebrate the unexpected in the exploration of silence. It is a wonderful album in the classical Neubauten sense; lyrical and melancholy. It’s a musical coming-of-age from metal-defying scrap iron sound to constructed melodiousness, with a familiar rhythmic undertow — playful, arrogant, poetic, subversive, dandified and mature. From its first release in 2000 (marking the 20-year existence of the band) to date, it has doubtlessly remained the group’s most complex work and the most fascinating in its evolution. It shows the Neubauten universe from both a known, emotionally moving side, as well as one that is deliberately constructive. It clearly breathes the inimitably rough Neubauten handwriting, while Blixa’s voice cuts through intellectual and cryptic texts. It is carried by metal sounds, from which individual instruments can almost no longer be extracted — and by silence. Ultimately, nearly inaudible tones or laughter in the right place can seem more destructive than the most enduring rage. This is an album that won’t be ignored; a unique appearance in the history of German rock music.
TWINSISTERMOON: Then Fell The Ashes… CD (PRIMA 001CD) 14.50
Twinsistermoon is the project of Medhi Ameziane, one-half of the French duo Natural Snow Buildings, who claims “Twinsistermoon songs are often captured on a one take/good take basis; almost unfinished in a sense, like a sketch.” Together or solo, however, Ameziane and his partner in Natural Snow Buildings, Solange Gularte, have a proven talent of constructing carefully dense and wonderfully composed albums, weaving a beautiful tapestry of acoustic and electronic instruments, vocals, and non-traditional instrumentation. This third album as Twinsistermoon is a perfect example. Then Fell The Ashes… is an incredible album, originally released in 2010 on LP by Blackest Rainbow. Ameziane is in top form as a composer and arranger, incorporating delicate guitar, chilling soundscapes, field recordings, chimes, swirling vocals, and the perfect balance of distortion and noise from song to song. This CD edition features slightly updated mixes of the music and one bonus song, “A Fallout Shelter For Memories.”
BAKER, AIDAN: Still Life CD (PRIMA 002CD) 14.50
This Toronto native has been recording and releasing music for over a decade, amassing a staggering catalog as a solo artist, in numerous collaborations with musicians such as Tim Hecker, Thisquietarmy, Z’EV and Jakob Thiesen, as well as a member of the groups Nadja, ARC, Whisper Room, Mnemosyne, and Infinite Light Ltd. Recorded in the winter of 2010 at Commonweath Studios in Toronto, Still Life is a departure from the sound Aidan Baker is most known for, as it features no guitar, no distortion, and no drone. Still Life is an album with Baker performing only on piano, drums, and upright bass, charting the un-navigated waters somewhere between Bohren and Blue Note.
ANETTE PARTY (FEAT. ANITA COKE): Sandy Roche 12″ (RC 029EP) 12.00
Rotary Cocktail’s two golden old ladies are back with a dub-inspired deep cruise around the corner. Anette throws the beats and chords and Anita tries to kick out the bad ghosts directly into the mic. Acid Pauli catches the mood of this exorcism and transforms it to his own world.
TIGER & WOODS: Through The Green CD (RB 002CD) 17.00
Running Back presents the debut full-length album from the frustratingly mysterious Tiger & Woods. Their special extended disco versions that have been carefully tuned, remixed, over-dubbed, sliced and diced by Larry Tiger and David Woods have caused quite a stir. Looking to the future while digging in the past, Tiger & Woods use both recognizable and exotic sources supplemented with original productions to take you to undiscovered terrains that somehow feel like home. Through The Green collects some of their previous glorious efforts, presents new bits and special takes and contains hidden elements as well as three full-sized songs starring the singer ‘Em. Featuring the top-secret super-hit “Gin Nation” and the brand-new epic “Kissmetellme,” you’re in for some top notch editainment.
VIRGO FOUR: It’s A Crime Remixes 12″ (RH 113EP) 12.50
“It’s A Crime” is taken from Virgo Four’s Resurrection (RH 113CD/BOX) album, which is now available as a single with remixes from Caribou and Hunee. Caribou reworks “It’s A Crime” into an 8-minute epic dancefloor bomb. His mix starts out with an intimate vocal groove, but before long it explodes into a monstrous, acid-driven workout. Hunee goes for a more classic approach. And then there is the original mix — a Chicago classic that never was.
BORDEN/FERRARO/GODIN/HALO/LOPATIN: FRKWYS Vol. 7 LP (FRKWYS 007LP) 21.00
“”FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin. When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments. The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation levity. Atlantic Sound Studio in DUMBO, Brooklyn became the meeting destination for Lopatin and and by a basic desire for collective energy and Borden, alongside musicians Halo, Godin, and Ferraro. The cosmically dense but dynamic nature of the recording reveals the diverse ingredients seasoning the spatial stew. ‘People of Wind’ Parts 1 and 2 were amongst first takes from the two-day session. The pieces exhibit the ensemble in early harmony, allowing each other textural counterpoint play while avoiding rigidity. ‘Internet Gospel’ Parts 1 and 2 demonstrate the players at ease and taking turns at solo accompaniments, ending in a Fourth World freak out. ‘Twilight Pacific’ and ‘Just a Little Pollution’ are compiled from middle points of the session — structured statements in solidarity. The limited edition LP version of FRKWYS Vol. 7 is packaged in thick black jackets with a two-color adhesive wrap. Vinyl version includes full album download plus bonus track, ‘Just A Little Pollution.'”
BLONDES: Business/Pleasure 12″ (RVNGNL 007EP) 11.00
“Blondes return with the Business/Pleasure, the second in a three part series exploring duality concepts. The two 12″ sides were performed and recorded live without overdubs while the duo was stationed in Berlin between European dates this past winter. Both ‘Business’ and ‘Pleasure’ let the melodic textures breath before layers of synth, sub bass, and percussion are marched out and into the deep pockets of these late-night, hypnotic house burners. Who says business and pleasure can’t mix?”
PRISONERS GO GO BAND: Live! At The Butchery With Special Guests On Fire LP (SS 054LP) 18.00
“Prisoners Go Go Band’s one and only record is a remarkable thing. It was created in the early 1980s in a South Africa under apartheid, which was not only hostile to ‘race mixing,’ but culturally conservative, as well. While punk and alternative music existed, it received scant attention by major labels and no radio airplay. Distribution through record stores was limited to commercial music. Certainly, a mixed-race band influenced by Can, Red Crayola, Pere Ubu, Henry Cow, and Derek Bailey was not prime for mainstream hearing. Nor was Johannesburg in 1981 exactly the most inviting place for such a band to release its own record. But that is what the Prisoners Go Go Band did. In 1979, Yunus Momoniat, Iqbal Momoniat, and Neil Goedhals formed a friendship which lead them to playing music. They called themselves the Prisoners Go Go Band. They never played a live show – neither the music they played nor the ethnic make up of the group allowed for that – but they did record their music. In a desolate part of Johannesburg, in Yunus’s DIY recording studio, the three drafted some friends (the ‘special guest on fire’) and recorded hours worth of songs and sounds. From that they came up with an album and had it pressed up as a LP. However, through mishaps and circumstance, it was a record few people got to hear and even fewer possessed – less than 100 copies were circulated. It was one of those records that belonged on the Nurse With Wound list and in every Mutant Sounds fans library. And it certainly would have a good home on S.S. Records. Four years ago we started to make that happen, and now it exists. Live! At the Butchery with Special Guests on Fire has been mastered from one of the few clean copies of the original record. The original handmade packaging has been recreated to be as close to the original as possible. Liner notes telling the story of the record, culled from the words of one of the band members, are included. This pressing is of 330.”
GRAND AND HIS COMBO NEW YORK, RENE: Exciting And Grand LP (SCLP 9294LP) 11.50
Exact repro of this Latin jazz record from Puetro Rican pianist and arranger Rene Grand. Mambo, merengue, bossa nova, cha cha and boogaloo on tracks like “Hey! Mr. Gil,” “Adrian’s Nova,” “Girl From Ipanema,” “Space Walk” and “Merengue Moderno.”
SLICES: The Electronic Music Magazine Issue 2-11 DVD (SLICES 211DVD) 0.01
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Features: Laurent Garnier, Unkle, Schneider TM, Isan, When Saints Go Machine, Ekkohaus, Nina Kraviz. Tech Talk: Beroshima. Label feature: Circus Company. Videos: Wiley, Siriusmo, Detroit Grand Pubahs, 6th Borough Project. PAL 16:9. Running time: 129 minutes.
CHOI, JIN: Full Range 12″ (SER 010EP) 12.00
Jin Choi is a musician, producer, DJ and live artist based in Berlin, Germany. Once coined modern minimal, Choi’s productions are equal parts emotion, melody and rhythm. This is his first release on Serialism Records. “Full Range”is a dubby tech-house number, “Half Baked” fuses industrial sounds with melody, making for a blissed-out, deep house track. Maceo Plex’s “Deep Remix” is around 9 minutes of Chicago house-inspired sounds layered with snappy high hats and emotive chords.
SORRY ENTERTAINERS, THE: Local Jet Set CD (STRIKE 129CD) 15.50
With all those sets, tractors, technicians, software forums, updates and MP3 subscription discussions, we tend to forget about the nucleus of club music: record collectors. What we call techno, house, and so on today, was developed in Detroit and Chicago in an atmosphere of party, of mix tapes and of progressive radio shows. Styles, songs, ideas were mixed up, blended, amalgamated and from lust, new lust arose. DJ Lotti lives right in this atmosphere of record shelves, an endless source of love and inspiration to him. Calling himself The Sorry Entertainers, he plays — no, he celebrates — music on the open platforms of Berlin club culture. Soon he found himself in a spiral, a maelstrom of ideas and of trying out. He found some friends to produce his own songs with, which were already clearly defined in his head, which were already playing in his ear. With producers and musicians M. Rux and Raz Ohara, he’s now releasing The Sorry Entertainers — Local Jet Set, an incredibly warm and more than referential album, floating and swinging from actual club hits like “Jeopardize” or “End Of Times” to the deep “Moonshiner,” based on the vocals of late blues and country star Roscoe Holcomb (courtesy of Folkways/Smithsonian). In between, there are sounds of Hawaii and Tokyo, from Berlin and India, from the ’40s and the future. At no time does this music get stuck in a genre, in a trend, but moves in all directions, in an untroubled and airy fashion. Berlin-based singer Raz Ohara’s vocals add another ingredient to the recipe and blends beats and strings, backgrounds and feelings to floating yet touching songs. This might be New Age, as was the title of the pre-released single, but it’s the kind of new age that indulges in the old age and kicks, no cross-legged nonsense. Accompanied by a beautiful cover by Carsten Aermes which manages the balancing act between twisted neo-romanticism and Russian/Italian futurism of the ’20s. The soul of images, the feeling of sound.
DOSEM: Parallel 2CD (SINO 105CD) 21.00
This is the bold debut album from rising star Dosem. The Catalan producer behind such hits as “Silent Drop” and the sexy smash “Beach Kisses” unveils his futuristic vision on a double album comprised of “Dosem” and “Sendo,” that take listeners from Girona’s sultry shores to the throbbing heart of the world’s best dancefloors. Officially four years in the making, Parallel is the product of a fascination with sound that stretches back to Dosem’s childhood, when he tried to capture in music the images of his favorite sci-fi films. Though his methods have matured, there is a boyish sense of wonder that echoes through the album. A sense of joy and discovery underpins the glistening melodies of Parallel, taking listeners on a trip through wondrous realms of time, space and emotion. Part one, “Dosem,” draws on past and present to project the listener into the future: a future where delicate yet propulsive techno tunes like “Tannhauser Gate” and “Silent Drop” sidle up and stir the dancefloor with a synth-plated swizzle stick. Like much of the finest electronic music of recent times, Parallel moves beyond the stereotype of machine music and boldly reclaims the heart and soul of techno. Standout track “True Elements” is a textbook example, marrying a glorious female vocal to a sharp, clean, almost stark skeleton of purist electronica. Elsewhere, Dosem delves into memory to recreate moments such as “Diagonal” — a tuneful snapshot of a late-night walk along Barcelona’s famous Avinguda Diagonal with a girlfriend. “Sendo” projects different elements of Dosem’s musical identity. It delivers a modern twist on classic-sounding ambient electronica with tracks such as the Balearic-tinged “Distant Playgrounds” and fuzzily sensual offering “Your Skin.” Other highlights include the euphoric optimism of “I Will Let” and the slinky Eastern atmospherics of “Children Of Yesterday.” Despite the panoply of moods and sounds, there is a consistent thread of emotion that runs through Parallel, drawing its listeners into a world of vision and memories. “Every track talks about a moment, a memory, or a special person,” Dosem explains. “If you go deep into each track, you suddenly find little love stories inside.”
RAMONES, THE: Rocket To Russia LP (SR 6042HLP) 14.00
The Ramones’ third album, originally released in 1977. Includes the songs “Sheena Is A Punk Rocker,” “Teenage Lobotomy,” “Do You Wanna Dance?” and “Locket Love.” 180 gram vinyl.
RAMONES, THE: Road To Ruin LP (SRK 6063HLP) 14.00
The Ramones’ fourth album, originally released in 1978, featuring the most annoying song in the history of mankind: “I Wanna Be Sedated.” 180 gram exact repro reissue, manufactured by Rhino.
VA: Jungle Magic 12″ (SOFRSS 003EP) 15.00
“Sofrito returns with more heat for your tropical discotheque, this time dipping into the mysterious sounds of Nigerian Acid Boogie. Benis Cletin’s dog-rare 1979 effort ‘Jungle Magic’ lays a warped synth over a lethal bassline and a slow Afro disco groove, topping the whole thing off with a unique homage to Donna Summer. Originally released on Afrodisia records in 1979, the result sounds like the confused love-child of a time-travelling Derrick May and a Nigerian disco queen — timeless eccentricity that bridges the gap between Lagos and Detroit. ‘Money Makes Man Mad’ is an uptempo slice of percussive Afro disco. Bubbling bassline and skittering drums lock down the groove for a serious tropical dancefloor excursion.”
DEATH IN JUNE: Discriminate 2CD (NERUS 041CD) 20.00
“Considered by many as the best ‘beginner’s guide to Death In June’, this 2 CD collection of 33 songs from 1981-1997 compiled personally by Douglas P. in 1997 has been reissued with a fresh look and expanded 12 page full color booklet containing rare photos from the period. Several versions of the songs are exclusive to this compilation and most of the tracks are from now deleted or hard to find albums and singles. The 2 CDs come in a lime green foil-blocked slipcase.”
DANDO SHAFT: Lantaloon LP (SOMM 004LP) 29.00
“Third and last album, from 1972. Another brilliant set of acoustic folk-rock and traditional folk. 500 copies only, 180g vinyl, repro of the original big poster, and insert with liners by Andy Morten.”
VA: The Sound Of Siam CD (SNDW 027CD) 15.50
2011 repress. Subtitled: Leftfield Luk Thung, Jazz & Molam In Thailand 1964-1975. Thailand means different things to different people. Beyond the beaches and tourist spots lies a world of music still waiting to be discovered. Be it spaced-out jazz, raw funk or the meditative sounds of the North East, Soundway has dug deep into the country’s vinyl archives to present a broad range of vintage sounds that underlines Thailand’s status as one of South East Asia’s musical hot spots. As Soundway’s entry point into the Asian music world, The Sound of Siam offers a unique vantage point to the most experimental period in Thai musical history. The 19 tracks reflect the outcome of a 20th century journey from Thai classical to Luk Krung and Luk Thung — music that incorporated Western influences such as jazz, surf guitar, ballroom and even Latin and African. The music maps changing social demographics, the movement of people, culture and language from countryside to city and all during a period when the record labels were at their most experimental. Housed in a CD digipack including a 24-page booklet with rare artist photos and stories behind the music.
BEE MASK: Elegy For Beach Friday 2LP (SP 005LP) 25.00
Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alter ego. Now, for the first time, there seems to be light at the end of the tunnel — a chance for old plans to come to fruition and for new ideas to blossom into the unknown. Elegy For Beach Friday is a personal selection of highlights from a slew of limited cassette and CD-R editions recorded between 2003 and 2010, re-imagined, re-edited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted. The original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this double LP retrospective of Chris’ favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. Here, the full range of Bee Mask’s sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension-bending, bridging the worlds of Nikola Tesla and La Monte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days. Synthesizers, percussion, piano, guitar, tape, electronics, and max/MSP recorded 2003-2010 in Northampton, MA, New York, NY, Cleveland, OH, and Philadelphia, PA. Edited and mixed at Tranquility Base, February 2011. Cut at Dubplates & Mastering, May 2011. Housed in a deluxe, full-color gatefold sleeve with spot-varnished lettering.
WEST COAST POP ART EXPERIMENTAL BAND, THE: Where’s My Daddy? LP (SG 3001LP) 22.00
This is the fifth album by psych legends The West Coast Pop Art Experimental Band. Recorded shortly after this legendary Californian psychedelic band had left Reprise (where they’d made three classics), this oddity is more pop-based than their previous efforts, though the eccentric influence of frontman Bob Markley is still strong. Released in the summer of 1969, it sold poorly and hasn’t been widely heard since, making this 180 gram LP reissue especially welcome.
MARKLEY: A Group LP (SG 3002LP) 22.00
Though credited as the sole work of The West Coast Pop Art Experimental Band frontman Bob Markley, this is in fact the final album made by psychedelic legends WCPAEB, recorded and released towards the end of 1969, and released under a new name in a final attempt to find commercial success. A far cry from the experimental rock of earlier releases, the album contains melodic songs and delicate arrangements, though the eccentric influence of Markley is as strong as ever, making it essential for fans of the band. Pressed on 180 gram vinyl.
HIEM: Escape From Division Street CD (STI 001CD) 17.00
Cult combo Hiem finally get round to releasing their first full-length long player through the new Startalk International imprint. After 10 years together, Bozz & Nico formed Hiem from the ashes of The All Seeing I and Venini, with The All Seeing I bothering the charts with “The Beat Goes On” & “Walk Like A Panther.” Wearing their influences firmly on their sleeve (Sparks, Van Der Graff Generator, Daft Punk, Roxy Music, John Cooper Clark), they have produced an album that passes through lissom disco, electro and techno and all points in between. They boast a back catalog of hits under their belt for illustrious labels including Eskimo Recordings and Crosstown Rebels as well as front man Bozzwell’s critically-lauded solo album Bits & Pieces released through Firm, even managing to scoop an award nomination for German music critics’ record of the year. Escape From Division Street sees Hiem delivering a fresh, uncompromising and intelligent slant to electro-pop. Includes collaborations with artists such as Phil Oakey (Human League) & UK hip-hop pioneer Roots Manuva on two tracks.
GEBRUDER TEICHMANN: Kraut und Rüben: Gebrüder Teichmann Play Staubgold CD (STAUBDIG 013CD) 12.50
After Peter Grummich’s Dinner Music For Clubbers: Peter Grummich Plays Staubgold (STAUB 082CD), Alec Empire’s Rauschgold: Alec Empire Plays Staubgold (STAUB 092CD) and label owner Markus Detmer’s 100 Jahre Einsamkeit: Markus Detmer Plays Staubgold (STAUB 100CD), it’s now Gebrüder Teichmann who put their hands on the Staubgold label back catalog in order to produce the fourth volume in this ongoing series of DJ mix CDs. On the beautifully-crafted Kraut und Rüben: (trans. “Kraut and Roots”) Andi and Hannes Teichmann mix the finest moments of the Staubgold catalog into a challenging and totally genre-crossing whole which leads to musical territories yet unknown to their listeners. Includes one previously-unreleased track. Artists include: Kammerflimmer Kollektief, Reuber, Paul Wirkus, David Last, To Rococo Rot, MC Zulu, Institut Fuer Feinmotorik, Mapstation Featuring Ras Donovan, Ukoo Flani, Projekt Transmit, Heaven And, Jasmina Maschina, Alejandro Franov, Teichmannhurt, Die Welttraumforscher and Minit.
FURESSHU: Downstate 12″ (SFV 011EP) 12.00
Furesshu’s music leans closer to its Teutonic influences and particularly house-oriented sounds, but all the same, Furesshu is far from an imitator or scene outsider. With vocal and consistent support from Marcel Dettmann, Ben Klock and Levon Vincent, among many others, Furesshu finds himself in the company of techno’s best and brightest. “Downstate” is a hypnotic slice of big room techno that’s bound to solidify this man’s vision. Brendon Moeller remixes under his Echologist guise and adds funked-out acidic psychedelia.
KOLETZKI & FRAN, OLIVER: Echoes CD (SVT 052CD) 7.00
Six song CD single from Oliver Koletzki & Fran’s 2010 full-length Lovestoned (SVT 050CD). Remixes by Oliver Koletzki, Kris Menace, Niko Schwind and Solomun, plus the original and radio edit versions.
WÖLFLI, ADOLF: The Heavenly Ladder CD/BOOK (SR 312CD) 29.00
Subtitled: Analysis Of The Musical Cryptograms. Belgian composer Baudouin de Jaer was completely moved by the artistic and human dimensions of the mystery surrounding the gigantic and universal body of work created by Adolf Wölfli within the Waldau hospital in the early 20th century. He managed what none other had accomplished before: to decode Wölfli’s hermetic and emblematic scores. Adolf Wölfli (Bern, February 29, 1864 – Waldau, November 6, 1930) was a Swiss artist who was one of the first artists to be associated with the Art Brut or outsider art label. Wölfli was abused both physically and sexually as a child, and was orphaned at the age of 10. Institutionalized in 1895 at Waldau psychiatric asylum near Bern (Switzerland) where he spent the rest of his adult life, he suffered from psychosis, which led to intense hallucinations. Wölfli started drawing in 1899, but no work prior to 1904 has been preserved. In 1908, Wölfli started developing what would become a potentially endless narrative stretched across 25,000 pages interrupted only by Wölfli’s death in 1930. His images also incorporated an idiosyncratic musical notation. This notation seemed to start as a purely decorative affair but later developed into real composition which Wölfli would play on a paper trumpet. After his death, the Adolf Wölfli Foundation was formed to preserve his art for future generations. Today its collection is on display at the Museum of Fine Arts in Bern and can be seen in many museums in the world. Baudouin de Jaer’s approach gives a new dimension to this unique artist. Interpretation/composition from Wölfli’s works and violin: Baudouin de Jaer. Contains only previously-unreleased material. All tracks exclusively recorded for this project. Includes a full-color 52-page book in French and English. Book size: 136 x 187 x 10 mm (5.35 x 7.36 x 0.40 inches).
PALESTINE & JOACHIM MONTESSUIS, CHARLEMAGNE: Voxorgachitectronumputer CD (SR 326CD) 15.50
Charlemagne Palestine: (voice/organs), X Joachim Montessuis: (voice/computer). After two massive works, From Etudes To Cataclysms (SR 272CD) – for the Doppio Borgato and Strumming Music (SR 297CD) for piano, harpsichord and strings ensemble, Charlemagne’s work is now rooted in Sub Rosa for good. But next to his solo records, the label wants to continue to publish collaborative works: they started with An Aural Symbiotic Mystery (SR 204CD) featuring Tony Conrad. This time, Joachim Montessuis is the special guest on another magical night with Mr. Palestine. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences’ expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as a soloist, but he enjoys new experiences, too. His earliest works were compositions for carillon and electronic drones, and he is best-known for his intensely-performed piano works. Since his birth in 1972, Joachim Montessuis has lived in 15 different cities, including Bordeaux, Strasbourg, Marrakech, Abidjan, Besançon, Rotterdam and Cologne. He is currently based in Paris. He is interested in the links between art, sound, science and spirituality. Since 1993, he has been developing a transversal sonic poetry praxis focused on experimental voice processing and immersive concert installations. His noise and video events are devised as panic-poetic spaces in which sensorial disturbance and blurring occur, starting from silence to a wall of sound. His current work is oriented towards a reflection process on the observation and perception of reality through a non-dual approach. This collaborative live performance occurred at Eglise Du Gesu, Toulouse, France June 29, 2007.
DUB TAYLOR: Lumière CD (SR 327CD) 15.50
This real masterpiece of concrète and synthesized music hasn’t been available since its original manufacture in 1973, originally released by Varèse International Records. Dub Taylor is a U.S. composer, producer, engineer and designer born June 22, 1948 in Burbank, California. He has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist. He has studied with pianist Richard Bunger and composer Karlheinz Stockhausen. Not long after the release of Lumière, Taylor established Vargod Studios for electronic music and recorded sound, where in 1974 he created his second work, Variations On The “Dudley Do-Right” Theme for sampled and processed sound (never released before, this exclusive track is included on the CD version). Taylor has bounced between the music world and the visual arts for most of his life and continues to pursue diverse creative projects. “Lumière evolved over a period of three years from 1969 to 1972. I started by recording random sounds: jets taking off at LAX, my girlfriend laughing and screaming, my cat Bartok biting a microphone, conversations, etc. I also sampled music, film soundtracks and TV and radio broadcasts. During this period I acquired the first self-contained portable synthesizer, the newly-designed ARP 2600. I began to envision an electronic and musique concrète piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. In June of 1972, I did a preliminary version of elements of the piece. By October I was ready to put it all together. I set up all these reel-to-reel machines with tapes I had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 IPS Revox A77 tape deck. My idea was to create a sound collage with form but without losing spontaneity and an element of randomness. So I rehearsed my fade-ins and fade-outs and the starting and stopping of the various playback decks and when I was ready I went for it, “playing” all these machines like a musical instrument in this mad moment of creation. In effect, Lumière was a “live” performance. The only later additions were the silence gaps inserted near the end of the piece using pieces of blank leader tape.” –Dub Taylor
WYATT, OLIVIA: Staring Into The Sun DVD/CD/BOOK (SF 065DVD) 26.50
Staring Into The Sun is the latest ethno-folk cinema classic from Sublime Frequencies. Ethiopia is known to be one of the oldest areas inhabited by humans and presently has over 80 diverse ethnic groups. In 2009, photographer/filmmaker Olivia Wyatt explored 13 different tribes throughout Ethiopia in this visually stunning film on DVD with accompanying 136-page book of Polaroid photographs and audio CD of field recordings. Traveling from the northern highlands to the lower Omo Valley via bush taxi, Isuzu cargo trucks, and by any means possible, Wyatt brings together the worlds of Zar spirit possession, Hamer tribal wedding ceremonies, Borena water well polyphonic singing, wild hyena feedings and bizarre Ethiopian TV segments, presenting an enchanting look at these otherworldly images, stark landscapes and captivating sounds from the horn of Africa. The featured tribes are captured with an unflinching sense of realism and poetic admiration resulting in a visual and aural feast of the senses. 136-page hardcover photography book with one music CD and one film on DVD. 5 1/2 x 5 1/4 inches, landscape format. 117 color photographs and liner notes by Olivia Wyatt. Sublime Frequencies’ most elaborate package yet. One-time limited edition pressing of 1,000 copies. DVD is NTSC format, All Region; length of film: 60 minutes, Color, Stereo.
EMPTYSET: Demiurge CD (SUB 001CD) 16.50
Emptyset, the pioneering project from Multiverse boss James Ginzburg aka Ginz and the DJ and curator Paul Purgas, return with their second album Demiurge. Following their recent collaborative release with Underground Resistance vocalist Cornelius Harris, the album continues directly on from where their 2009 Caravan Recordings eponymous debut long player left off, pursuing the duo’s exploration of the legacy of sound system culture and the possibilities for experimental bass-driven music. 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 album is born from this investigative metamorphic process, the spine of rhythm scraped and exposed to extreme sonic pressure, bass music squeezed to its limits. Demiurge takes the form of a tyrannical force, an uncontainable creature of extremes, scouring the earth with shuddering footsteps.
CZAR: Czar 2LP (SBR 5040LP) 31.00
2011 repress on vinyl; deluxe LP format; 180 gram pressing, gatefold sleeve. Originally released in 1970, Czar is firmly established as one of the most sought-after progressive rock albums ever released in the UK. An intense brew of Hammond organ, mellotron and scorching psychedelic guitar, it’s certain to appeal to fans of King Crimson, Atomic Rooster, The Nice and Led Zeppelin. Presented here on double 180 gram virgin vinyl, with eight bonus tracks and a full-color gatefold sleeve incorporating rare photographs and comprehensive sleevenotes, this definitive vinyl reissue is simply essential for all connoisseurs of heavy progressive psychedelia.
DRAKE, NICK: Family Tree 2LP (SBR 5041LP) 31.00
2011 repress on vinyl. Comprising recordings made at Nick Drake’s family home and in France before his 1969 debut, Family Tree offers a unique insight into a nascent songwriting genius. Spread over four sides of 180 gram virgin vinyl, its 29 songs range from folk standards and compositions by his mother Molly to early versions of future classics taped by his Cambridge friend and arranger Robert Kirby at Cambridge in 1968. Mastered at Abbey Road and featuring 29 rare tracks (one previously only available on iTunes), as well as a deluxe gatefold sleeve, rare photographs and a lavish insert including lengthy sleeve notes, this lovingly assembled set is sure to become a prized item amongst lovers of Nick Drake. Non-limited or numbered second pressing now available.
HUMAN BEAST, THE: Volume One LP (SBR 5044LP) 22.00
2011 repress on vinyl; deluxe LP format, 180 gram pressing, gatefold sleeve. The music of this young Edinburgh trio was described in 1969 as “electro-flagellation,” a phrase that aptly describes their vicious, Eastern-inflected guitar lines, pounding bass and frenetic percussion. Taped in a single twelve-hour stint in London that December and released in 1970 on Decca, their sole album stands as one of the most distinctive and unsettling pieces of rock music ever recorded. Issued here with their full participation, their story — an enigma for decades — is finally told for the first time with detailed notes packed with previously-unseen photographs and lyrics, making it an essential purchase for all fans of heavy psychedelic rock and roll.
PERHACS, LINDA: Parallelograms 2LP (SBR 5060LP) 31.00
2011 repress on vinyl; deluxe 2LP format, 180 gram pressing. Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as “visual music.” First released in 1970, Parallelograms by California’s Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time, assuredly sitting alongside Vashti Bunyan’s Just Another Diamond Day as a lost folk gem that should never have been cast aside. Summoning the shimmering sunlight of Topanga Canyon, and resonating with the same strength-in-fragility as Joni Mitchell, it’s presented here for the first time as a double LP, with the full collaboration of its enigmatic creator. The deluxe gatefold sleeve contains her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive vinyl edition of this timeless classic ever released.
ILL WIND: Flashes…Expanded 2LP (SBR 5065LP) 31.00
2011 repress on vinyl; deluxe 2LP housed in a gatefold sleeve. From Boston, but light years away from the excesses of the notorious “Bosstown Sound,” Ill Wind are revered as one of America’s best late-’60s underground bands. Mixing taut acid rock with gorgeous ballads, and featuring outstanding guitar interplay and the beautiful vocals of Conny Devanney, Flashes is rightly regarded as one of the key artifacts of U.S. psychedelia. Originally issued in the summer of 1968, and much bootlegged since, Sunbeam presents its first proper reissue, expanded and prepared with the band’s full participation. The original album is accompanied by superb bonus material comprised of 1967 demos and 1969 basement studio tapes, contemporary cuts, as well as an insert featuring rare photographs and full historical notes by the band’s founder and lead guitarist, Ken Frankel, making the package truly essential for psych fans.
HUMAN INSTINCT, THE: Burning Up Years CD (SBR 5081CD) 17.00
Having spent 18 months playing the British circuit alongside The Jeff Beck Group, The Moody Blues, The Nice and many others, the original Human Instinct folded in the spring of 1968. Undeterred, leader Maurice Greer returned to New Zealand and recruited guitar legend Billy Te Kahika to form a new, harder-hitting version of the band. After honing their incendiary act in the country’s leading clubs, they recorded this blistering, bluesy set in late 1969. Presented here complete with rare photographs and detailed notes by Greer himself, it’s truly essential for all fans of hard psychedelic rock. Features one bonus track — a single version of “You Really Got Me.”
HUMAN INSTINCT, THE: Stoned Guitar CD (SBR 5082CD) 17.00
Recorded in the spring of 1970, this legendary album shows why many consider The Human Instinct to be the finest psychedelic rock band ever to emerge from New Zealand. Led by drummer-vocalist Maurice Greer and featuring the guitar pyrotechnics of the legendary Billy Te Kahika, Stoned Guitar has long been established as a classic, and is presented here complete with rare photographs, four bonus tracks and detailed notes by Greer himself, making it truly essential for fans of hard psychedelic rock.
HUMAN INSTINCT, THE: Pins In It CD (SBR 5083CD) 17.00
The release of Stoned Guitar in the summer of 1970 firmly established this trio as New Zealand’s leading hard psychedelic rock band. Led by drummer-vocalist Maurice Greer and featuring the guitar pyrotechnics of the legendary Billy Te Kahika, they recorded this classic collection in May 1971. Firmly established as one of the rarest LPs of the period, it’s presented here complete with exclusive photographs, six bonus tracks and detailed notes by Greer himself, making it truly essential for fans of hard psychedelic rock.
TRICKSKI: Unreality CD (SUOL 002CD) 15.50
This is the debut album from Berlin-based duo Tricksi, who have already caused some serious damage on the dancefloors with their releases on the infamous imprint Sonar Kollektiv. It’s summer 2011 and things are slowing down on the dancefloors. Maximum deceleration with a minimum frictional loss. Filthy suspense-funk at around 115 bpm. And out there at the front of the pack are Yannick Labbé and Daniel “Stoerte” Becker, the duo better known as Trickski. On their long-awaited debut album Unreality, the two Berlin-based producers invoke the mighty power of the slow, shifting groove. The musical duo have come a long, long way since release on the Compost Black label: their original Detroit-inspired sound with its tendency for the grand gesture — which burst onto the Sonar Kollektiv’s traditionally well-ordered nu-jazz parallel universe like a whirlwind — has evolved into a sinister, shuffle-soul gurgle, filled with tinny percussion sounds, rough samples, and mechanical funk. The 17 tracks on Unreality represent the magnificent preliminary result of the slow evolution of the Trickski sound. House music for dark, intimate clubs in which the cold reality of daily life seems suspended for a night. The title is intended as a reflection on a scene that exists in the twilight zone of collective boundary-hopping and escapism weekend after weekend, following its own, often eccentric laws. Unreality is not just a reference to nightlife experiences that the two of them wish for — or those they’d prefer not to acknowledge — but rather to the unrealities of life in general. The release of this record will definitively catapult Trickski to the forefront of the European house-producer scene. Their debut album also features three of the most distinctive contemporary voices: Suol label mate Fritz Kalkbrenner, Ernesto from Gothenburg, Sweden, and Irfane Khan-Acito from Paris. And the two producers also lend their own vocal talents to some of the tracks. Titanic, peak-time belters such as “Good Time To Pray,” “Wilderness” and “Love’s A Beat” are followed by sketch-like interludes, which fuse the 17 tracks into a finely-balanced whole. It is, as Philip Sherburne once fittingly described the sound of Trickski: “The perfect balance between grinding and glowing.”
BRAUN, JAMES: Massacre 12″ (TART 017EP) 12.00
James Braun is back with three new dancefloor monuments for you to worship. On “Massacre,” JB succeeds in creating a horror universe that can make even the most hardened Detroit fan become insecure and frightened when standing alone on the Berghain dancefloor. “Retrace Your Steps” is a musical odyssey back through time and “Slapper” is musical meditation that yields unbridled joy and chilled-out bliss while benign, chubby gods of music laugh heartily and scratch their white beards.
CRACKBOY: Vivid Innocent 12″ (TSR 046EP) 11.00
Little is known about Crackboy other then his own ambiguous references to music making with guitars as drums. This 2-track 12″ consists of “House Of Ill Fame” and “Speakright.” Both tracks sound very Balearic with firm nods to the real house and techno sound of the early ’90s. Crackboy reaches for the higher echelons of the Music Production History books by citing “Lee Perry, Martin Hannett, Prince and all the radiophonic works…” as his teachers.
JOAKIM: Forever Young 12″ (TSR 047EP) 11.00
Joakim makes the soundtrack to a late Indian summer sunset, on a beach. Such a setting is a time for everyone, where age is meaningless. It’s delightful and a little melancholic at the same time. But juxtaposed with the lyrics, this creates a dark undertone, which is repeated throughout the song. DyE’s version emphasizes the pop side of “Forever Young” and turns the track into an epic house tune. Also includes a remix by Discodeine and an extended Afro mix.
THE SCENE IS NOW: Magpie Alarm CD (TMAST 008CD) 14.50
Admirers of Red Krayola, The Residents or Pere Ubu and anything to do with avant-garde rock will be happy to see the legendary New York band The Scene Is Now releasing another album. Formed in the early 1980s and caught between the fascinating New York City scenes of no wave and new wave, The Scene Is Now have retained an interesting but secretive aura by releasing few but excellent albums since that period. Originally from Minneapolis, the band nucleus Phil Dray and Chris Nelson were submerged in this New York scene as Dadaist Marxist art-terrorists The Information together with co-founder drummer Jim Sclavunos (Teenage Jesus & The Jerks, Nick Cave & The Bad Seeds and Grinderman). By the mid-’80s, the Minneapolis gang had evolved into a NYC boho outfit called The Scene Is Now. Phil Dray & Chris Nelson always remained as the core with the band having a fluid membership of excellent and sharp musicians in their past such as Tony Maimone (Pere Ubu), Will Rigby (The Db’s), Elliot Sharp and Sue Garner, to name a few. The Scene Is Now breeze through difficult genres and create diligent music which is in stark contrast to the commercial new wave and underground bands of their day. Phil Dray is an accomplished author in his own right on the side and together with fellow wordsmith Chris Nelson they create a beautiful awkwardness — knotty tunes dressed with sharp intellect. Chris Nelson’s booming and crackly voice is the perfect topping to their exotic slices. Australian label Lexicon Devil reissued the legendary BarNone albums from the past Burn All Your Records ((LEXDEV 024CD), Total Jive (LEXDEV 025CD) and Tonight We Ride (LEXDEV 026CD) and it is the perfect time to continue with new release Magpie Alarm. The four members that currently comprise the rest of the band are: Greg Peterson (guitar and vocals), Steve Levi (cornet), Ryan Walsh (bass) and Chery Kingan (baritone sax). Tight arrangements and wordy meanderings are still in abundance, making Magpie Alarm another gem from New York’s original downtown artists.
BIOSPHERE: N-Plants CD (TO 084CD) 14.50
The Touch label releases an album by Norway’s Geir Jenssen aka Biosphere. “Early February 2011: Decided to make an album inspired by the Japanese post-war economic miracle. While searching for more information I found an old photo of the Mihama nuclear plant. The fact that this futuristic-looking plant was situated in such a beautiful spot so close to the sea made me curious. Are they safe when it comes to earthquakes and tsunamis? Further reading revealed that many of these plants are situated in earthquake-prone areas, some of them are even located next to shores that had been hit in the past by tsunamis. A photo of Mihama made me narrow down my focus only to Japanese nuclear plants. I wanted to make a soundtrack to some of them, concentrating on the architecture, design and localizations, but also questioning the potential radiation danger (a cooling system being destroyed by a landslide or earthquake, etc). As the head of the Nuclear and Industrial Safety Agency said: ‘the plants were so well-designed’ that ‘such a situation is practically impossible.’ The album was finished on February 13th. On March 17th, I received the following message from a FB friend: ‘Geir, some time ago you asked people for a photo of a Japanese nuclear power plant. Is this going to be the sleeve of your new coming album? But more importantly: how did you actually predict the future?'” Art Direction: Jon Wozencroft; cover image: Yusuke Murakami.
CINDYTALK: Silver 7″ (TOURETTE 023EP) 12.00
“We dream in colour is the title of the new live music project, curated by six d.o.g.s and Angelos Petroutsas (Prince of Poverty), that consists of seven live concerts in the Gig Space of six d.o.g.s venue in Athens, Greece, starting from February 2011 and ending in December 2011 of seven music artists and the release of seven 7″ by Tourette Records, in which the artists shall contribute music for the project. Each artist has been assigned with one color in a ‘journey’ from the moon to the sun, and each 7″ is considered as a blooming colored flower and as seen in the art work of the jacket a bee dancing in coordinates with the sun showing to other ‘bees’ where the ‘nectar’ music can be found and a solar clock pointing the time of each live concert taking place in Athens.”
BOOGIE DOWN PRODUCTIONS: Criminal Minded 2LP (TEG 76538LP) 21.00
“In listing the greatest albums in hip-hop history, one title never seems to stray from the upper echelons, no matter how many years pass: Boogie Down Productions’ undisputed classic from 1986, Criminal Minded. Released amidst a battle between BDP and MC Shan that would redefine the New York rap landscape as it was then known, the album, which features the songs ‘South Bronx,’ ‘Criminal Minded’ and ‘The Bridge is Over,’ captures the excitement, urgency and raw power that embodies hip-hop culture as we know it, with KRS-One’s aggressive yet intelligent lyricism backed by Scott La Rock’s hard-hitting, stripped-down beats. Traffic Entertainment Group and B-Boy Records are proud to present Criminal Minded, presented for the first time ever in a double-LP pressing with a new digital transfer from the original analog master tapes. The album is packaged in a gatefold ‘paste-on style’ jacket, featuring extensive liner notes from journalist Brian Coleman and KRS-One, full color printed dust sleeves with vintage B-Boy Records graffiti artwork, full-color 24″ x 36″ poster and the bonus track ‘P is Free (Original 12″ Version).'”
CLAMS CASINO: Rainforest CD (TRIANGLE 006CD) 12.50
As the producer responsible for some of Lil B and Soulja Boy’s weirdest, most inventive beats, and following on from a critically-acclaimed, self-released mixtape of instrumentals collected from his work over the years with various forward-thinking hip-hop artists, Tri Angle is very excited to announce the release of Rainforest, the debut EP by Clams Casino. The five songs that make up Rainforest find Clams Casino (aka 23 year-old New Jersey native, Michael Volpe) refining his ethereal, otherworldly sound, while taking it to a heavier and more intense extreme. What has set Clams Casino apart from most other hip-hop producers is his skill in making records that sound just as good, if not better, instrumentally as they do with vocals, and if anyone needed it, Rainforest represents the confirmation of this. It’s a record drenched in mysterious atmospherics, like a foggy memory of a far-off exotic place, the details buried beneath the mist of distortion, but present nonetheless. None of the songs on Rainforest have ever been released before, and in contrast to most of his other productions, these songs have always existed purely as instrumentals, free of any vocal presence. Rainforest is an incredibly powerful release which signals the beginning of Clams Casino coming into his own and operating as an important artist in his own right.
GEHRING, MARCUS: On A Trip 12″ (UYS 006EP) 12.00
Marcus Gehring fits in with Upon You sub-label Sweet And Sour like vodka shots at an after hour. His funky and trippy sound grooves until sunrise and that’s the way they like it. It doesn’t matter whether it’s “On A Trip” or “In Between” with its bouncy bass line. His love and passion for music will definitely produce more good things in the future.
BENITEZ AND NEBULA: Night Life/Essence Of Life LP (VAMPI 075LP) 16.50
LP version. 2006 release. Eddie Benitez’s story is full of contrasts: a classical trained child prodigy turned Latin rock superstar while hanging out in his teen years with the likes of Charlie Palmieri, Louie Ramirez, Tito Puente and pretty much all the crew from the Fania All-Stars… and making a name for himself while at it. His debut album on Fania, Night Life, brought him to the spotlight in 1976, earning his band Nebula rave reviews and the props of many of his peers, including names like George Benson, Al DiMeola and Carlos Santana. He also has the distinction of being the first Latino act ever to be featured at the mythical CBGB’s. Between Night Life and Nebula’s second release, Essence of Life, lays a three-year hiatus, yet the band never stopped touring and playing the rock circuits. . Produced by late studio wizard Louie Ramirez, one of Latin music’s most creative and complete gentlemen, Night Life left an impressive mark, featuring the then up-and-coming Ruben Blades on background vocals and the virtuoso team of Nicky Marrero (a key member of the Fania All-Stars and one of the most influential percussionists of all time) and the late Frankie Malabe (a revered conga stylist and innovator as well as a stalwart of the essential Alegre All-Stars in the ’60s and early ’70s). By the time “Essence of Life” was recorded, Nebula had already undergone a critical lineup change. Because of disciplinary problems, the original band was dismissed, with only Greg Hernandez and Nancy O’Neill remaining from the original band. The remaining members consisted of keyboard/trombone player Johnny Caro, Nancy’s brother Dino Cedeno on vocals, drummer Joe DiCarlo, Tommy Hebb on bass, Jose Morales on timbales and additional keyboard player Larry Dvoskin. Former band member Jimmy Cruz doubles on background vocals for the album as well. These are the last copies of this now deleted LP.
APARICIO, JAIME DELGADO: El Embajador y Yo LP (VAMPI 086LP) 19.50
LP version. 2007 release. Vampisoul presents the complete 1966 soundtrack to El Embajador y Yo, what many consider Peruvian jazz heavyweight Jaime Delgado Aparicio’s masterpiece. The music in this rare action-comedy film combines, in an extraordinaire way, jazz with different styles that were hip in the mid ’60s in a very groovy way. A genius score, with very creative arrangements and brilliant playing by an orchestra of sometimes over fifty musicians. From the beginning, you hear the creativity of composition and the brilliance of its execution by a fifty plus piece orchestra performing the movie’s theme song. Two surf tunes appear on this album: “Sexy Surf” and “El Surf Del Embajador.” Additionally this release includes five recordings by the Jaime Aparicio Jazz Trio (with double bassist Juan Anges Russo and drummer Kalle Englund) made in Lima, Peru, around 1964. It’s not often that an individual leaves a permanent mark in the musical history of a country. In Peru, in the ’60s and ’70s, Jaime Delgado Aparicio, a pianist and composer, promoted and exposed all different styles of jazz to all social levels, helping many young students and professional musicians to understand this musical language. Last copies of this now deleted LP.
VA: La Habana Era Una Fiesta 2CD (VAMPI 134CD) 22.00
Vampisoul presents a double CD of recordings from the ’40s to the ’60s by Cuban artists performing Spanish songs and by Spanish musicians that visited Cuba and were influenced by the island’s music. When Havana was a party, many Spaniards joined the dance. In this process of transculturation, music and musicians played an essential part. Having arrived from Spain, artists of song and theater contributed to the diverse DNA of Cuban popular music. At the same time, other musicians brought in essential aspects of Afro-Cuban folklore to Spanish song. Music has always played an intrinsic role between Cuba and Spain: after the Spanish disaster of 1898, emigrants and soldiers, wine-producers and sailors arrived or stayed in Cuba, and with them their customs and habits. With the children of the metropolis, companies of popular singers, zarzuela groups, and costumbrista theater arrived. In addition, the music from Andalusia, traditional dancing, and genuine flamenco soon disembarked in the port of San Cristóbal de la Habana. On their way back, when they left Cuba, the ships with gold from America also carried new melodies and rhythmical cells, harmonic gyrations, and choreographed elements of Afro-American inspiration. On firm ground, the native Spanish colony in Cuba kept growing in numbers and importance. Half a century later, there were five million residents in Cuba. At the beginning of the ’50s, one million of them resided in Havana. And there were 120,000 people who were associated with one of the many emigrant clubs founded in the city. It was there, in the halls of the societies of emigrants from Galicia, Asturias, Andalusia and the Canary Islands, where the music from both shores embraced. In décimas and folk songs, the poetic expression of Cubans and Spaniards took root on the singers’ island. The landing of Spanish music in Cuba stood out in Havana with musical theater of which operas and zarzuelas were always played as if in the old country. The visits from Carmen Amaya, Conchita Piquer, Juanita Reina, and Imperio Argentina were lauded. From the mid-’30s until approximately 1960, leading Cuban radio stations such as CMQ and Radio Progreso hired the most famous Spanish artists (and also many hustlers who came to America looking for riches) to broadcast performances and variety shows with live music from Los Chavales de España, Los Bocheros or Los Churumbeles. The extensive reach of radio and cinema, together with the growing popularization of vinyl, enabled the quick commercial expansion of Cuban music with arrangements of danzón orchestras, sextets of son cubano, and jazz bands, Cuban-style. From Rita Montaner and Bola De Nieve to Miguelito Valdés, Antonio Machín, Julio Cuevas, Bebo Valdés and Armando Oréfiche, Havana was now a party, half a century before the Buena Vista Social Club. The tracks by Spanish artists were recorded at radio stations in Havana and are released here for the first time.
BENNITO SEXTET PLUS ONE: Psychedelic Meditation/My Sherry 7″ (VAMPI 45022EP) 8.50
The Bennito Sextet will put your mind and feet one step beyond. In 1968 NYC-based Bennito Sextet Plus One released the 5:50 masterpiece “Psychedelic Meditation.” This will tap the psyche of all Afro, Cuban and Latin fans.
BROOKS & THE UPTOWN SOUND, JC: Baltimore Is The New Brooklyn 7″ (VAMPI 45048EP) 8.50
Featuring a different version of one of the highlights from the album Beat Of Our Own Drum and an exclusive track to this release.
KUBISOVA & ORCHESTR GOLDEN KIDS, MARTA: Jakoby Nic/Hare Krisna 7″ (VAMPI 45049EP) 8.50
Limited edition 7″ by Marta Kubisová, the most popular Czechoslovak pop-jazz-soul female singer of the late 60s.
SANTAMARIA, MONGO: Fuego LP (VS 018LP) 11.50
Exact repro, originally released in 1973. “Fuego (released on the Vaya label) continues the soul-jazz of Mongo’s Atlantic period but ranges a bit further, into funk and rock. ‘Fingers’ is a bass-led original with psychedelic guitar recorded to sound as if it’s being played several blocks away (much like an early Jimi Hendrix session). ‘Crazy Lady’ is the other seriously funky track, although neither is essential. The original ‘Besame’ is a fine, laid-back song in classic Mongo style; there are many other fine — if not exactly thrilling — moments, including ‘Malcolm X.'” –All Music Guide
HOOKER, JOHN LEE: The Big Soul LP (VEEJAY 1058LP) 11.50
“Jumping into the R&B and soul explosions of the early ’60s — or at least dipping his toe into them — he’s backed here by the Vandellas, no less, on all but one of the 11 songs here. And coupled with an uncredited band that includes organ accompaniment, among other attributes that one doesn’t usually associate with Hooker, he pulls it off. Indeed, he manages to straddle blues and soul far better than, say, Muddy Waters did during this same period; he’s still a little too intense for the more pop side of the field, but he’s also stretching the appeal of the blues with every nuance on this record, and there are a few cuts here, such as ‘Send Me Your Pillow’ that would have fit on any of Hooker’s far more traditional-sounding blues releases; and others, such as ‘She Shot Me Down’ (a rewrite of ‘Boom Boom’), that are so close to his well-known standard repertory that they slip right into his output without explanation.” –All Music Guide
CUT HANDS: Afro Noise I CD (VFSL 101CD) 16.50
A bludgeoning mix of machine and voodoo/Central African percussion plus other acoustic instruments combine to create one of the most physically intense musical experiences ever. Songs featured in VBS’s films Vice Guide To Liberia and Mandingo. Since 2007’s Whitehouse album Racket, and after his original Afro Noise mix became one of the most downloaded experimental mixes ever made, William Bennett’s remarkable Cut Hands album has seen 4 long years of meticulously obsessive studio work in the making, notably deploying his special collection of Congolese and Ghanaian percussion instruments. All songs written and produced by William Bennett, mastering and remastering by Denis Blackham. CD features 16 pg. booklet with special artwork and extended texts by William Bennett and Mimsy Deblois. Thirteen tracks of startling Afro-noise that will blow your fucking mind. Total playing time: 49 minutes 25 seconds.
VA: Disco Edits 12″ (WLB 009EP) 12.00
Disco edits of Thelma Houston’s “You Used To Hold Me So Tight,” Barry White’s “Let’s Make Tonight,” David Morris “Saturday Night” and Surface’s “Falling In Love.”
AOI: Funnelweb 12″ (WMR 002EP) 15.00
“The rapidly expanding field of experimental hiphop has spawned a few true innovators, and a host of imitators, all over the globe. Rising above that bubbling soup is Melbourne based producer Aoi. Armed with a spare room full of dusty old records, analog synths, and some software, Aoi has created some of the most attention grabbing, psychedelic bangers in the country. Funnelweb is, as its name suggests, a mysterious and dangerous beast. Dangerous amounts of head-nodding will accompany from your very first listen, as primitive abstract drum patterns interact with lazer buzzsaw synths from the distant future. While others wear their influences on their sleeves, Aoi’s influences come together into one amorphous, pulsating blob of sound – creating something of a mystery as to exactly what is going on. According to the man himself, it’s the influence of ‘beatdigging culture, anime, Italian zombie flicks, gold fronts, weird video games, golden era rap music, dusty drums, no quantizing, prog, soul, Krautrock and jazz fusion’ that made it what it is.”
HENDRICKSON ROAD HOUSE: Hendrickson Road House CD (WH 033CD) 19.00
“Recorded to showcase the prodigious talents of teenage singer/songwriter Sue Eakins, the Hendrickson Road House album was issued in 1970 as a limited edition pressing by the Two:Dot studio/label. Widely regarded these days as one of the rarest vinyl artifacts to emerge from the late ’60s Californian counterculture, the LP now sells for around $1000 on the rare occasions that copies surface. Now available for the first time in more than forty years, this authorized reissue adds half-a-dozen fascinating bonus tracks, including alternative mixes of two of the album’s finest songs, only briefly available at the time as a 7″ that was credited to group alias Nibbus. With a lavish booklet featuring rare photos, interview quotes and the full Hendrickson Road House story, this is the definitive edition of a lost classic of the West Coast psychedelic folk genre.”
YETI: #11 BOOK/CD (YETI 011) 11.00
“Inside the book you’ll find: an absolutely stunning 22-page comic by Victor Kerlow; an archival (1978) interview with Joe Brainard by Anne Waldman that is just so deliriously great I cannot tell you; many lovely pages of Polaroid’s taken in Ethiopia last year by genius filmmaker/ethnographer/musician Olivia Wyatt; New Zealander Roy Montgomery interviewed by Portlander Liz Harris AKA Grouper (who is such a great interviewer, wow); short fiction by R. Foggo and Kimberly Parko; new photography by Portland’s Megan Holmes; a selection of rare posters from the Situationist-inspired uprisings in France in May 1968. Plus a lengthy look at Spencer from the Skaters and a really in-depth interview with drone master Phill Niblock and finally, Brian Chippendale talks to Ian Johnson about ‘If N Oof’ and Lightning Bolt.On the CD there are 12 tracks, all rare/unreleased from the heavy electro space boogie of White Rainbow to the crazed and cool song-cycle by Brooklyn’s Happy New Year, and a brilliant and creepy and long thing from Oneida, plus this Phill Niblock piece is ridiculously good. Other artists on the CD are Roy Montgomery, Gospel Creators, Snake Hole, Golden Retriever, Sloppy Heads, Atole, Johnita and Joyce Collins, plus finally this incredible recording of syncopated panpipes from the Dirashi tribe of Ethiopia by Olivia Wyatt.”
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