FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 08/29/2011
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OFFICE-R(6): Recording The Grain CD (3DB 003CD) 15.50
Originally released in 2008. Recording The Grain is a full-bodied and mature presentation of Office-R(6)’s highly personal take on improvisation. Their blend of tight ensemble playing and precise use of electronics bring out the best of both worlds. As the group fuses ideals from composition with the art of improvisation, they create a vivid session of electro-acoustic gymnastics ready to bring music to the next level of engagement. The improvisations of OR(6) are all based on an expanding catalog of structures that define different elements of each piece. Their live approach was brought into the STEIM studio and performed live, ensuring that this hyperactive collision of prepared and intuitive elements would not rule out the human touch and the quality of split-second decision-making. Members include: Koen Nutters (upright bass, structure), Robert Van Heumen (laptop, LISA), Jeff Carey (laptop, super collider), Sakir Oguz Buyukberber (bass clarinet), Dirk Bruinsma (soprano and baritone sax) and Morten J. Olsen (percussion).
BAKTRUPPEN: 1986-2008 3CD BOX (3DB 004CD) 23.50
Originally released in 2008. To put Norwegian performance art troupe/artist collective Baktruppen into a box could appear to be a contradiction in terms. They have always moved outside the comfort zone of habit, staging their events in tunnels, galleries, libraries and sports arenas — just as well as the more traditional avant-garde theater houses throughout the entire world. Finally, they are ready for institutionalization — on a record label. The result is yet another story — the story behind their history over the last 22 years: 3 CDs with talkative, scientific, noisy, sentimental, ridiculously funny and plain and simply stupid recordings from a crew of artists that have energized every stage they have ever performed on. Three CDs recorded throughout Europe 1986-2008. Includes a full-color 32 page booklet with rare photos. Mastered by Tanja Khanthasotorn. Members: Øyvind Berg, Ingvild Holm, Per Henrik Svalastog, Bo Krister Wallström and Worm Winther.
INNERGAZE: Shadow Disco 12″ (SILK 008EP) 12.00
“Innergaze your innerself — it’s a Rorshark shock of broken dreams and disco balls, cracked make-up mirrors for lipstick stains and smears, and sugary sweet Tom Collins highballs to spill and then slip on. Innergaze makes dance music to stumble around to, at 3 a.m., when the dry ice is dried out and you can’t find your fur coat. There’s taking candy from a baby and then there’s taking candy-colored cocktails from a stranger who’s dosed you with Innergaze’s bump and fuzz and slo-mo vo-co’s. For writhing on a cold white leather couch in the air-conditioned club. Or for wearin’ white leather and gettin’ way laced. For Brooklyn Babes and Waldorf Astoria Queens and Bushwick Billionaires. Bubbles and trance for the Bridge and Tunnel set. Based on a lifetime of nighttimes, the syrup n’ synth soundstage for romance, tragedy, and a few glassy-eyed, glossy-mag’ed dream sequins. Strictly ballroom, strictly Freudian, and strictly speaking from the Innergaze Shadow Disco: Are you my mother, lover?”
OCTO OCTA: Let Me See You 12″ (SILK 011EP) 12.00
“‘Tryin’ to let it go’ is the theme here: yearnin’ to earn it. The Octo Octa rhythm IS feeling, especially when yr feelings are hurt. From letdown to getdown, when melancholia’s callin ya, Octo Octa can break through. Emotions run high, and these cuts cut through somehow. It’s dance therapy — Docta Octa is in, checking yr pulse, charging by the half hour. Feelin’ blue can be electric. If yr here, now, you haven’t missed a thing. For the ball drop, the balloon drop, the moments after we’re sweat-soaked, covered in glitter, standing in a room full of strangers and lovers and memories all fading into fog. And the DJ played on. Turning this house into a home.”
VA: Various Artists EP 12″ (2DIY4 002EP) 12.00
2DIY4 is back with the second installment of their Various Artists series, showcasing work by fresh talents as well as proven producers. “Deep In The Three” by Thyladomid & Adriatique is a groovy beast with a chunky bassline, playful, organic percussion and Feist’s irresistible vocal. “Young Girl” a rework by Peter Kruder, member of the legendary Kruder&Dorfmeister, has a more mysterious vibe. “No Giggity” by Gary Todd gets the groove on, giving the r&b ultra-classic a fresh polish.
BRIAN JONESTOWN MASSACRE, THE: The Singles Collection 1992-2011 2CD (AUK 015CD) 24.50
“First time and remastered from the vinyl originals is the band’s singles compilation. This double CD features 14 tracks that have not been available on CD before, these versions are completely different from any version that found itself on a full length album. It also features two tracks from the band’s alter ego Acid recorded in 1993, and also the unreleased anywhere apart from this CD and the original 7″ the tracks ‘Convertible’ & ‘Their Majesties 2nd Request (Enrique’s Dream)’ and also the most recent 2011 vinyl single release) Illuminomi/There’s A War Going On. The 2CD comes with a 24 page booklet featuring the front & backs of all the picture covers of the original covers.”
THIRD SOUND, THE: The Third Sound CD (AUK 101CD) 15.50
“The conception that became The Third Sound was first formed when former Singapore Sling and Hudson Wayne member Hakon Aoalsteinsson left his home of Iceland and music collective Vebeth to the contrasting rooftops of Rome. Drawing from his roots of shoegaze neo-psychedelia he made sleight of hand gestures towards country, blues and Kraut and recorded his first album with ’60s aficionado Francesco D’Onofrio. Returning home he finished the album with guitar prodigy Hallberg Daoi Hallergsson(Jakobinarina), and began experimenting with new mixing techniques being inspired by a theory known as the Third Sound.”
THIRD SOUND, THE: The Third Sound LP (AUK 101LP) 24.50
Gatefold LP version.
FKTB: FKTB #01 12″ (ARPA 004EP) 12.00
The rising producer duo FKTB have been rocking the dancefloors with their uplifting cutting-edge dance tracks that feature sample elements from the Chicago scene. This EP includes playful remixed versions by Tim Xavier, label master of Clink, A Mochi and DJ Sodeyama, who is a busy heavy-hitter and also the label owner of Arpa Records.
SLOW HAND MOTEM: Vanity Hugs 7″ (AD 7001EP) 10.00
Astro:Dynamics returns with a slab of weirdo-funk from Canada’s first stalwart of skweee, Slow Hand Motëm, backed with a slo-mo acid neck-snapper of a remix from Mesak. Motëm has created masses of weird and fascinating records on his own Gebbz Steelo Boutique imprint. Having featured on the scene’s core imprints — from Flogsta Danshall to Harmönia to Dødpop — Motëm’s inimitable style consistently stands out from the Scandinavian pack, and this beautifully-crafted 7″ is no exception.
ABER, SHLOMI: Coconuts/Who Said That 12″ (BAO 031EP) 12.00
Shlomi Aber is back on his own label, taking things into a summery mood with the opening track “Coconuts,” which is built around a hypnotizing synth melody, and Shlomi’s uplifting, smooth drums. On the other side is “Who Said That,” a rare vocal cut from Shlomi which is a proper groover on the floor, with its minimalistic architecture but effective elements — surely something that will be picked up by many.
ROEDELIUS: Wasser Im Wind CD (BB 069CD) 17.00
Of all the Hans-Joachim Roedelius solo releases, this is the one which most closely resembles the work of Cluster. Wasser Im Wind sees Roedelius use a wide variety of musical and sonic ingredients hitherto associated with Cluster, almost as if he sought to erect a monument to the group. Right from the word “go,” the familiar sound of the Drummer One rhythm machine can be discerned on the opening track, like a wood gnome crashing his way through the shire; then we hear those hand-played, swirling keyboard patterns so typical of Roedelius; his drifting melodies, with no beginning or end, gone before one has barely recognized them; synthetic sounds recalling the heroic era of the mid-’70s; and occasional glimpses of the shadow of Dieter Moebius as sounds and forms emerge from his cosmos. Might one suggest that Roedelius recorded a Cluster album all by himself? No, absolutely not! The astute listener will note how effortlessly Roedelius performs his balancing act on Wasser Im Wind. The album captures Roedelius on the threshold of something quite new to him. On the one hand, the electronic elements he utilizes recall the Cluster virtues he knew so well, on the other hand, he is already experimenting with a wealth of baroque forms which will come to influence his playing in the future, particularly with regard to the piano. So Wasser Im Wind is no longer the past, nor is it quite the future. Piano features prominently on this LP, but has not yet taken center stage. By inviting the saxophonist Czjzek to join him on three album tracks, Roedelius manages to confuse matters splendidly, as two seemingly incompatible musical notions meet head on. Nevertheless, Roedelius’ spirit floats above these waters as well, transforming the listener’s initial irritation into baffled amazement. Another successfully conducted experiment!
PYROLATOR: Neuland/2 12″ (BB 083EP) 12.50
Pyrolator (Kurt Dahlke) is back with pure electronic club music gold, continuing the “land” series of his solo albums (Inland, Ausland, Wunderland, Traumland). As the artist himself describes: “I am currently using the Monome as an input device. I program a kind of matrix of rhythms, chords and melodies. I like to work with loops, refining them bit by bit, piecing them together. Music created through programming is nothing like the music I would come up with on a keyboard.”
SOLYST: SOLYST LP (BB 086LP) 17.00
LP version. After over 15 years as Kreidler drummer and a number of other guest appearances, Thomas Klein now presents his first solo album under the name SØLYST. The basic ingredients of his music do not differ greatly from Kreidler’s. SØLYST also unites analog drums and electronically-generated patterns. But Klein now heads into more tribalistic territory. The beat, the groove, the monotones. Klein is a musical hypnotist, taking aim at rhythmic ecstasy with minimal, yet highly effective means. Both restrained and insistent, SØLYST’s darkly pulsating aural cosmos envelops the listener and holds him fast as a fantastic voyage commences. Intricate, repetitive sequences, overflowing delays, and the drums, always the drums, sometimes in the mix, sometimes alone in acoustic space, as they unleash mesmerizing physical and atmospheric energy, the heart of the instrumental pieces. Afrobeat, minimal music, Krautrock, dub, cosmic — all apposite and well-intended references, but not enough by way of explanation. A genre to encompass this has yet to be invented, so “tribal dub Krautrock” is perhaps the most fitting description. Kreidler connaisseurs will be familiar with Klein’s style of drumming. His trademark simultaneity of functionality and expressiveness cannot be mistaken. Thomas Klein has thus earned his rightful place alongside illustrious Krautrock drummers like Jaki Liebezeit (Can), Klaus Dinger (NEU!) and Mani Neumeier (Guru Guru), every one of them a master of his craft, each bringing his own unique personality and technique to the music. Klein is possibly closest to Liebezeit in terms of lineage: complex rhythms in endless loops with small, yet subtle scatterings. Thomas Klein spent almost a whole year working on these eleven pieces, recording and mixing them himself. Klein performs live as SØLYST with TG Mauss on synthesizers, the latter having also contributed to the album. On 180 gram vinyl. Includes free download code.
MENDO: Stages Of Life 12″ (CADENZA 066EP) 14.00
For Swiss-based producer Mendo, house music has no boundaries when it comes to exposing tones, ambience and expressions. Mendo leads us directly and eagerly to the dancefloor with a mature and classy edge, producing tracks with irresistibly deep bass lines and an upbeat character. “Inocencia” opens with crisp slices of sound, leading us into spellbinding metal drums and a round sensual bass line. Luciano’s always-amazing Cadenza label strikes again.
ESSENDON AIRPORT: Palimpsest 2CD (CH 087CD) 18.00
Chapter is very excited to announce a 30th anniversary reissue of Palimpsest, the one and only album by Melbourne post-punk icons Essendon Airport. Recorded in December 1981, Palimpsest is now reborn as a double disc package with a whole bonus CD of live and unreleased studio recordings spanning 1980-1983. Formed in 1978 as a minimalist duo of guitarist Robert Goodge and keyboardist David Chesworth, Essendon Airport released their landmark 7″ EP Sonic Investigations Of The Trivial on Chesworth’s Innocent Records in 1979. Chapter Music reissued Sonic Investigations way back in 2002, as a CD including second single “Talking To Cleopatra” (with vocalist Anne Cessna) and a raft of bonus tracks. Originally gentle and inquisitive, with beats supplied by a drum machine ripped from a home organ, Essendon Airport began to expand after Sonic Investigations and explore the possibilities of rhythm. First came classically-untrained drummer Paul Fletcher, and then saxophonist Ian Cox, to form the four piece line-up heard on Palimpsest. With its dryly-intoned vocals, flailing polyrhythms and a postmodern fascination with appropriation and quotation, the album is an eccentric post-punk classic. The album title means “a manuscript page from which the text has been scraped off to be used again,” while the original liner notes state “all” “songs” “written” “and” “produced” “by” “Essendon Airport.” After Palimpsest, Essendon Airport added bassist Barbara Hogarth and grew to become one of inner city Melbourne’s premiere live attractions. “Creative differences,” however, saw them disband in 1983, with Cox, Goodge and Hogarth forming I’m Talking that same year with singer Kate Ceberano. The bonus “Live+More” disc collates 18 recordings, from the duo period to the impressively muscular, previously-undocumented five piece line-up. The original 1982 vinyl version of Palimpsest was presented in a screen-printed plastic cover, and this has been faithfully replicated in 2011 as a nifty clear plastic overlay.
VA: Cocoon Compilation K CD (COR 027CD) 17.00
This is the eleventh edition in the Cocoon label’s alphabetically-named yearly Cocoon Compilation series, curated by label-head Sven Väth. Cocoon Compilation K is definitely the deepest survey of contemporary electronic dance music that has ever seen the light of day on Cocoon Recordings. It all starts with David August — with its sensual and melancholic slo-mo disco and a short acid insert, “True Romance” is a massive musical exclamation mark. After this, it gets profoundly hypnotic, thanks to Siberian singer and DJ/producer Nina Kraviz. Her dreamy vocals and the streamlined deep house of “W-Bleu” are for sure something that Baby Ford would have been proud of, too. Following these two compilation newcomers is Alejandra Iglesias aka Dinky. “Luvin” indulges the senses with a darkly shimmering disco-house-pop draft and some subtle Goldfrapp reminiscences, and thus has what it takes to become one of THE summer tracks of 2011. Henrik Schwarz then sets the course more to the dancefloor with his mythic-percussive dub-house runner “Now This Way,” while the Far-Eastern-like, hypnotic reduction of “Blue Storm” by Matt John irresistibly takes our collective consciousness to Floor #7 after that. The meeting of the two house modernists Christian Burkhardt & Einzelkind as well as Sascha Dive’s minimal-ska-influenced “New Frontiers” show that the Rhein Main area is still good for some damn innovative tracks. Maetrik shines again with his dirty soul-tech and with the mean high-frequency wild pitch of “The Thrust,” Argy delivers the unofficial successor to his “Unreliable Virgin.” Besides that, Tom Trago continues the long-lasting history of Detroit, using a quite percussive organ motif. Butch presents a siren-like deep house jewel, and the compilation is completed by Sebastian Mullaert and Marcus Henriksson aka Minilogue with their track “Blessed” — without doubt the most sensual and melancholic title that the two have ever produced together. You can’t get any closer to the pulse of modern electronic music culture than with this compilation.
EVANA/CAYTAS & PATZ, ROSS: Thrilla In Manila/Deep Blue Sea 10″ (CORTEN 009EP) 12.50
London’s Ross Evana ranked #12 on Beatport’s house charts with “Ouija Board.” His track “Thrilla In Manila” first takes its time to build up before it sets a tremendously powerful exclamation mark on the dancefloor with its tropical, hypnotic percussions. The second side is from Stockholm-born cousins Alex Caytas and Aleks Patz. “Blue Sea” shows the duo’s affinity for the energetic deep house techno of the ’90s, with its organ sound, blues vocals and a highly-infectious bass line.
KOITE, AFEL BOCOUM & OLIVER MTUKUDZI, HABIB: Acoustic Africa In Concert CD/DVD (CJ 027DVD) 28.00
“Acoustic Africa was initially a compilation album released by Putumayo showcasing singer – songwriters in a stripped-down context, focusing on the melody, the rhythm and a unifying message of hope. In 2006, an internationally celebrated companion tour of the same name brought together singers Vusi Mahlasela, Habib Koité and Dobet Gnahore. Five years later, the second installment of Acoustic Africa’s exhilarating musical journey focuses on the richness of the African guitar tradition. Contre-Jour’s Acoustic Africa set features three of the continent’s most indomitable touring artists, songwriters and social commentators — Malian superstar Habib Koite, Oliver Mtukudzi, the best-selling artist in his home country of Zimbabwe, and Afel Bocoum, a guitarist, singer, and composer from Mali whose songs evoke the evolution of traditional Malian society. Performing solo, duo and trio — and backed by an ensemble of traditional stringed and percussion instrumentalists — the concert weaves a collection of traditional songs among contemporary popular ones from each of the leaders.” NTSC All-Region DVD format; 110 Minutes; Dolby Digital Stereo.
AMAZING BIRTHS, THE: Younger Moon LP (CHM 055LP) 18.00
“First full-length album from Mark McGuire (Emeralds, etc…) and Julian Gulyas (Synaptic Foliage, etc..). Expansive guitar and synthesizer compositions recorded in the dead of winter. Limited to 500 copies on black vinyl.”
DIVE, SASCHA: Jam Session #1 12″ (DVR 017EP) 12.00
Here are the long-awaited remixes from Sascha Dive’s Restless Nights (DVR 014CD/LP) album. Jam Sessions #1 is the first out of two 12″s that will be released on Deep Vibes. French deep house master Franck Roger comes up with a supremely dark but warm remix of “Drums Of The Jungle.” NYC’s Sole Channel boss Alix Alvarez remixes “The Jam,” making it sexy as hell. Sascha Dive gave his own “Jus Groove” a catchy dub treatment.
TEEN IDLES: Anniversary 7″ (DIS 100EP) 5.00
“The Teen Idles founded Dischord Records in 1980 with the release of the Minor Disturbance 8-song 7″(Dischord #1), so it seemed appropriate that Dischord celebrated its 100th release in 1996 with a second single from the band 16 years later. This record consists of songs taken from practice tapes and early demos recorded in late 1979 to mid-1980. The music on this record was released not because we feel the songs are particularly amazing or necessary, rather it’s because we think they are funny and cool, and because they represent us as we were: a bunch of high school punk rockers. The Teen Idles certainly didn’t intend to start a label, only to put out a record, but it was a decision that led to at least 30 years of new bands and releases and the documentation of a community here in Washington DC.” On swamp green-colored vinyl.
BREAKBOT: Fantasy 12″ (BEC 5772905) 12.50
Breakbot is back with the summer anthem “Fantasy.” R.I.P MJ, say H.E.L.L.O to L.A’s Ruckazoid, who sings on this new single from the funky Bot. Arthur Baker, Jacques Renault and Carte Blanche on the remix side — you can’t go wrong. Includes free download card.
WOODS, DAVID: On The Green Alone 12″ (TAIN 007EP) 12.00
Every once in a while, every successful couple — and even passionate lovers — needs a break from each other. So this time, you get David Woods on the green alone. No Tiger around. Just another man and his caddy. Nevertheless, he has the “License To Drill,” a “Slazenger 1” in his pocket and “1:00:00” to kill. Track after track after track by a true crack.
FIXMER, TERENCE: Le Terrible 12″ (EDLX 017EP) 12.00
Terence Fixmer’s EP Le Terrible will cause some serious damage. It kicks off with “Le Terrible,” a powerful monster of a techno track which pumps up your adrenaline with its pounding bass drum and hypnotic build-ups. “Concept C” features more experimental elements such as drone sounds and his ragged and slightly distorted signature bass. Marcel Dettmann’s remix of “Dance Like Paranoid” wins you over with its carefully-arranged melody and drum pattern which creates a melancholic and timeless rave anthem.
GIANT SAND: Goods And Services CD (FIRE 178CD) 18.50
“1995’s Goods And Services was another for German ears only. It’s re-issue will bring it to the attention of new fans as part of the series. Once not remembered fondly by Giant Sand’s Howe Gelb, time has been kind and his perception has softened with the memories of Vic Chesnutt’s contribution. ‘Another live record, but this sound was bloated from Euro touring and was supposed to be a creation of only how it was sounding then. Later, that made less sense to me since every tour the band sound would change anyway. So, I am not in love with this record and thusly never made it available for the states. But now, looking back on it, it brings a smile and also moistens the eye with the missingness of Pappy and Vic Chesnutt.'”
GIANT SAND: Black Out CD (FIRE 190CD) 18.50
“Fire Records re-issues the rare and regarded Black Out recording from 1993. Forged from the embers of the recording session which was Purge & Slouch, and wholly acoustic, this collection of takes was originally released only in Germany. Black Out sits proudly amidst the Giant Sand re-issue project. ‘When we gathered for the grand experiment of Purge & Slouch, Howe Gelb recalls, ‘the idea of which was to record without having written anything prior for it. Some actual songs did pop out perhaps for the sake of warm-up or while mics were being wired, maybe just for the sake of vigorous deployment, re-living some old songs there and then, we bundled em up after the fact for what would become ‘stromausfall’ instead. This was a limited batch release on a small German label that took my original title Black Out and translated it. The idea being that this is the sound that would happen during one; songs without electricity attached.”
FILET OF SOUL: Freedom CD (GF 253CD) 13.00
“Filet of Soul, the great Chicago blues/psychedelic band that mixed Chicago blues with the prevalent psychedelic sounds of the late ’60s on the rare and classic 1969 LP Freedom. Produced by Lenny LaCour, Co-owner of Chess Studios, this reissue brings forth the great talent of Mike Peace, formerly of The Huns. Off the master tapes.”
ESPLENDOR GEOMETRICO: Sheikh Aljama CD (GR 2116CD) 18.00
Geometrik presents the reissue, remastered from the original tapes, of a classic Esplendor Geométrico record sold out for more than 15 years!: Sheikh Aljama was recorded between 1987 and 1989 (and originally published by Daft Records), an especially interesting period where the unique and characteristic rhythmic-industrial EG style, developed in the ’80s, turns more minimalistic, schematic, cold and rough, with sporadic influences of Arabic music and rhythms. Sheikh Aljama is an Esplendor Geométrico classic and one of the best albums of their whole career, including their hit “Sinaya.” Sheikh Aljama stands out for its incorporation of sonorities, voices and percussion with Arabic elements, due in great measure to Gabriel Riaza, who a few years later would leave E.G. and convert to Islam. Released in digipack format for the first time ever and includes a 4-page booklet.
SKULL SNAPS: Skull Snaps 2LP (GET 56001LP) 24.00
Deluxe gatefold double LP version, including a 24″x24″ poster and full-color die-cut sticker sheet. “Skull Snaps’s legacy isn’t defined by a prolific catalog or the longevity of their career. In fact, this album from 1973 is the group’s only album, yet it was enough to earn them a place as one of the more mysterious and fascinating funk ensembles of the era. Previously known as The Diplomats, the group–featuring Sam Culley, Erv Waters and George Bragg–became the Skull Snaps after several notable releases (including ‘She’s the One’), and their self-titled album is nine tracks worth of gruff, unpolished vocals, crisp drums and driving pace that hasn’t diminished with age. ‘I’m Your Pimp’ echoes the jazz-funk fusion sound of Blaxploitation cinema, while the second single ‘Snapped’ is fueled by a tough horn break. But the real jewel here is ‘It’s a New Day,’ the group’s signature song, who’s unmistakable opening drum break has become a staple ingredient of hip-hop cuts by Ol Dirty Bastard, Das EFX, Eric B. & Rakim, Digable Planets, DJ Shadow and others.”
LE REVELATEUR: Fictions LP (GT 010LP) 15.00
“Le Revelateur, aka Roger-Tellier Craig, who has previously played guitar in bands such as Fly Pan Am and Godspeed! You Black Emperor, is now pursuing synth and electronic music similar to Emeralds and Oneohtrix Point Never but more reminiscent of some artists on Sky and Innovative Communication, such as Laurie Spiegel.”
HUGO & SAMMY: Triangles’ Angle 12″ (GVR 006EP) 12.00
Triangles’ Angle is produced by Hugo & Sammy and it is inspired by the magical dimension of their city, Turin. Atmospheric and groovy, this release is thought to disseminate the philosophy that lies behind Goodvibe Records, explore electronic music and make people dance. Includes a remix by Daniele Papini.
STATIC: Freedom Of Noise LP (KK 064LP) 15.50
LP version. Static is Berlin-based musician and producer Hanno Leichtmann. Besides his work as a member of the trio Groupshow along with Jan Jelinek and Andrew Pekler, and Denseland with David Moss and Hannes Strobl, Static is his main solo project. While thinking of how to follow up his 2005 release Re: Talking About Memories (CCO 031CD/LP), Leichtmann kept busy with his many other projects. Then, during a festival for improvised music in Berlin, he struck upon the idea of working with free improvising musicians, but to deploy them in a pop context. The main collaborators for the production of Freedom Of Noise were harpist Clare Cooper, the trumpet player Axel Dörner and the saxophonist Tobias Delius. In this way, Leichtmann was able to perfectly combine Static’s loop-based methodology with the additional expressive possibilities of having all those great musicians involved. So Static was able to move freely between arrangements and improvised passages. Leichtmann also brought the following players on board to enrich the compositions: Nicholas Bussmann on cello, Zoe Irvine on electronics, Magda Mayas on organ, David Moss on voice, Andrea Neumann on inside piano, Gert-Jan Prins on analog devices, Maura Rougieux on background vocals, Clayton Thomas on double bass, Kassian Troyer on table guitar and Sabine Vogel on flutes. All these musicians help to bring the vibrancy of a full live band to the album to make for a richly detailed tapestry of sound. On top of all these talented instrumentalists Leichtmann invited the vocalists Falko Teichmann from Berlin and Yanira Castro from Madrid to sing on a number of tunes, adding to the pop element of the album. The result of Static recruiting such a diverse host of other musicians is striking. Musically, the record is extremely multifaceted, ranging from moments of eclectic pop, to experimental periods of neo-folk ambient and cut-up electronica. No doubt, Leichtmann has succeeded in his goal of creating a new direction for Static. Freedom Of Noise is a refreshing and adventurous musical journey.
DECIMUS: Decimus 8 LP (KELIPPAH 004LP) 18.00
“Oh bitter Heshvan!Destroyer of the Kingdom of Solomon.Noun hath brought downfall to your doorstep.Metatron be your guide.There is light in this darkness.”Dedicated to Rabbi Hiya. Dark psychedelia formulated by Pat Murano (No Neck Blues Band, Malkuth, K-Salvatore & Key of Shame) designed to alternately disorient and elate by synthetic means. Fifth in a series of 12 LPs dedicated to the zodiac of Decimus Magnus Ausonious.” Limited edition of 300 with hand painted jackets.
LOW: Songs For A Dead Pilot LP (KRANK 021LP) 11.00
2011 repress on vinyl, originally released in 1997. “The careful unveiling of melody has always been Low’s forte, with this album the group adds the transformative factor that the blurring and merging of an eight-track tape deck brings to the recording process. Low have retained the patient song craft, the riveting vocal interplay… and the relaxed pace that allows songs to stretch themselves out. Keyboard drone, throbbing drum patterns and waves of bass feedback are new flavors added to the mix, giving Songs For A Dead Pilot a subtle, experimental feel.”
LOW: Secrete Name 2LP (KRANK 035LP) 17.00
2011 repress. All-analog processed 150 gram vinyl. Features 2 tracks not found on the CD. “Perhaps it is best to describe Low’s approach as essentialism — allowing each musical gesture to make maximum impact. This is their fifth studio album and first for Kranky. Low remains tied to the simple grace of the voices Alan Sparhawk and Mimi Parker. Instrumentally, they have stretched out, but each song continues to be based on deceptively simple patterns of voice, bass, guitar and skeletal percussion.”
LOW: Things We Lost In The Fire 2LP (KRANK 046LP) 17.00
2011 repress. Double vinyl version in a gatefold sleeve. All analog production (AAA). Two extra tracks on the vinyl version (taken from the last UK single). “The trio have succeeded in topping Secret Name — Things We Lost In The Fire has songs that are lush (‘In Metal’) and songs that are naked (‘Whitetail’) and adds a layer of fuzz and distortion (‘Dinosaur Act’). Alan Sparhawk and Mimi Parker’s voices remain at the center of Low’s music, Zak Sally’s bass anchors the whole with carefully-placed pauses, making every second count. After five albums, Low have moved beyond tags like ‘slowcore,’ pace is not nearly as important now as placement.”
LOW: Trust 2LP (KRANK 052LP) 17.00
2011 repress, originally released 2002. Double LP version, gatefold sleeve, all analog production. “Trust was recorded with Tom Herbert at 3rd Ear Studios in Minneapolis, and mixed in London by Tchad Blake (Latin Playboys, Lisa Germano, Pearl Jam). Guest vocals are contributed by Gerry Beckley of 70s soft-rock giants America on ‘It’s In The Drugs’ and ‘La La La Song’. Marc Gartman plays banjo on ‘It’s In The Drugs.’ Blake’s presence is immediately apparent with the bells, whistling and echoing drums on ‘(That’s How You Sing) Amazing Grace.’ Trust is the most assertive and expansive Low album yet, and loaded with meaningful sonic details. This record grazes you with a brick then knocks you over with a feather.”
DEXPLICIT: Pull Up 12″ (LPR 001EP) 12.50
With verses from Big H, Big Narstie, Durrty Goodz, Dot Rotten, Black The Ripper, and Shizzle, “Pull Up” showcases the finest talent in the scene, recapturing the old school raw essence of grime, thanks to Dexplicit’s cutting-edge production. This remake of the 2004 Channel U hit is Launchpad’s hardest-hitting release to date. With guidance from grime godfather Wiley, their previous outings have stood apart, and “Pull Up” is no exception. Key support from DJs such as Mistajam and Logan Sama.
GLASS OUT: Never Force A Left Handed Child To Use Their Right Hand 12″ (LUMB 016EP) 14.00
Lumberton Trading Company presents the debut release, Never Force A Left Handed Child To Use Their Right Hand, by solo artist Andrew Ainslee Dewar, a UK-based composer who creates atmospheric music from textures, tones and gentle oscillations with a somewhat melancholic or reflective slant. These three tracks add up to over 30 minutes of music, plus features the late Jhonn Balance (Coil) on the piece “Manifesto,” delivering a rarely-heard reading of the Coil Manifesto, which was first broadcast on Holland’s VPRO station.
SCHNITZLER/BORNGRABER & STRUVER, CONRAD: Con-Struct CD (MINIMAL 007CD) 17.00
The M=minimal label presents a completely new work from the pioneer of electronic music. Conrad Schnitzler is a sound explorer. For many years, he has been on expeditions, journeys through his collection of electronic synthesizers almost every day. Sounds he has liked have been conserved on tape and stored in his sound library. The result is a huge library of audio files — he calls them “solen.” M=minimal label-heads Borngräber & Strüver had the chance to examine that library and started to construct new pieces out of the hidden gems. These are not remixes, but new compositions and none of the sound combinations have been thought of or heard before. The 8 tracks form an album independent of any trend, and therefore it becomes a real acoustic environment for everyone. The album was produced at Studio.Wannsee. To give the album more authenticity, the complete audio processing was done using analog equipment. They not only used many classics among the finest synthesizers and outboard equipment, but also custom-built tube gear. The icing on the cake are the tubes used from the ’60s, which bought Christian Borngräber on a trip through the Atacama desert in search of a small radio repair business in the city of Calama. Thanks to the desert climate, even the packaging of the tubes looked brand-new. CD comes as a limited edition, housed in a gatefold digipack.
SANTTANA, LUCAS: Sem Nostalgia CD (MAIS 002CD) 15.50
Equal parts Tom Zé and Thom Yorke, Lucas Santtana is one of Brazil’s most interesting, dynamic and experimental singer-songwriter/producers. He is the first artist signing to new UK-based Brazilian record label Mais Um Disco, who’s much-acclaimed debut release Oi! A Nova Musica Brasileira charted a sonic snapshot of the most exciting new Brazilian music. With the help of long-term songwriting partner Arto Lindsay, Lucas has breathed new life into the Brazilian music institution that is “voz e violão.” To achieve different sonic results, the tracks were co-produced by Lucas and collaborators. Berna Ceppas is responsible for the atmospheric and minimalist mood of “Nature #1 In Mi Maior” and “Hold Me In,” where the noise of a missed note echoes through the space, as if on purpose. “Who Can Say Which Way” was produced by Chico Neves, and so was “Ripple Of The Water,” recorded late at night, inside the woods of Rio De Janeiro’s Botanical Gardens. Gustavo Lenza and Lucas Martins produced the sound collages of “Super Violão Mashup” while “king-of-the-mash-up” DJ João Brasil produced the sounds for the frenetic “Violão De Mario Bros.” Buguinha Dub lent his effects to “Amor Em Jacumã” and “Cira, Regina E Nana,” as did Rica Amábis in “Recado Pro Pio Lobato.” Arto Lindsay, Lucas Santtana’s usual partner, co-wrote “Hold Me In,” “I Can’t Live Far From My Music” and the beautiful, ’70s-infused “Night-Time In The Backyard.” When the concept overshadows the music, a conceptual record can be in danger of needing an instruction booklet in order to make any sense, yet this is not a threat here. Sem Nostalgia stands on its own, independent from the concept that built it.
CROCKER AND TOSHIAKI OZAWA, SCOTT: Boneshop Of The Heart: Outsider Art From The American South DVD (MC 1262DVD) 21.00
“This highly acclaimed and thought-provoking documentary provides a rare and illuminating exploration of the creative process through incisive portraits of five seminal figures from a significant chapter in contemporary American folk art. Variously described as outsider, self-taught or visionary, the artists profiled in the film, all from the American South, produce remarkable works of art that are worlds away from the traditions of pottery, basketry and quilting. Living on the margins of society, these artists give voice to an American individuality in such uniquely personal styles of creative expression; they challenge distinctions between ‘fine’ and ‘folk’ art.” NTSC format DVD, region 0. Total time: 53 minutes.
ESMONDE, PETER: Trimpin: The Sound Of Invention DVD (MC 1267DVD) 26.00
“Trimpin: The Sound of Invention is an amusing exploration of the sonic world of an eccentric creative genius. Artist/inventor/engineer/composer Trimpin shuns the hype and hyperbole of the commercial art world — yet his freewheeling sculptures and outrageous musical experiments are cherished by museums all over the planet. Filmed over two years, this documentary feature follows the artist/inventor as he designs a 60-foot tower of more than 500 automatic electric guitars; builds an ensemble of huge marimbas that converts real-time earthquake data into music; and collaborates with the Kronos Quartet on an outrageous world premiere featuring toy instruments. Trimpin: The Sound of Invention will delight anyone interested in the mysteries, pitfalls, and sheer joy of creative experiment.” NTSC format DVD, region 0. Total time: 77 minutes.
MOTOR CITY DRUM ENSEMBLE: Raw Cuts 3 & 4 12″ (MCDE 1202EP) 12.50
2011 repress. Here is yet another vinyl edition taken from Motor City Drum Ensemble’s Raw Cuts Vol. 1 (FACES 003CD) series. Great disco/house music and a massive 12″.
MOTOR CITY DRUM ENSEMBLE: Raw Cuts 5 & 6 12″ (MCDE 1205EP) 12.50
2011 repress. This is the long-awaited return of the Raw Cuts series from Motor City Drum Ensemble. Another huge one: the A-side has the trademark MCDE “hook” while the flip goes deep into late-night territory. This 12″ has been played and supported by Gilles Peterson, Simbad, Karizma, Alex From Tokyo, Jazzanova, Gilb-r, Dixon, Âme, Domu, and many more.
KWJAZ: Kwjaz LP (NNF 238LP) 14.00
Reissue of a cassette originally released on Brunch Groupe, with new artwork and remastered at Dubplates and Mastering, Berlin. “Two laudanum sides of murky and cavernous analog dub-psych oblivion. Damn near unclassifiable, KWJAZ offers up a deep and tremendous instrumental zone-out of the highest order.” — Ghost Capital
VA: Now-Again Re:Sounds Vol. 1 CD (NA 5030CD) 15.00
2007 compilation of remixes, re-edits and re-vamps by Cut Chemist, Kenny Dope, Todd Terry, J.Rocc, Percee P., Koushik, Guilty Simpson. Other artists include Kashmere Stage Band, Leon Mitchison, Amnesty, Sound In Light, Detroit Sex Machines and Oh No. Includes the previously-unreleased “Sagittarius Rapp” by Edan — not the version that the artist approved.
DOC RHYMIN’: Practitioner Of Rhymes 12″ (NUMERO 009EP) 8.00
“The Numero 12″ series returns after a three year hiatus with an oddball nugget from the Boddie Recording Company vault. No record of the identity Doc Rhymin’ was discovered in our thorough excavation, but as the Boddies manufacturing trickled to a halt in 1987, and these three songs are clearly influenced by LL Cool J’s Bigger And Deffer, we’re comfortable assuming this came out on maxi-cassette in 1987. Cleveland rap differs from the sounds emanating from New York and Los Angeles in one major way: most of the region’s recorded output has no samples. Copies of Ultimate Breaks & Beats were extremely scarce, leaving upstart rhymsters high on VHS-dubs of Yo! MTV Raps to lean heavily on programmed drum machines and keyboards rather than ‘Funky Drummer’ and ‘Different Strokes.’ Doc Rhymin’s basic 808 approach does not disappoint, as he lets his well rehearsed cadence carry each of the 12″s three songs with nary a gimmick to be heard.”
WHITE, PAUL: Rapping With Paul White 2LP (HAND 12007LP) 28.00
“‘We don’t know where we’re going but we sure make a lot of noise getting there!’ – so goes the tongue-in-cheek opening to Rapping With Paul White, the gifted South Londoner’s first full-length vocal project. It’s another left turn after 2010’s intriguing Paul White & The Purple Brain excursion into prog and psych-rock and deserves to establish its mastermind as one of the most versatile and individual producers working today. All this meant that assembling some of his favorite MCs was the easy part. Stones Throw artist Guilty Simpson appears twice, his grim warnings perfectly matching the sparse, brooding production on lead single Trust. Gap-toothed, mohawked Danny Brown is one of rap’s rising stars — a White’s exuberant production on the not-safe-for-work ‘One Of Life’s Pleasures.’ There’s humor in New Yorker Homeboy Sandman’s turn too, as one of hip-hop’s most likeable lyricists recounts his cultural missteps during a trip to London over a quintessential Paul White track. It’s not all Americans on the mic: Jehst shows why he’s one of the UK’s most respected MCs on ‘Indigo Glow,’ and One-Handed Music label mate Tranqill lays waste to ‘Rotten Apples’ in the album’s grittiest moment. And how may hip-hop records feature a folk singer from Wigan, Nancy Elizabeth, laughing her way through a bizarre Edward Lear poem? There’s plenty for fans of Paul’s instrumental work too: from waltzing drum machines to medieval vocoders, the interludes are as compelling as the vocal tracks.”
GLASS, PHILIP: NYU Steel Plays Philip Glass CD (OMM 075CD) 19.00
“In 1998, percussionist Jonathan Haas commissioned Philip Glass to compose a concerto. The Concerto Fantasy for Two Timpani has turned out to be one of Glass’s most frequently performed concert works. Haas worked closely with Josh Quillen and NYU Steel to create the arrangements and recording of Philip Glass’ piano Etudes on steel drums. The result is a fantastic re-imagining of Glass’ music, giving new light to the color and structure of this very popular repertoire.”
GLASS, PHILIP: Cello Concerto No. 1 CD (OMM 076CD) 19.00
“Philip Glass’ 2001 Concerto No.1 for Cello and Orchestra has a unique story. Following the terror attacks in New York in September 2001, Glass was discouraged from traveling in the immediate aftermath and consequently missed the world première of the work in Beijing in October with cellist Julian Lloyd Webber. It was not until 2007 that Glass had the chance to hear the work live in the concert hall when Wendy Sutter performed the US première in California. Glass encouraged Sutter to perform the work extensively and this recording was made during a tour with the Orchestra of the Americas.”
FENGLER, MARCEL: Berghain 05 CD (OSTGUT 019CD) 17.00
This is the fifth volume in Ostgut’s Berghain series, mixed by Marcel Fengler. With the focus on more current developments in more edgy techno and house, combined with a hearty nod to the past, the Berghain mix continues with newcomers like Puresque showing promise, alongside a weighty new Ben Sims track, and the pounding filtered glory of Vril’s “UV” — another exclusive for the mix. Marcel includes a new track that heads straight for the floor with “Sphinx,” while Skudge put forward “Man On Wire.” The slow burning house of Reagenz’s “The Labyrinth” leads us into a psychedelic game of funk, dub and abstraction as the mix winds down. Before drawing to a close with Convextion aka E.R.P’s stunning “Vapor Pressure,” we’re treated to a UK house classic by 20:20 Vision’s “Future Remembrance (Livestyle Mix),” in all its analog glory. On Berghain 05, Marcel Fengler has proved filling floors doesn’t have to be about ticking boxes. This mix is a perfect example of the type of dexterity, sensitivity and scope he possesses as a DJ. Other artists include: Emika, Marcel Dettmann, Peter Van Hoesen, Terrence Dixon, Octagen, Byetone, Dr. Walker, Tommy Four Seven, Regis, Secret Cinema, Minneapolis, Ratio, Gerd, Duplex, Seiji, Claude Young & Takasi Nakajima and Ben Sims.
CLARKE, JOHN COOPER: Zip Style DVD (OZIT 013DVD) 26.50
“The only DVD ever totally dedicated to John Cooper Clarke. The missing Hannett and Ryan Carter films of the early days of John Cooper Clarke’s career. This is the classic John Cooper Clarke filmed in the dingy punk rock clubs of the late 70s and early 80s. Punk poetry recited at 100 miles an hour. Five DVD chapters of poems and a short chapter of backstage and dressing room footage. Features performances of many, many poems including the more notable ones: ‘Beasley St,’ ‘Chickentown,’ ‘I Married a Monster From Outer Space,’ ‘Health Fanatic,’ ‘The Day My Pad Went Mad’ and loads more.” NTSC Region 0. Running Time: 90 minutes. Extensive multi-page archive biographical DVD booklet.
VONDELPARK: NYC Stuff & NYC Bags EP 12″ (RS 1106EP) 14.00
Vondelpark’s second EP develops on the musical themes of their previous work, still anchored by Lewis’ tender vocals. “TV” constructs stuttering, melodic evocations that grow from a single, repetitive loop to mingle with a sparkling guitar and snatches of vocals. “Feat B” almost encroaches on r’n’b in its structure and influence. “Camels” also takes something from r’n’b, but more conspicuously draws on the beats of the UK underground. “Hipbone” mixes the plaintive, overlapping vocals with hypnotic keys and echoing horns.
RAZIKA: Program 91 CD (STS 210CD) 17.00
‘Few bands can make you instantly recall your favorite summer, your first kiss, or the first time you snuck out of the house. In Bergen, Norway, Razika, 4 precocious 19 year old girls, have discovered how to conjure these emotions, channeling a mix of innocence & rebellion, romance & heartbreak, & gift giving & gun slinging into their debut, Program 91. The album is a glorious contradiction; an exhilarating mix of ska, Riot Grrl, 60s girl groups, post-punk & upbeat, C86 pop that would make Phil Spector, The Specials & The Raincoats proud.”A sunnier, poppier take on post- punk like Kleenex/LiLiPUT or Swell Maps. Not that they sound redundant – we need great pop rock like this. It’s infinitely listenable’ — The Fader
RAZIKA: Program 91 LP (STS 210LP) 17.00
“Vinyl version is the perfect middle ground between late night detached cool & youthful ebullience.”
MARX, STEFAN: The Dead Sea POSTER SET (SMALL 025BK) 25.50
With his debut release on co-owned Smallville label, Stefan Marx presents an exclusive poster collection coated inside a gatefold 12″ cover sleeve — please note: NO RECORD OR AUDIO INCLUDED — this is a set of posters & record jacket only. Giving the Smallville shop and label a visual face since the very beginning, Stefan Marx has created hundreds of posters and party flyers, painted the shop windows regularly and set up every single record cover. Now he releases an extraordinary Smallville issue in 12″ format. Three posters (each sized 90 cm x 60 cm) including a first appearance of his band project The Dead Sea (aka Stefan Marx, RVDS, Lawrence and Birte Löschenkohl). Smallville 25 is a collaboration with Nieves, the Zürich-based publishing house of Stefan Marx and some all-time favorite contributors such as Kim Gordon, Mike Mills, Mark Gonzales and Wesley Willis. Stefan has been working with Nieves since 2004, publishing books and zines on a regular basis. This Smallville release is dedicated to Ariel Pink’s Haunted Graffiti.
PUMICE: Pebbles LP (SAB 022LP) 15.00
“Remastered vinyl reissue in limited edition of 300 includes gratis download. Pumice excavate the mutant rock of Simply Saucer and the idiosyncratic, rhythmic compositions of Moondog (at his most playfully abstract), and re-contextualizes those touchstones via the pages of a mid-70s Incredible Hulk comic book. Featuring some of Pumice’s best makeshift pop songs to date, Pebbles even manages a few excellently fractured instrumentals that harkens to The Clean circa Oddities.”
WOOD & MEAT, CHRIS: Triple S EP 12″ (SOUVENIR 038EP) 12.00
Chris Wood & Meat’s EP Triple S is house of a different flavor, pulling influences from freestyle jazz and funk. “Triple S” has a smoky, cool atmosphere, relaxed and ready. Light percussion leads to a lone, wandering bass line. “The Girl With The Blue…” jumps right into the beat, as saxophones hum in the distance in anticipation of the hot and sultry build. “Go East” takes you back to the days when disco ruled the world, and funk was king.
DUPREE & ERICH LESOVSKY, RYAN: Ryan Dupree vs. Erich Lesovsky 12″ (SVT 064EP) 12.00
Meet Ryan Dupree who shares this release with sonic mastermind Erich Lesovsky. Ryan starts things out with “Don’t Stop,” an uplifting piece of tech-house that builds on a female vocal sample, some great synthesized drum patterns and effects and a very strong groove. “Step By Step” is a more minimal hit that is based on a huge bass. On the flip, Lesovsky’s “Tanzholz” is a real piece of techno that keeps building and “Crystal Clock” is techno at its best.
SMITH, SEAN: Huge Fluid Freedom CD (SAAH 069CD) 13.00
“Instrumental musician & experimental composer Sean Smith (CITAY) conjures fire & sweat, dew & ash through his medium – the guitar. From his Bay Area locale, Smith has been elevating the language of the acoustic steel string & exploring volume shredding electric excursions concurrently for the better part of the last decade, forging a tightrope walking hybridization of 2 seemingly disparate worlds into one highly complex & compelling sonic vision. He is the driving force behind the highly lauded Berkeley Guitar & Beyond Berkeley Guitar compilations, both of which he curated, produced & performs on. Smith allowed his amorphous approach to the guitar & composition to coalesce into a boundary shifting synthesis of his yin-yang guitar worlds resulting in his most far reaching & highly detailed work to date.”
SMITH, SEAN: Huge Fluid Freedom LP (SAAH 069LP) 20.00
“Vinyl version of Huge Fluid Freedom includes download code & is a singular melding of American primitive & instrumental guitar rock by one of the most important young guitarists currently mining the underground.” LP includes 4 of the 5 tracks from the full album. Housed in a gatefold sleeve.
KORAY, ERKIN: Meçhul: Singles & Rarities CD (SF 067CD) 15.00
Erkin Koray and Sublime Frequencies are pleased to present this collection of rare tracks and lesser-heard singles. All tracks were recorded and released in Turkey between 1970-1977 and culled from Koray’s personal vinyl collection. Includes exclusive photos and remastered audio. What more is there to say about Erkin Koray? An iconic guitar and songwriting genius. A voice of gold. Having founded the country’s first-ever rock and roll group in 1957, he is regarded worldwide as the father of Turkish rock. Forging Western sounds with his own inimitable musical mastery, he self-produced singles and LPs throughout the 1960s and 1970s that shook and altered Turkish society. Erkin didn’t stop at rock and roll. Over time, he began to find inspiration in folk sounds from Turkey’s Anatolian interior, and radio broadcasts received from Egypt and Lebanon. He looked to the East from his West-leaning Istanbul perch, and began incorporating these sounds into his own work. This amalgamation was as unprecedented and unorthodox in Istanbul at the time as rock and roll itself had been in the 1950s. The resulting hybrid sound ignited what became known as the Arabesque music movement in Turkey — which continues to this day. While Erkin has recorded and performed tirelessly throughout the years (both as a solo artist, and with the powerful groups he formed), his extensive back catalog only began to be explored by the international community in the 1990s. He is now recognized as one of the foremost global leaders of psychedelic, folk rock, pop and balladry. His music has stood the test of time more than many of his Western contemporaries and influences have managed to, and his prolific work ethic has not ceased. He continues to live and breathe music, performing epic concerts, and continuously plotting new recordings and strategies. His vision and integrity, coupled with his pronounced world views and inherent musical greatness, have made him the unique and magnificent living legend he is today. This collection features tracks not found on the many unauthorized Erkin compilations and LP reissues that have emerged in the West over the years. Ranging from the sublime to the surreal, these tracks offer an essential glimpse into the extensive repertoire of the great Erkin Koray. –Mark Gergis, July, 2011
SOULEYMAN, OMAR: Haflat Gharbia: The Western Concerts CD (SF 068CD) 15.00
Omar Souleyman is a folk-pop singer from rural northeastern Syria. Like many Syrian musicians, he made his name as a singer for wedding parties in the region, with hundreds of cassettes and CDs documenting his performances distributed throughout the country. These, along with several studio albums, earned him legendary status in the Syrian dabke scene throughout the 1990s and early 2000s. After his 2005 breakthrough folk-hit “Khataba,” Omar gained wider recognition throughout the Arab world. After collecting his tapes for a decade, Sublime Frequencies released the first compilation of Omar Souleyman tracks to be distributed in the West. The success of Highway To Hassake (SF 031CD, 2007), and the enthusiastic online reaction to the promotional clip for his track “Leh Jani,” led to Omar being invited to tour the UK and Europe in the summer of 2009. It would be his first time performing or travelling outside of the Arab world. He and his group, comprised of two longtime collaborators — Rizan Sa’id on keyboards, and electric saz player Ali Shaker — set off on a six-week Sublime Frequencies tour with label-mates Group Doueh. By the end of 2009, Omar had proven that his unique and charismatic delivery of Syrian electrified folkloric dabke, Iraqi choubi and Arabic shaabi had the ability to appeal to the most diverse of Western audiences. His success has continued, with further tours throughout Europe, America and Australia drawing rave reviews and leaving a trail of fervor across the globe. The rise of Omar’s success has transcended the wedding halls and cassette stalls of Syria and slipped into Western popular consciousness. Despite there being no shortage of musical talent in Syria, dabke and otherwise, Omar Souleyman is the first Syrian musical export to have won the hearts of Westerners and Arabs alike on this scale. His trademark checkered khaffya, sunglasses and elegant jalaba are not uncommon male attire in the Arab world, but for years in the West, it is that exact image which has been excessively demonized. Perhaps one of the most striking achievements of Omar’s rise has been watching that iconic image transformed from comic book villainy to something positively regal. The recordings on Haflat Gharbia: The Western Concerts, Omar Souleyman’s fourth release on Sublime Frequencies, represent an hour of the best moments from the Western tours between 2009 and 2011, captured in striking fidelity and intensity. Fans will recognize familiar songs, as well as previously-unreleased material presented here for the first time, in what is the biggest sounding Omar record yet. Compiled and recorded by Mark Gergis.
AMAZING, THE: Gentle Stream LP (SUBL 084LP) 25.50
LP version. This is the second proper full-length album by Swedish super-group The Amazing. The Amazing fell far from the tree. A natural process: coming together through affection, then slowly crystallizing into a folk-rock-psych-pop-collective slowly pushing, bending, then playing with any preconceived notions of pop. When a band takes a name like The Amazing, they’d better have the chops to back it up. Happily, this Swedish outfit — a collective headed by Reine Fiske and Johan Holmegard of neo-psych juggernauts Dungen and singer-songwriter Christoffer Gunrup — are masterful enough to take that mantle on. Friends first and foremost, it’s this kindred spirit that imbues the band album with a feeling unlike that of most releases — one of natural harmony, persistent progression and with a panoramic gaze fixed on distant settings. Gentle Stream is widescreen, panoramic, horizon-reaching stuff. An elegantly-constructed record of moody psychedelic majesty, it comes with a greater dose of CSNY-style Laurel Canyon bliss than those previous recordings. Its eight songs clock in at a luxurious 45 minutes long, during which astral guitars intertwine in serpentine solos, horns blast rainbow melodies and Gunrup’s flute-like voice floats elegantly over the sunset sounds. Nothing is introverted or overworked — everything is balanced, kept together by natural melodies, soulful vocals and just how perfect should be. Gentle Stream is a feeling, an organic consequence of something that effortlessly came together. The line-up completed by Fredrik Swahn, Alexis Benson and highly-rated jazz musicians Moussa Fadera and Jonas Kullhammar, The Amazing recorded the new LP in Stockholm, Sweden and formed plans to collect themselves in this incredible unison. There are doubtless stories to be told. Including the one about playing a show for the Swedish Royal Family and Pink Floyd, where in the crowd Roger Waters appreciatively caught a bouquet thrown from the band during a standing ovation, but this mysterious band hold one principle dear to their hearts: “The music speaks for itself.”
DUBKASM: More Jah Songs/There’s A Love 12″ (DUBK 017EP) 11.00
Dubkasm hand over remix duties to Rob Smith for the fifth and final episode in their Transform I limited vinyl remixes series. Retaining the vintage grit and Rastafarian message of Tena Stelin’s original, he plants a bed of his expanding trademark bass work and slices off shards of echo into the void. Side B is a bubbling reworking of Christine Miller’s angelic tones. Rob delivers a pure vocal followed by a minimal dub version offering a birds-eye view into the track’s deeper sonics.
NIGHTWAVE: The Feel EP 12″ (SVET 005EP) 11.00
The next new record from Serbia’s Svetlana Industries is the debut of Nightwave aka Maya Medvesek, previously known as 8Bitch. This EP represents the fruits of that labor, a fully-rounded release rich in melody combining two dancefloor melters with two more mellow tunes and a seriously heavy remix from Unknown To The Unknown aka DJ Haus of Hot City. DJ support from SBTRKT, Addison Groove, LuckyMe, Jackmaster, Kavsrave, and SlackB, among others.
NEXT STOP: HORIZON: We Know Exactly Where We Are Going LP (TR 220LP) 17.00
LP version. Next Stop: Horizon is Pär Hagström and Jenny Roos from Gothenburg, Sweden. Their music is so special that it’s difficult to explain their sound. Perhaps, Kurt Weill-esque, achingly unique, anarchic and melodramatic music of bizarre beauty, sounding archaic and totally contemporary at the same time. The band attempts an explanation: “We spent the whole winter at our own recording studio in Gothenburg, recording the Next Stop: Horizon debut album. We wanted to try out a few things that we had thought of for quite a while. We wanted to find new sounds. And old sounds. We wanted to create soundly images of who we were that specific winter. What we dreamed about. What we cared for. How we felt. Who we wanted to be. It’s all there, on the album. We recorded all the melodies we could hear in our heads and invited the finest musicians and friends we could think of to add their own feel to it, and tiny fragments of their minds. On top of that, we put a certain amount of snow and rain and wind, along with pictures of warmer places which we dreamed about. And echoes from lands so far away that no one can go there. It turned out to sound like music. Our music.” Includes free download code.
KUMA (FEAT. JUAKALI & AMALIA): What It’s Not 12″ (TKG 005EP) 11.00
Kuma’s “What It’s Not” is an uncompromising slab of heavily-swung dubstep. Strings and chimes straight out of Detroit meet one of Kuma’s finest basslines to date, and a rhythm that invokes the swing of classic Zed Bias and the grime of classic No-U Turn. TKG took Kuma’s rhythm and gave it to MC Juakali and Amalia. Grievous Angel link the lineages of noise and industrial with UK bass and sound system culture, so asking him to take a swing made perfect sense.
FORD INC: Satire/Delirium 12″ (THRONE 013EP) 12.00
When Mat Playford and Paul Woolford met and bonded over a shared love of strange noises and Polymono Plexusgel, the decision was made. They must combine forces and launch joint exploration missions into Quantum Hydrodynamics. These missions were made under the name Ford Inc. The funk release valve was opened, and Throne Of Blood presents Ford Inc, Mission 1. “Satire” recalls the deepest moments of classic Transmat artists like Mayday and “Delirium” lives up to its name.
BALAM ACAB: Wander/Wonder CD (TRIANGLE 007CD) 15.50
For Alec Koone, the 20 year-old, Pennsylvania resident, who was 19 and based in New York at the time of his first release, Wander/Wonder is a coming-of-age album that sees him expand upon the unique sound that attracted him so much attention to begin with. In Koone’s own words: “It’s an open-ended album, and I think individuals should make their own meaning of it so that it is something actually real to them. It’s not classical music, but in the tradition of a classical work like a Bach Cello Suite, I see it as more of a whole musical piece with themes/motifs/ideas reoccurring throughout, connecting the tracks together as opposed to simply being a collection of songs that sit next to each other in isolation. It’s also an album that should be listened to loudly.” Wander/Wonder is a mysterious and genuinely haunting record that seems to exist in a world all of its own making, balanced between the ecstatic “wonder” referenced in the title and something altogether more indefinable and uncertain of itself, like shards of light flickering through a blanket of fog, and even though Wander/Wonder is undeniably an electronic album, it feels strangely organic, rooted in nature, synthetic textures and distorted voices harmonizing with an ever-present oceanic shimmer. Wander/Wonder was written and produced by Alec Koone in New York and Pennsylvania. Mixed by Alec Koone and Sam Haar (member of Blondes) in New York City.
BALAM ACAB: Wander/Wonder LP (TRIANGLE 007LP) 18.00
RED HORSE: Red Horse LP (TYPE 094LP) 18.00
Red Horse is the blistering free-post-everything project of drummer/multi-percussionist Eli Keszler and guitarist/mad-scientist Steve Pyne. While both musicians are active in a number of different projects (you probably wouldn’t believe Pyne’s day job even if we told you), Red Horse catches them working with a distilled sense of focus and is for many their breakthrough project. Red Horse (not to be confused with the similarly-titled debut) is the duo’s second album, and follows the rush of critical acclaim for the first which saw thick-skinned musos wowed by their blistering combination of rhythm and dissonance. As you’d expect in a sequel, the budget is higher and the production more widescreen, and a far cry from the near lo-fi grind of its predecessor, this new full-length is exposed to the miniscule detail. The production technique might scare some, but the crisp sound of Keszler’s innovative drumming and Pyne’s complex instrumental destruction has never sounded better or more fitting. Garnishing Keszler’s well-worn patented hyperactive splatter-beats, Pyne experiments with a veritable arsenal of home-made equipment — from gargantuan electrified, automated string sculptures to confusing sequences of reclaimed speakers (taken from a very well known Eastern-themed music box) wired together, creating a wall of screaming feedback. In the wrong hands their sound could easily be stuffy and academic, but Red Horse inject their experiments with a punk spirit rarely heard in the avant garde. Sure, the instruments are being handled by a couple of the best musicians in their field, but it hardly matters — this is the sound of beautiful cacophony, and like Supersilent before them, there’s something undeniably attractive about that concept. It’s not your average noise, rock, improv, jazz or experimental record — it’s all of the above and a great deal more. Just make sure you listen loud, there’s a lot to hear. Cut at Dubplates & Mastering, Berlin.
CLAMS CASINO: Instrumentals 2LP (TYPE 095LP) 25.00
Clams Casino is the memorable pseudonym of New Jersey resident Mike Volpe, who has shot from relative obscurity to production sensation thanks to a handful of blistering tracks. Edging into the limelight after passing tunes to Soulja Boy and Bay Area superstar Lil B, his originality has resonated with more than just rap fans. Clams hasn’t confined his songwriting to rap music alone, and listening to his productions you can hear a keen sense of harmony, a pop sensibility and a willingness to let sounds dissolve into an uncharacteristic dream-like haze. After a genre-bending EP on the esteemed Tri- Angle label, this double LP compiles some of Clams’ most crucial and sought after beats. Surprisingly, with the raps stripped away the tracks take on a life of their own, and hearing Clams’ intricate productions with the space to breathe feels like a real privilege. The half-heard vocals, twisted, rolling beats and acid-bathed samples are now pushed to the forefront, and you’d struggle to hear how a rapper, no matter how competent, would manage to compete with such precise songwriting. Clams’ real skill is to combine the delirious club sound of post-2010 rap with something almost unheard in the genre. His sound is totally unique, and as he punctuates tracks with blissful ambience – it’s hard not to believe this is a producer destined for true greatness. Instrumentals is where it all begins.
COPELAND, INGA: Inga Copeland 12″ (D 001DF-EP) 12.50
Hype Williams member Inga Copeland takes it solo on this lush 4 track EP. As “poppy” as it is “trippy” — you’ll love it.
GONZALEZ ‘EL PESCAILLA’, ANTONIO: Tiritando CD (VAMPI 131CD) 16.50
Antonio González Batista was born in the Graçia neighborhood, Barcelona, in 1926 — the son of a gypsy man who earned a living as a fisherman (hence the nickname “El Pescaílla,” “The Young Hake”). Antonio used to help him while he carried out his trade, and at nights he also used to accompany him when he sang and played guitar at El Tablao de la Pava. Antonio would show his talent very early on. He learned the rules of the game soon and word quickly got around in Barcelona. Well into the 1940s, he was already king of the flamenco rumba. His sense of rhythm possesses the perfect cadence, sparkling and free. It’s a rhythm that sprouts from tradition and would improve with the Cuban influence: son, mambo, guaguancó, chachachá, etc. His infinite skill at marking the cadence of the rhythmic beat became masterful. He seasoned his lyrical bitterness with succinct and measured strokes: some bongos here, rhythmic handclaps there, the precise guitar over there, some cajón drums — and the voice: naked. The tone is proud, distinguished, tormented, with subtle cracks and runaway crescendos. At the dawn of the 1950s, Lola Flores sees young Antonio in Madrid and she gets him to sign a contract. Lola’s myth is already huge, a giant monster that devours everything it finds in its way: men, audiences, songs, herself. Antonio decides to be a supporting actor rather than the lead. He becomes a mere guitarist to the outside world, accompanying the legend, father of her children, a discreet but solid support, and he withdraws more into himself. Films, tours, TV programs — his role is always secondary. Every now and then, there is a spark of genius: a song on one of her records, a minor role on the screen, two or three rumbas in the middle of a show, a single or EP ever more infrequently. He decides to spend the last 20 years of his life as a recluse. In a genre that is wrongly considered to be just about fun, a mere tributary to something of more substance, it’s always been counterproductive to remain silent. Even more so when a loud voice has often been the natural way to be heard. Only a few – the great ones, as it happens – chose silence as the only worthy attitude. Antonio González Batista took that path all his life. Includes key titles of the genre such as “Sarandonga”, “Que Me Coma El Tigre,” “Sabor A Mí” and “Extraños En La Noche” (“Strangers In The Night”). Several tracks feature vocal duets with Lola Flores.
BARRETT, SYD: The Madcap Laughs LP (MRSSS 504LP) 25.00
Not much introduction needed for this magic album. Vinilísssimo proudly presents one of the most important cult albums of the 20th century. “I wanted it to be a whole thing that people would listen to all the way through with everything related and balanced, the tempos and moods off-setting each other, and I hope that’s what it sounds like,” Syd Barrett, 1971.”Listening to the long-player four decades on, there’s no doubt that, for all of its fractured fragility, it does indeed possess a unified quality. In fact, The Madcap Laughs is an immersive experience, dragging the listener into a world of tangled emotions and battered sound. Hope and fear, joy and dread, loathing and longing, whimsy and reality — all of these contrasting sentiments and emotions manifest themselves, animating an album that continues to be felt.” –Phil Alexander / MOJO. On 180 gram vinyl; housed in a gatefold sleeve.
TOMORROW: Tomorrow LP (MRSSS 505LP) 25.00
Early British psychedelia band Tomorrow, alongside Soft Machine and Pink Floyd, were the most relevant of the London-based underground sound circa 1967. They were formed by Keith West (“Excerpt From A Teenage Opera” aka “Grocer Jack,” which inspired The Who’s Tommy), John “Twink” Alder on drums (who replaced Viv Prince in The Pretty Things and later formed The Pink Fairies) and Steve Howe, prodigal guitarist from the Syndicats on its way to form highly successful progs Yes. The group only managed to record one album before breaking up in 1968. That sole album is a solid effort, with quite a few first-rate tracks featuring backward guitar phasing (“My White Bicycle”), electric Sitar riffin'(“Real Life Permanent Dream”) and infections pre-hippie anthems (“Revolution”). It’s a record full of gentle harmonies and hooky melodies with affectingly trippy lyrics. A great psych pop album from one of the most fascinating eras in music history. Officially available for the first time with its original artwork and tracklist sequence. On 180 gram vinyl.
BOHREN & DER CLUB OF GORE: Sunset Mission CD (WON 001CD) 15.50
Repressed — a classic masterpiece from the year 2000. German horror-jazzmasters Bohren & Der Club Of Gore’s third release continues in the same vein as on their previous albums in producing pieces of deadly mellow bliss. If Midnight Radio reminds you of being the alternate soundtrack to Twin Peaks, then Sunset Mission is without a doubt one of the CDs permanently in the CD changer at the Black Lodge. Lounge-y, dark, crepuscular, and more austere than their previous works, Sunset Mission stands as a singular piece of work, rather than a collection of songs. An elegant blend of sax, piano, bass, and guitar makes for a sublime mix of sonorous darkness and smoky sensuality.
ELBEE BAD: In The Sky 12″ (YORE 005LTD-EP) 12.00
Elbee Bad lives and works in Berlin and has remained a true school house pioneer that even DJ Hell couldn’t resist. On this 5th Yore strictly limited, one-sided release, the “Prince of Dance” presents the soundtrack for all forthcoming Mars-missions & delivers the welcome theme song for all the phreaks in space and time. “In The Sky” is house music with a 100% lift-off guarantee, how only a true veteran can do.
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