| FORCED EXPOSURE MAILORDER UPDATE NEW RELEASES FOR THE WEEK OF 10/31/2011 |
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order from our NEW! beta site: http://beta.forcedexposure.com you can also click on cover art or album info to order online a secure order form is available for credit card purchases. and via mail: for more information about shipping or ordering direct any questions to mailorder@forcedexposure.com |
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| 100% PURE (NETHERLANDS) | |
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EMMANUEL: Octopus 12″ (PURE 074EP) 12.00 Emmanuel Beddewela was born in Greece and relocated to Milan, with family roots in Sri Lanka and the Maldives. His multicultural journey has been a rich source of inspiration, gaining him a passport to the global clubs as well as imprints Be As One, Get Physical and Saved. With his Coffee Shop EP gaining heavy play from Ramon Tapia, Dubfire, Karotte, Richie Hawtin, Deetron and Riva Starr, he’s back in full force with two more quality tunes. |
| 12K | |
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ILLUHA: Shizuku CD (12K 1067CD) 13.00 “12k presents Shizuku, the debut album from Illuha (a play off the word ‘island’ in Portugese) comprised of Tokyo residents Corey Fuller and Tomoyoshi Date. Shizuku was recorded in a 100-year old church in Bellingham, Washington and the duo used ambient and quad-microphone techniques to capture the natural acoustics of the high-vaulted ceilings, wooden floors, stained glass and the natural resonances of the space. A beautiful variety of instruments were used to create the soft tones of the album at once like liquid and at the same time like air. Pipe organ, vibraphone, dulcimer, accordion, rhodes, piano, and analog synthesizer are only a selection of what was used to create the rich, and tonally warm sound of the album. It’s as if movements and textures were dropped into the ocean to let float around and combine with others that touched. Field recordings and the most delicate touch of computer processing give a modern feel to this electro-acoustic world. In a bit of a departure for 12k, the fourth song on the album features spoken word from renowned Japanese Tanka poet Tadahito Ichinoseki. A deeply moving poem, essentially one about Christmas; silence, god, birth, death, Ichinoseki’s raw, vulnerable voice carries over a tonal backdrop that gradually swells in intensity with plucked string harmonics and soft, echoing percussion. Artist John Friesen also adds cello on tracks 2 and 3. The deeply encompassing and personal sound of Shizuku is by no coincidence. During the year it was recorded both artists underwent intense personal pain and happiness as well as the earthquake that rocked their lives in March of 2011. Shizuku stands as an emotional release for the artists that clearly comes through in its progressions, carefully played sounds and enveloping atmosphere.” |
| 200 RECORDS (GERMANY) | |
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KRUGER, TILL: Deciduous/Galaxy 909 12″ (200 017EP) 12.00 Till Krüger’s third release on 200 Records is another big step forward. It contains two great tracks in his distinctive personal style. “Deciduous” is an epic masterpiece for dreaming and dancing. “Galaxy 909” is a dynamic and majestic dancefloor track par excellence. |
| ACEPHALE | |
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KORALLREVEN: As Young As Yesterday 12″ (ACE 018LP) 15.00 “After their introduction to the world through The Truest Faith and Honey Mine, Marcus Joons and Daniel Tjader (also of The Radio Dept) return with their third single, As Young As Yesterday. Animal Collective’s Panda Bear, fresh off the tremendous success of Person Pitch, delivers a reinterpretation that is at times frenetic and jarring, and at others meditative and soothing. ‘London’s Girl Unit’ revisits the pitched vocals and builds a sprawling epic that erupts into a throbbing payoff before subsiding to begin anew. Finally, the Korallreven boys wrap things up with a massive expansion of their original– an evolving, layered rhythm section lays the foundation for ecstatic builds of shimmering, hazy synths.” |
| ACKER RECORDS (GERMANY) | |
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KOMBINAT 100: Boeker Muhle 12″ (ACKER 025EP) 12.00 The four-person combo from Mecklenburg quote many different styles, re-combining the world’s music in a unique way. Inspired by the classic Western adventures of Winnetou and Old Shatterhand, the galloping groove of “Iltschi & Hatatitla” is as frisky as the horses themselves. The “Vier Vögel” is a playful, lively, melodic jam session. Without losing the light-hearted atmosphere of the original, Kombinat 100 member Mollono.Bass puts in his remix a minimal emphasis on the electronic rhythm of “Iltschi & Hatatitla.” |
| AMS (ITALY) | |
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I TEOREMI: I Teoremi LP (AMS 045LP) 37.00 “A quartet from Rome, though their singer Vincenzo ‘Lord Enzo’ Massetti came from Naples, they debuted with a single in 1971. The album, simply called I Teoremi, is one of the rarest Italian prog-era albums, though not a proper prog LP, as it contains a hard rock inspired sound in the same style as early Rovescio della Medaglia. It was released in 1972 on the small Polaris label, that also produced the Alpha ralpha boulevard LP by I Numi, and contains seven self-penned tracks, mostly in the hard rock vein, with light prog influences as in the long ‘Mare della tranquillita’, the only track including piano. A very good album whose original copies are worth a fortune. An incredibly rare album, this reissue is a perfect replica of the original one, with a textured gatefold cover and a flap on the right side as the original.” |
| ANN AIMEE (NETHERLANDS) | |
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VA: Inertia #1 12″ (INERTIA 001EP) 12.50 Four modern techno tracks on this first release of an Ann Aimee compilation series. All four new and exclusive tracks deal in techno urgency. Delta Funktionen goes deep and dramatic, Peter Van Hoesen offers up his usual dub-wise textures, while Lindau pairs icy hi-hats with a heavy, stomping beat. Sawlin offers the trippiest techno with his delightfully disheveled “Excipidial.” |
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VA: Inertia #2 12″ (INERTIA 002EP) 12.50 Part two of the four-part Inertia sampler. Previously unreleased. First up is Frenchman Marcelus, who offers a heavy house and techno fusion, before London’s Sigha goes deep and ominous with “Finding Myself.” Redshape and Area Forty_One close out the package with frozen, static-coated sounds and textured techno, respectively. |
| AREA REMOTE (NETHERLANDS) | |
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JUNKIES & NATHAN BARATO, THE: The Big Smoke 12″ (AREA 034EP) 12.00 Area Remote welcomes Canadian friends The Junkies and Nathan Barato to their family. The Junkies’ style ranges from deep, soulful house to techno and everything in between. Nathan Barato has been a regular in the Toronto nightclub scene, gleaning inspiration from the club sounds from as far back as early ’90s garage. On “Wow!,” a badass bassline drills you deep into the club depths. On “For You One Time,” meshed-up sound bites give you a groove to sink your teeth into. |
| ATAVISTIC | |
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MCPHEE, JOE: Trinity CD (ALP 214CD) 13.00 2011 repress, originally reissued pre-9/11. “Trinity represents the second installation in The Unheard Music Series efforts to resurrect Joe McPhee’s early ’70’s work on the CjR label, soon to be completed with Underground Railroad and Pieces Of Light. This brilliant trio recording of blues inflected out-soul from ’73 follows up on hugely successful Nation Time, recorded a year later. Originally issued in ’73 in an edition of 1000, Trinity has not available since. John Corbett has remastered Trinity from original tapes; the LP had to be severely compressed to squeeze all the music on to it, but in the digital realm restoration of all the sweet space was possible. Hence, Trinity has never sounded so fantastic! Featured are a long drum and tenor duet section (with McPhee breaking new ground on the horn), and a fantastic piece dedicated to Albert Ayler, with McPhee overdubbed on soprano sax and pocket cornet. Utterly spellbinding.” |
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SUN RA: Nuclear War CD (ALP 222CD) 14.00 2011 repress, originally reissued 2001. “Nuclear War stands as one of the great monuments in the latter part of Sun Ra’s enormous oeuvre. It’s an LP that by all rights should have been one of his breakthroughs, featuring one of the tightest versions of the Philadelphia-era Arkestra in a program that includes an appealing mix of standards and Ra originals. The title track is arguably to the ’80s what ‘Space Is The Place’ was to the ’70s . Ra’s anthem for the decade, a piece that perfectly reflected certain apocalyptic aspects of his philosophy and his underlying quest for a better future. Ra thought very highly of this recording. He personally approached Columbia Records, certain that it was a winner, and when they didn?t opt to issue it he reportedly became depressed and bitter. Eventually, Ra sold the music to an outfit called Y Records. Y was a very interesting British independent label whose catalogue included important post-punk LPs by the Pop Group and the Slits, some outstanding reggae and a couple of records of improvised music. In London at the beginning of the ’80s, musical worlds were colliding, and people like Steve Beresford and David Toop actively crossed all kinds of genre borders, confusing rock and dub and jazz and noise. Y Records producer Dick O’Dell first put out ‘Nuclear War’ as a 12-inch single — the idea of Ra on an extended play disco plate was, in its own way, sheer brilliance! — b/w the glorious June Tyson vehicle ‘Sometimes I’m Happy,’ and two years later the full record was issued on Y Records in Italy. But the LP never went into full distribution and as a result the few copies that trickled into circulation became some of the rarest entries in Ra’s discography.” |
| AUDIOMATIQUE (GERMANY) | |
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WEHBBA: 3Days 12″ (AM 046EP) 12.00 Audiomatique welcomes Brazilian producer Wehbba to their roster. The groovy, sample-laden beats of “3Days” are a tribute to that very special ’60s festival of fun and music. Mihalis Safras engineers a crafty remix on the flip-side, strengthening the groove further with dramatic snare shots and heavy bass surges. “Balance” shimmers and shakes across the audio spectrum. Smooth, immediate and functional, its spacey beats fuse with classic Rhodes chords in a modern deep house jam. |
| AWESOME TAPES FROM AFRICA | |
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NA HAWA DOUMBIA: La Grande Cantatrice Malienne Vol. 3 CD (ATFA 001CD) 13.50 “Na Hawa Doumbia’s La Grande Cantatrice Malienne Vol. 3 marks the first release for new label Awesome Tapes From Africa, a blog and DJ project known worldwide for shedding light on obscure and wonderful musical treasures from the African continent. This early recording–made in Abidjan, Ivory Coast in 1982–captures the dualities inherent in Doumbia’s music early on: from a stripped-down, raw backdrop arise warm sonics; expressions of feminism and social issues imparted through spare refrains. Doumbia’s urgent, distinctive vocals and hypnotic didadi rhythm from her native Bougouni have made her a respected voice in Mali for more than three decades. Today she is best known for her contributions to Wassoulou music. The singer was raised by her grandmother–her mother died shortly after giving birth. But before passing away she predicted Doumbia would be a singer–something surprising, since she didn’t come from the jeli (or griot) caste of hereditary singers. Her grandparents resorted to the magical powers of blacksmiths to fight it, but ultimately the prediction proved correct. Doumbia’s music is more powerful than magic.” |
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NA HAWA DOUMBIA: La Grande Cantatrice Malienne Vol. 3 LP (ATFA 001LP) 16.00 LP version. |
| B-MUSIC | |
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LISKA, ZDENEK: Mala Morska Vila CD (BMS 031CD) 15.50 “The original orchestral/electronic score from Karel Kachyna’s 1976 Czech film adaptation of Hans C. Anderson’s The Little Mermaid, composed by Zdenek Liska (The Cremator/Fruits of Paradise) featuring Lenka Korinkova. Liska’s legacy in the history of European cinema is huge in volume but relatively modest in its celebrity. Having already composed nine scores for Kachyna’s films to add to his 1976 filmography of 150 completed soundtracks. Mala Morska Vila is one of the most idiosyncratic and haunting undiscovered scores in the annals of European cinematic history. Beautifully remastered from the original mastertapes with the full cooperation of the seminal Barrandov studios in Prague.” |
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VANNIER, JEAN-CLAUDE: Roses Rouge Sang CD (BMS 037CD) 15.50 “Exactly 40 years since the release of Histoire De Melody Nelson (his seminal and essential Serge Gainsbourg collaboration) Jean-Claude Vannier, France’s most lorded arranger and composer of orchestral funk-rock and pop returns to the same artistic territory that has since come to represent his most iconic period and continually inspire five inclusive generations of experimental rock luminaries. The signature sound of JCV, complete with his brooding orchestral sweeps, pensive drum-drops, loudly plucked bass and biting clavinet has earned him a firm fixture in the top-ten album lists of virtually everyone with a passing interest in latter-day European rock and conceptual music. But don’t call it a comeback. Unlike the many re-dux events or commercial updates of passed classics that we have recently come to expect, the latest LP by Jean Claude Vannier simply extends the authentic vintage winning-formula which he truly owns with utmost attention to every last detail. As pop music and technology changes with time some things are best left in their purest form which is why 40 years later JCV has returned to the same studio hands, with the same musicians and the same crystal clear vision that simply can’t be equaled, despite the countless attempts. This all new LP comprises a personnel of the legendary European session players that appeared on classic Vannier & Gainsbourg scores such as Cannabis, La Horse, Slogan and Les Chemins de Katmandu as well as Melody Nelson itself, and his own bizarre and mythical follow-up LP, the truly bizarre 1973 avant-garde ballet L’Enfant Assassin Des Mouches (which was finally rescued from obscurity in 2005 by Finders Keepers as the labels debut release). The rhythm section line-up for the album alone reads like a European record collectors wet dream.” |
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VANNIER, JEAN-CLAUDE: Electro Rapide CD (BMS 038CD) 15.50 Subtitled: Experimental Pop Instrumentals From Jean-Claude Vannier’s Vintage Vaults. “Electro Rapide is a collection of rare and unreleased archive material from the studio vaults of legendary French orchestral pop composer Jean-Claude Vannier. Taken from the period before and during his revered creative period with Serge Gainsbourg, these tracks reveal rare glimpses of Vannier’s self initiated instrumental projects which were crowbarred between an air-tight studio diary as one of Frances most in-demand arrangers and composers of the post Mai 68 generation. Electro Rapide combines a mixture of JCVs familiar trade-mark motifs and stylings from his coveted work for idiosyncratic French pop vocalists (such as Briggitte Fontaine, Claude Nougaro, Leonie and Anna St Clair) with the seldom heard experimental music for ballets, fashion shows as well as his infamous film music (such as the soundtracks for Cannabis and La Horse). Electro Rapide reveals a young Vannier in his embryonic stages before the birth of a true individual orch, pop funk legend, comprising some exclusive and previously unheard tracks alongside music culled from rare library music LPs, kids’ records, radio themes and his earliest soundtrack work. This archive is the closest Jean-Claude Vannier fans will get to a lost instrumental LP outside of his previous Finders Keepers Insolitudes release and his conceptual Georges Brassens tribute LP and features his favored long-running session band featuring Arpardys & Brutus Drums percussionist Alain Pierre D’ahan and magma guitarist Claude Engel in their earliest assemblage. Utilizing a vibrant palette of sonic ingenuity JCV combines pulpit percussion, scholastic instruments and a host of oblique international sounds to create a unique breed of French instro pop that went on to influence future generations of international progressive and cinematic music.” |
| BECAUSE MUSIC (FRANCE) | |
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ALKAN & BOYS NOIZE, EROL: Avalanche (Terminal Velocity) 12″ (BEC 5161029) 12.50 Once again, Erol Alkan and Boys Noize have teamed up — this time, for a stunning re-imagining of their smash single “Avalanche.” The pair originally intended to commission a spoken-word interpretation — the natural choice was the mellifluous Jarvis Cocker. On the remix tip, the duo enlisted Ewan Pearson, who re-routes proceedings to dubbed-out Berlin basement afterhours. Not to be outdone, Canblaster interprets the original as a low-slung, bleeptastic, old-school electro workout that rounds the package off in glorious style. On white vinyl. |
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CONNAN MOCKASIN: Faking Jazz Together 12″ (BEC 5161038) 12.50 On Connan Mockasin’s album Forever Dolphin Love (BEC 5772802), he dissects, inverts, and dissembles the very structures of the pop song itself. “Faking Jazz Together” is a gorgeous, leisurely amble through an enchanted forest of lush psychedelia, liquefied salsa rhythms and Mockasin’s trademark alien vocals. Tom Furse from The Horrors, meanwhile, extrapolates the beats from the original and relocates them in a sprawling dub epic akin to Screamadelica-era Primal Scream, and Kompakt lynchpin Michael Mayer builds a propulsive, unpredictable, tropical-flavored anthem around Mockasin’s unusual vocals. |
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JUSTICE: Audio, Video, Disco 2LP+CD (BEC 5161064) 26.50 Because Music presents a brand-new album from Justice, the French duo formed by Gaspard Augé and Xavier de Rosnay — the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made Justice a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of two fascinating, passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter, who had just founded his label Ed Banger Records — he immediately signs them after listening to “We Are Your Friends,” which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million-dollar clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rapper colleagues. Kanye even employed So-Me as director for the video for his hit song “Good Life”), Jay Z will use “D.A.N.C.E” for his next album. From now on, the duo’s ascent was constant and then lightning struck: remixes for N.E.R.D., Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (Waters Of Nazareth) defining the “Justice sound,” this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all, the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that would turn the duo into the emblem of a whole generation: their first album, anticipated like the Messiah, swept everything away as an epic soundtrack and was more than 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 who bridged the gap from the Pitchfork world to MTV without losing its credibility. Housed in a mindfuckingly deluxe gatefold sleeve. |
| BLACK SAINT/SOUL NOTE (ITALY) | |
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THREADGILL, HENRY: The Complete Remastered Recordings 7CD BOX (BXS 1003CD) 36.00 “Henry Threadgill is an American composer, saxophonist and flautist. One of the most important composers and arrangers in avant-garde jazz, Threadgill came to prominence in the 1970s leading ensembles with unusual instrumentation and often incorporating a range of non-jazz genres. Threadgill, aside from being a remarkable alto saxophone player, is one of the most imaginative of jazz composers today. This set includes seven albums – Live Air, Air Mail, Live at Montreal, Air Show No.1, Spirit of Nuff…Nuff, Song Out of My Trees and Flutistry.” |
| BLKRTZ (CANADA) | |
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DEADBEAT: Drawn And Quartered Remixes (Efdemin/Scuba) 12″ (BLKRTZ 002EP) 12.50 Working with the source material from “First Quarter,” Scuba turns in a slow-burning, sci-fi techno monster sure to appeal to fans of Monolake and his own early work. Rife with reverb-drenched sonar pings and mechanized groans in the periphery, the track lurches towards its epic crescendo like an alien-infested star ship. Efdemin transforms “Fourth Quarter” into a chugging, deep pocket house journey. Without a doubt, two floor-ready reinterpretations and a great sign of things to come from Deadbeat’s new curatorial venture. |
| BLOSSOMING NOISE | |
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RLW: Sechs Abstande LP (BN 055LP) 18.00 “Five dense movements from abstract composer, Ralf Wehowsky, co-founder of the vital Wahrnehmungen & Selektion labels. Pressed on 150 gram virgin vinyl. Edition of 300.” |
| BO WEAVIL RECORDINGS (UK) | |
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ROIL: Frost Frost CD (WEAVIL 042CD) 15.50 Bo’ Weavil is excited to present the second album from the Sydney trio Roil. All three of the members of Roil, James Waples, Mike Majkowski and Chris Abrahams have been active in the Australian jazz and improvised music scenes for many years; James is possibly best known for his work in the Mike Nock Trio; Mike performs regularly with such musicians as Jon Rose and Clayton Thomas; many people would know of Chris through his work with the three-piece group The Necks. Together they have been playing as Roil since 2007, and this is their first release outside of Australia. Their music draws upon a varied palette; at times, it comes close to free jazz, at other times to experimental improv, while also referencing other styles such as minimalism, reductionism and ambient music. A Roil piece incorporates aspects of textural improvisation, bringing extended techniques to bear on a collective sound world while also being melodic and conventionally rhythmic. Bringing together the abstract and the figurative. Limited to 500 copies. |
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FELL, SIMON H.: Frank & Max: Bass Solos 2001-2011 CD (WEAVIL 043CD) 15.50 Bo ‘Weavil presents the solo recordings of Simon H. Fell, one of the UK’s finest bassists. Although currently based in France, Simon has been and still is the bass player of choice for many. These tracks were recorded over the last 10 years, which was the last time that he released some solo material (a cassette release) on his own Bruce’s Finger imprint. This recording covers almost every aspect of Simon’s playing — the rhythmic strength and melodic structure of his music, to the outer regions of extended technique — ekeing out all manner of sounds from his bass. It is a privilege to be able to release such great music. Limited to 300 copies. |
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HESSION/WILKINSON/FELL: Two Falls & A Submission CD (WEAVIL 044CD) 15.50 “Greetings, grapple fans” were the words that introduced Saturday afternoon wrestling on British commercial television when all three members of this trio were boys. These memorable words were spoken by a silky-voiced commentator called Kent Walton, who commentated on wrestling between 1955 and 1988. When discussing improvised music, there are three frequently-used analogies that usually come to mind: having a conversation, making love, or wrestling. Wrestling seems particularly apt when thinking about the music of Hession/Wilkinson/Fell, as the group does tend towards a playful, grappling style. This irreverence is conducive to making good music and it speaks of their ease with each other’s playing that they can throw each other around and pin each other to the canvas, musically-speaking. This recording was made during a reunion tour for over 20 years of playing together, and it is their first for Bo’ Weavil. They have recorded for a number of labels in the past; Fell’s Bruce’s Fingers imprint and Thurston Moore’s Ecstatic Peace, but this is their first in many years. Here’s hoping it’s the start of many more. Limited to 350 copies. |
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WILKINSON, ALAN: Practice CD (WEAVIL 045CD) 15.50 Saxophonist Alan Wilkinson’s first solo release Seedy Boy was released on Bruce’s Fingers in 1994, which consisted of a collection of solo recordings made in a variety of situations over a number of years. Practice, on the other hand, is from two recording sessions, the first to mark the end of the carpeted cell Alan used as a practice space for some years in an old hospital in Dalston, London. The second is from the purpose-built rehearsal studios. It seemed an injustice that such a great and underrated saxophonist should not have a CD release cataloging his solo performances, so it was natural for Bo’ Weavil to ask Alan to record such a project. The results are an outstanding number of pieces showing where Alan got the nickname “Iron Lungs Wilkinson,” while also showing the more subtle jazz side to his playing as on Ornette Coleman’s “Lonely Woman.” Limited to 300 copies. |
| BOXER RECORDINGS (GERMANY) | |
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DUSTY KID: Polybolo 12″ (BOXER 086EP) 12.50 “Polybolo” is a monster that drags you into the abyss and hits the dancefloor like an avalanche. Dusty Kid starts the survival training that every raver who calls himself professional should have passed in the acid shower. “Polybolo” reveals the pure longing of archaic natural forces only by means of pure synthetic tools. And in case you are not such a hard-raving member of society, you will find your satisfaction in Popof’s stripped-down monster groove remix of “Argia” on the flipside. |
| BREAK NEW SOIL (GERMANY) | |
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HEIL, JOHANNES: From Within 12″ (BNS 027EP) 12.00 Johannes Heil continues to deliver cutting-edge techno music. From Within is surely not only a landmark release for the label but also a highlight in a string of releases that has cemented Johannes´ standing as one of the main protagonists in German techno. |
| BUREAU B (GERMANY) | |
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ROEDELIUS SCHNEIDER: Stunden CD (BB 089CD) 17.00 Stunden is the unique and unprecedented new record of instrumental music by electronic pioneer Hans-Joachim Roedelius (Cluster, Harmonia) and Stefan Schneider (To Rococo Rot, Kreidler , Mapstation). In twelve miniatures, with titles such as “Liebe”, “Das Eine” and “Country,” Stunden unfolds images that come across with a poetic, glorifying tranquility. Despite the use of synthesizers and amplifiers, these songs are closer to the texts of Adalbert Stifter than to the machine music of Kraftwerk. By all accounts, Roedelius’ work with the likes Dieter Moebius and Michael Rother (in Cluster and Harmonia) as well as Brian Eno (on 1977’s Cluster & Eno and 1978’s After The Heat) are considered blueprints for today’s electronica. He began releasing solo albums in 1978 and on his second album, 1979’s Jardin au Fou, was already exploring the interplay between piano and electronics, a synthesis which is also the core of Stunden. Roedelius and Schneider first decided to work together at a Cluster concert in Berlin in 2007 and the idea for the album came after their first joint appearance in the Berger Kirche, a 17th Century church in Düsseldorf. The music was intended to match the location of the concert: Sounds for a vestry, to which Roedelius spoke his own texts. Stunden was created in the early months of 2010. While the initial reference for the collaboration was their concert experience, the concept gradually opened up and the lyrics fell away, until there was only one proviso: The music should be quiet — otherwise anything goes. Stunden is a bold and inspired record, with a focus on Roedelius’ piano playing while Schneider lays synthesizer sounds around it. Other pieces feature guitar, zither, digital and analog synths. Together, the pieces create an impression of pleasant vagueness. This is music for the room which opens upwards. |
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ROEDELIUS SCHNEIDER: Stunden LP (BB 089LP) 17.00 LP version on 180 gram vinyl. Includes download code. |
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LIKE A STUNTMAN: YOY LP (BB 090LP) 17.00 LP version. On 180 gram vinyl; includes free download code. Like A Stuntman formed in 2001 in Frankfurt am Main. Half of the band moved to Hamburg soon thereafter. Their first album was released in 2005 on the English label Highpoint Lowlife. Then, the highly-praised Original Bedouin Culture (BB 033CD/LP) came out on Bureau B in 2009. YOY is now their third record in 11 years.The postman rings for longer than usual. He has a poem with him, which he reads: Title: “Like A Stuntman” –Symptoms of the ocular / Yesterday euphoria / Dog show digest.Ooze yeah ooze / Hell, no sport / Boy campaign.Sentimental education / A decade or less / YOYY-O-Y ? (or Why, Oh Why?)He speaks the final words with elongated vowels — the sound of an animal, a plant, an instrument. We listen reverently as the verse fades away. It’s an autumn poem, without a doubt: a bit bumpy, its breadth not immediately apparent, but one senses that there is something right about it. You slip the record out of its cover and put it on. Noise. Goofy dances. Washed-out pictures, pulled too soon from the Polaroid, held in the wind, faded, warped, covered with earth, immersed in ashes, swept through the water, caught in traps. This is how the vastness, the mid-west, the coast and desert find their way into their world of sound. They understand the beauty of the surface — that’s why their music is so iridescent. Amongst it is a crafty rustling, an oscillation, linking the songs. Sounds hover behind water, the vocal goes haywire. Discordant harmonies. |
| CHAPTER MUSIC (AUSTRALIA) | |
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DICK DIVER: New Start Again LP (CH 092LP) 17.00 LP version. New Start Again, the debut album by Melbourne foursome Dick Diver, is warm and understated, shot through with casual grace and supported by real backbone. It’s an intriguing combination of widescreen Australian sweep, ’70s New York edge and ’90s indie-rock scratch that transcends its influences to become truly honest and exciting. The respectively wry and poetic songwriting of guitarists Rupert Edwards and Alistair McKay lobs Dick Diver up alongside Go-Betweens heroes Forster & McLennan, while their often epic fretwork bears echoes of Television and Yo La Tengo. But bassist Al Montfort’s impeccable punk pedigree (UV Race, Total Control, Straightjacket) roughs up the band’s bookish proclivities, while drummer Steph Hughes brings a similarly frayed-edge appeal. Her background in bands from Children Collide to Boomgates gives the band an offhand, subtly swinging charm. Their first EP, 2009’s Arks Up, enjoyed Triple J rotation and community radio thrashing, and brought shows with Stephen Malkmus and a Boogie Festival appearance, amongst other plaudits. Rupert and Al Mc hogged the songwriting duties on the EP, but New Start Again, recorded with Eddy Current Suppression Ring’s Mikey Young at an old homestead in country Victoria, is a much more even-handed affair. The band share songwriting, swap instruments, and introduce new sounds like pedal steel, piano, and slide guitar. Steph and Al Monty’s title-track duet, especially, provides a laidback, cheeky counterpoint to their bandmates’ more considered efforts. Rupert, meanwhile, provides lovelorn-but-snappy first single “Through The D” and sook-pop classic “On The Bank,” while Al Mc displays impressionistic lyrical flair on tracks like “Hammock Days” and “Seagulls.” And on closing track “Head Back,” the four loosen their collars to create probably the funnest five minutes of music released in Australia this year. |
| COMEME (ARGENTINA) | |
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REBOLLEDO: Super Vato CD (COMEME 001CD) 17.00 Mexico’s finest Mauricio Rebolledo has found a road to new frontiers because nobody beats the drum like him. Since his first appearance on the Cómeme label, he emerged as one of the most spotlighted figures out of the furious tribe of DJs, producers, and connoisseurs of the art of living. His unpredictable DJ sets have always been good for some fresh groove adventures — be it tripping dark ’80s disco, techno, funk, cosmic, synth-wave, or Latin EBM-style. His home is La Pitaya — an area in the woods not far from the town Xalapa, the famous “Ciudad de las Flores” in the south-east of Mexico. Rebolledo headed south, went to the coastal town Playa Del Carmen, and opened the bar Corvette Ninja. He also hooked up with the legendary club La Santanera, where he met the Kompakt artists Tobias Thomas., Michael Mayer, Superpitcher and Matias Aguayo during his DJ residency. They all befriended him and took him under their wings to work on some fierce dance music. The result was the first Cómeme release, Bo Jack/Pitaya Frenesi — an infectious double A-side EP that earned worldwide applause and took the dancefloors by storm. Since then, Rebolledo’s life changed entirely. He designed the club, TOPAZdeluxe in the north east Mexican town Monterrey which he co-runs and curates. He travels constantly to South America, spends his summers in Europe, is half of the duo Pachanga Boys (with Superpitcher). His heart remains with the Cómeme tribe, blazing new trails in the dance music universe with a polyrhythmic, jacking sound-kaleidoscope that ranges from cúmbia, techno, disco, kwaito, cosmic, to house. In this family of fearless musicians, Rebolledo created a trademark sound that he describes as music that is inspired by the emotions that emerge when he listens to the power of The Warriors movie theme, the energy of “Billy Jean’s” beat, the drive of the bass synth in Giorgio Moroder’s “The Chase,” the dark motion of the bass rhythm that drives “Thriller,” and the anger of the snare drum of a Mexican military march. But the DJ and producer can’t boogie alone. That’s why he has delivered Super Vato — an album of ten hypnotic tracks that pool together all temptations of the night. Cinematic beat music, full of psychedelic drill. A record like a John Carpenter movie: foggy, dark, thrilling, and full of scary special effects. Created with a ’70s vintage Woody organ, Hammond rhythm machine, shakers, cowbells, and the Mexican donkey jaw and fuelled by marching drums, synths, percussion, and roaring car engines. With the help of befriended singers and musicians such as Rodrigo Cano, Matias Aguayo, Superpitcher, Diegors, Raquel Wolff, Miriam Torres, and Philipp Gorbachev, he grooves towards a new horizon and keeps it raw and basic. A record that absorbs you the more and more you listen to it. |
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REBOLLEDO: Super Vato 2LP+CD (COMEME 001LP) 25.50 Double LP version. Includes a free CD of the album, plus an awesome insert with an adhesive poster of Rebolledo’s face. |
| CONSTELLATION (CANADA) | |
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PERRI, SANDRO: Impossible Spaces CD (CST 085CD) 15.00 “Ronen Givony is a New York City music curator and writer and the following is excerpted from a text he wrote to accompany the release of Impossible Spaces. After four years of writing, recording, and self-production, Impossible Spaces has delivered on the promise so abundantly present in Sandro Perri’s earlier work; and with it, a synthesis of the experimental, electronic and singer-songwriter modes that have marked his evolution as an artist. On first listen, Impossible Spaces seems to position itself self-consciously as a collection of music about other music. In this sense, we can think of the album as one listener’s personal map of music history, with various voices, phrases, and personalities materializing to guide a song for an instant before disappearing again. Upon further listening, however, and true to its title, the album reveals itself as something more conflicted, and seemingly contradictory: a six-part meditation on the binaries of absence and presence, the possible and impossible, with a symmetrical internal structure reflecting this back-and-forth dialogue from one song to the next, and an emotional push-and-pull within the personality of the singer and songwriter himself.” |
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PERRI, SANDRO: Impossible Spaces LP (CST 085LP) 23.00 LP version on 180 gram vinyl, including art print poster and digital download. |
| DAMAGED GOODS (UK) | |
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PINEY GIR: Geronimo! CD (DAMGOOD 379CD) 18.50 “You know what? It’s time for some straight-talking: Piney Gir put the cowboy boots away, shelved the stylophone beatbox, and hit the loudest 12-string open-E chord you ever did hear. Piney Gir released her debut album Peakahokahoo on Truck Records in 2004. She was then the singer and guitarist of all-girl, art-rock, cult faves the Schla La Las. Now Kansas’ most unique songwriter returns with her finest album to date. Geronimo! is pure pop brilliance, a tell-it-to-the-Byrds journey into heartbreak, friendship and new love. After these forty minutes you’ll have caught the sun and people will ask you where you’ve been on holiday. And the answer will be ‘I went to LA in the ’60s via the Plastic Ono Band with a twist of Captain Beefheart. I drank the Kool-Aid and I’ll never be the same again.’ From the quit-the-bar-hit-the-road verve of ‘Let’s Get Silly’, to the romantic opener ‘Outta Sight’, you’re going to remember why true love matters and why pop music, at least, will never run off with someone else.” |
| DESSOUS (GERMANY) | |
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SAFEWORD: You Can You Will 12″ (DES 105EP) 12.50 Safeword is an exciting new act comprised of two dedicated U.S.-based producers, Clint Stewart and Marc Smith. Their low-slung, warm and sexy sound already gave way to one EP on Paso Music and now we find them really hitting their stride with their debut for Dessous. “You Can You Will” introduces us to Safeword’s world, a sleazy, percussive and intricate web of textures, flavors and audio fetishes. Phonique turns his hand to the title track with a cheeky, energetic remix. |
| DISCOS CONDOR (SPAIN) | |
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VA: Revolucion Psicofasica En Bolivia 1969-1975 LP (CONDOR 002LP) 28.00 “At last!! The followup to the now legendary Psicofasicos de Bolivia compilation. The period 1969-1975 was a one of creative explosion in Bolivia and here you’ll find fourteen tracks of pure, raw, unadulterated garage-psych, acid-punk and heavy sounds, Bolivian style! All the tracks are taken from impossible to find 45s released in Bolivia in tiny quantities. If you thought you had heard it all, wait until you hear these crazy Bolivian bands! Believe me, you’ll feel the same excitement you felt when you listened to the Pebbles and Back From The Grave comps for the first time! Lots of fuzz guitars, wah-wah, cheap organs, crashing drums, crazy vocals…the real thing! HQ beautiful full-colour cover design, huge insert with detailed liner notes in English/Spanish, pictures and remastered sound.” |
| DOUBLE STANDARD | |
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DOUBLE HILL: Wanna Get… EP 12″ (DS 006EP) 12.00 Israeli Double Hill makes his debut on Double Standard, the vinyl-only imprint from Gadi Mizrahi of Wolf + Lamb. The soothing blues of “Purple Hills” opens this delicious package of divine house music. Luscious pan pipes glide over soft saxophones and whispered tones. The title track sticks at the same tempo, spiced up with chiming bells and waves of cascading sound. “Everytime I Go” breathes with the heavy kicks of hip-hop and “Body Motion” is deeper and more rhythmic. |
| EAT CONCRETE (NETHERLANDS) | |
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LUMISOKEA: Automatons 12″ (EAT 027EP) 12.50 Lumisokea present a 12″ taster of their full album Automatons. The Belgian/Italian duo formed by Koenraad Ecker and Andrea Taeggi bring forward refined microworlds of exciting electronica and acoustics, building sonic landscapes that are minimalistic yet highly rich in texture. They have added a range of acoustics to their laptops and electronic hardware, including prepared piano, harmonium and live percussion, spanning ambient to noise and prepared piano to bass-heavy beats (at times reminding of Machinefabriek, Autechre or Fennesz). Includes a free download code of the full album. |
| ECHOCORD (GERMANY) | |
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DEHNERT, MIKE: Breso EP 12″ (ECHOCOL 017EP) 12.00 This is the second EP by Mike Dehnert on Echocord Colour. Dehnert is one of the most interesting Berlin modern techno music producers today. He is founder of the label Fachwerk Records and his live acts and DJ sets are as remarkable as his productions. For this EP he presents two stripped, killer Berlin-flavored techno-dub/house tracks, for all dancefloors out there. It also includes a remix by Roman Lindau. On blue-colored vinyl. |
| EDITIONS MEGO (AUSTRIA) | |
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DIEB13/GUSTAFSSON/SIEWERT: (Fake) The Facts LP (DEMEGO 023LP) 20.00 After the runaway success of the Akita/Gustafsson/O’Rourke LP One Bird Two Bird (DEMEGO 016LP), Swedish sax legend Mats Gustafsson returns to Editions Mego with another storming collaboration. Now a resident of Vienna, he teamed up with experimental artists dieb13 and Martin Siewert for a live and studio session. (Fake) The Facts is the result. A dense fog of sound comes from all directions, but whereas the general impetus is a full-on attack, the trio finds enough restraint to create a deeper dynamic and open the spaces between the walls of noise. dieb13: turntables, cigar box; Mats Gustafsson: soprano, slide and tenor sax, live electronics; Martin Siewert: guitars, ring stinger, electronics. Cover art by Dieter Kovacic and Billy Roisz. Cut at Dubplates & Mastering, Berlin, September 2011. |
| ENDLESS FLIGHT (JAPAN) | |
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DENTON, ARTHUR JAMES: Lost In The Dance 12″ (EF 039EP) 15.50 Arthur James Denton is a new moniker of Maelstrom. Both tracks are funky, bumpin’ early ’90s New York house, reminiscent of the sound of Kenny Dope’s House Syndicate. |
| ESKIMO (BELGIUM) | |
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AEROPLANE: In Flight Entertainment Sampler 1 12″ (ESK 504602) 12.00 The first of two sampler EPs released for Aeroplane’s mix CD In Flight Entertainment. Includes a new track by Aeroplane (“Save Me Now”), plus tracks by Herr Styler, Riptide and Kolombo. On white vinyl. |
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AEROPLANE: In Flight Entertainment Sampler 2 12″ (ESK 504603) 12.00 The second sampler EP, featuring tracks by Poolside, Moonlight Matters, Oliver and Martin Dubka. On white vinyl. |
| GUERSSEN RECORDS (SPAIN) | |
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KARACA, CEM: Karda?lar & Apa?lar LP (GUESS 082LP) 29.00 LP version. Turkish-Azerbaijani-Armenian Cem Karaca was one of the pioneers (if not THE pioneer) of Anatolian rock, blending Western rock music with traditional Turkish folk. This record is his debut album from 1972, actually comprising songs previously released on 45s, backed by the bands Karda?lar and Apa?lar between 1969 and 1971. Enjoy Anatolian rock in its full glory. Fully remastered sound. A deluxe vinyl release with a thick 425 gram old-style paste-on carton cover, pressed on 180 gram vinyl. Includes an insert with extensive liners and photos. |
| HIPPOS IN TANKS | |
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FERRARO, JAMES: Far Side Virtual LP (HIP 013LP) 19.00 “James Ferraro paints a 21st century still life on his debut album for Hippos In Tanks. The record is called Far Side Virtual. Each song, a melodious reflection of the moment now, comes shrink-wrapped in HD fidelity as glossy as a 2012 Toyota Prius. Ferraro’s muse is some enigmatic modern metropolis, where the streets are as slick as i-Pads, and where the symphonies ring with Macbook message alerts. Through the steam rising from our latte mocha chinos, he invites us to gaze out at the dreamy disorientation of our digital lives. Imagine a Darius Milhuad-guided tour of 5th Avenue. Imagine a Whole Foods bakery that sells only cakes emblazoned with frosting replicas of Camille Pissarro’s ‘Haying at Eragny.’ These are the surreal utopias Ferraro brings to life with sixteen swirly-pop concoctions sure to sell out at the candy stores. So slip in your ear buds, and welcome to Far Side Virtual.” Ferraro’s masterwork, including a digital download code. |
| HONEST JON’S RECORDS (UK) | |
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PERRY, LEE ‘SCRATCH’: The Return Of Pipecock Jackxon LP (HJR 109LP) 14.50 LP version. Originally released in 1980, this album from Lee “Scratch” Perry is the final work to emerge from the Black Ark studio, before its permanent destruction. It concludes a series of such LP masterworks such as Super Ape, War In Babylon, Police And Thieves, and Return Of The Super Ape. Enthrallingly, it crosses the sound world of Roast Fish Collie Weed & Cornbread with new hybrids — like the irresistible 11-minute opener, rolling and delirious, a kind of reggae prophesy of Marvin Gaye’s “Sexual Healing,” but musically richer, and more glazed, randy and visionary. Includes an insert with extensive notes by David Katz. |
| HOUR HOUSE IS YOUR RUSH (NETHERLANDS) | |
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KINK & NEVILLE WATSON (FEAT. KIM ANN FOXMAN): A Saturday In November 12″ (HHYR 017EP) 12.50 KiNK & Neville Watson return with their fourth release. “A Saturday In September” is their first vocal track, featuring Kim Ann Foxman (of Hercules And Love Affair). Together they have created a sexy and classy groove which brings back fond memories of the golden days of New York house. The Dub Mix on the B-side evolves around a bad-ass snare drum, the way Todd Terry used to kick it. |
| IMPORTANT RECORDS | |
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RIVULETS: We’re Fucked CD (IMPREC 340CD) 14.00 “Important Records is proud to issue the fourth album, second for Important, from Nathan Amundson’s Rivulets. With a beautifully authentic emotional depth Nathan’s voice is his most compelling instrument, a tool for delivering pure emotion from his heart straight into yours. Representing five years of work and nearly constant touring, this album reflects the intense nature of Rivulets as a three piece. If you haven’t seen them on tour this record will come as a revelation. Recorded, appropriately, at the Sacred Heart Music Center, a cathedral built in the late nineteenth century.””The title is just a phrase that kept popping up in my head as we were recording. It reflects the feeling and atmosphere of the songs in some ways but probably has more to do with my own frustration with the world — with people and politics and the lack of any meaningful or lasting change. And just being sick of nobody out there saying anything at all. Just this completely vapid cultural/musical landscape. You know, I’m on the fringes anyway; I may as well say what I mean. We’re Fucked is not intended as the end of the discussion, but the beginning. It’s ‘We’re fucked. Now what?'” –Nathan Amundson |
| INTACTO (NETHERLANDS) | |
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POPOVICIU, MIHAI: Backsoul 12″ (INTAC 035EP) 12.00 Romanian Mihai Popoviciu is considered one of the most innovative eastern European producers of electronic music today. Sucked into the rave scene of the ’90s, then infected by the techno and house virus compelled him to begin producing music in 2001. Since then, he’s steadily added chapters to his success story either with solo projects or collaborations. Just like his music, his DJ sets have a distinctive, personal touch, delivering a balanced mix of groovy beats, warm pads and addictive musical emotions. |
| INTERNATIONAL DEEJAY GIGOLO (GERMANY) | |
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DJ HELL: Teufelswerk House Remixes CD (GIGOLO 270CD) 17.00 Remixes from Hell’s multi-selling masterpiece Teufelswerk (GIGOLO 250CD/LP) by all the hot names in the scene. It’s been 25 years since Helmut Geier alias DJ Hell set the needle on a house track. He’s been DJing house and techno in all shapes and colors ever since. It’s been nearly 20 years that he released his first 12″ My Definition Of House. And he launched his own imprint International Deejay Gigolos Empire 15 years ago. Time to celebrate. Time for a massive world-tour. DJ Hell represents house from Germany like no one else. He made a case for Chicago house early on in his career by playing it obsessively in his DJ sets. Amid brand new tracks, he released long-lost classics by Bobby Konders and DJ Pierre on Gigolo Records. Just in time, house is experiencing a new high. Naturally, Hell is no purist when it comes to house music. He has covered lots of ground when it comes to electronic dance music, making records with P. Diddy, Grace Jones and Bryan Ferry. He has compiled two brilliant CDs full of German new wave, and of course, he knows of the influence that Kraftwerk and the disco sound of Munich, his hometown, has had on house and techno. His music and DJ sets all reflect this knowledge. Most importantly: he knows how to rock a party. A DJ does not only celebrate himself, he celebrates the artists he respects. So it’s fitting that in tandem with the tour, there is the release of 35 Teufelswerk remixes from artists handpicked by Hell, chopped up in three big chunks. The first portion is called House Remixes and there will be a party in Berlin’s legendary Tresor Club to celebrate its release. Artists include: Toni Lionni, Deniz Kurtel & Wolf+Lamb, Peter Kruder, Zander VT, Ian Pooley, Andre Lodemann, Axel Boman, DJ Glen and Solomun. |
| INTERNATIONAL FEEL (URUGUAY) | |
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HARVEY PRESENTS LOCUSSOLUS: Tan Sedan/Throwdown Remixes 12″ (IFEEL 016EP) 12.00 Two remixes of Harvey Presents Locussolus by Dr. Dunks aka Eric Duncan and Com Truise. Normal weight vinyl, 500 copies, black disco bag. |
| MODERN CLASSICS | |
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MERCURY REV: Deserter’s Songs LP (MCR 900LP) 21.00 “Fully cementing Mercury Rev’s rebirth as purveyors of a cosmic brand of the popular American songbook, Deserter’s Songs is an album of grandiose proportions. Merging jazz, folk, sweeping orchestration, and a dose of ’60s rock, the album was intended as the band’s swan song and therefore made with utter abandon. However, it became the band’s most acclaimed platter and remains one of the essential records of the past 25 years. Deserter’s Songs was released to huge worldwide acclaim and went on to be named album of the year in 1998 by NME, MOJO and many other publications, quickly propelling the legendary iconoclasts into living rooms worldwide and pioneered the launch of a new genre of music, heard today in bands like Arcade Fire and Beirut. Originally released on V2 Records, Deserter’s is Light In The Attic Records’ impassioned choice to launch their new imprint, Modern Classics Recordings. Specializing in contemporary reissues from 1980 to today, Modern Classics will re-release your all-time favorite discs pressed on virgin black vinyl, the way they should be heard. Modern Classics’ Deserter’s Songs is the first LP reissue of this landmark album, long overdue if you ask us. Beautiful audio re-master comes courtesy of co-producer and original Mercury Rev member David Fridmann, pressed on 180-gram vinyl, and housed in an expanded gatefold jacket with 4-page insert. Each copy will receive a free download card for two live tracks plus an exclusive audio commentary/interview with the band while 100 randomly selected albums will include a photo personally autographed by Mercury Rev’s Jonathan Donahue and Grasshopper.” |
| MUSIK KRAUSE (GERMANY) | |
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EVEN TUELL: Hula Vortex EP 12″ (MKR 037EP) 12.00 Paul-David Rollmann aka Even Tuell is one of the co-founders of the Workshop label and belongs to the class of those who answer the call for effective art, design and indulgence. With this EP, he highlights a raw and coarse club music sound without losing even a breath of aesthetic. All three pieces sound as if they were crafted from centuries’ old tools, in the way that his music is filtered through the machines — humanized and charged with a kind of essential honesty. |
| NINJA TUNE (UK) | |
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KID KOALA: Space Cadet 10″ (ZEN 174LP) 16.50 “The music supplement of Kid Koala’s second graphic novel, Space Cadet available on limited edition 10″ vinyl.” |
| OSTGUT TON (GERMANY) | |
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PLANETARY ASSAULT SYSTEMS: The Messenger 2×12″ (OSTGUT 010LP) 21.00 2×12″ version, featuring 9 out of 12 tracks from the CD. The Planetary Assault Systems project has been active for some 15 years now, channeling an exploratory theme into cutting-edge, non-conformist techno for the clubs but also for listening at home. His previous album for Ostgut Ton, Temporary Suspension (OSTGUT 009CD/004LP), re-instated that classic P.A.S sound and found the dexterous artist touring even more with this tougher, purist techno aesthetic. And yet again, Slater maintains his prolific output with the announcement of The Messenger. In his own words, it’s a project that stays very true and honest to the Planetary Assault Systems goal: a journey of discovery, to create new sounds which are not otherwise present in club music at this time. There’s a strong club element present here — Slater play-tested all the tracks and employed a careful editing process to make sure they all fit the description. Highly playable works of club-intended sound art, early heavy moments like “Bell Blocker” or the playful “Wriss.” The drum barrage of “Rip The Cut” speaks directly to the dancefloor, perhaps the most rhythmically-intense moment of the album, which is not to be put lightly as the rolling, filtering tones of “Cold Bolster” and “Black Tea” urge us further into perfectly frenetic moments. |
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DETTMANN, MARCEL: Translation 12″ (OSTGUT 052EP) 12.00 One of the founding members of the Ostgut Ton family, Marcel Dettmann presents a new EP. “Barrier” documents Dettmann’s unique textured sound design before diving into “Translation One,” a frantic, quivering and snaking snapshot into the kind of techno the producer stands for these days. The sinister sci-fi tones of “Translation Two” warble and jive in glorious syncopation, its meandering theme hanging deliciously between paranoia and positivity. On “Planning,” Dettmann further explores his inclination for intricate, tripping synth patterns. |
| PHOENIX RECORDS (UK) | |
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TAJ MAHAL TRAVELLERS: August 1974 2LP (ASH 3049LP) 31.00 Gatefold 2LP version. Originally issued as a double LP with each of the 4 tracks being roughly the same length as the side of a record, August 1974 presents the Taj Mahal Travellers at their most sophisticated. Although their stunning cosmic music was always improvised, the band, formed in 1969 by “six meta-music creators and one electronic engineer” played regularly throughout Japan and eventually found their way to Europe where they met up with avant-garde musicians such as Don Cherry. 1974 would be the band’s last official release as they went their separate ways the following year with all but Takehisa Kosugi, leaving music behind them. Each track is distinct from the others, with several beginning with clearly-defined structure before departing into the realms of the abstract, with violin, harmonica, bass, tuba, trumpet and mandolin dueting in a subliminal and obscure manner. “Voices” both subhuman and supernatural, resonate with a universal inner voice. Includes original insert. Hand-numbered limited edition of 1000; on 180 gram vinyl. |
| POST PRESENT MEDIUM | |
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TOTAL ABUSE: Prison Sweat LP (PPM 049LP) 13.50 “On their third LP Prison Sweat Total Abuse blast and sometimes almost sludge through seven tracks of great hardcore punk (with two tracks reaching over the seven minute mark). Opening with an opus of blistering, seething, crunching noise then bursting into tracks that are as catchy and nauseous as their influences, this is Total Abuse at their best and most ferociously open. TA posses an honesty and anger missing from a lot of their contemporaries allowing them to dwell deep in your brain for a long while after you listen. First pressing is a limited run of 500 and the record includes a writing collaboration between Total Abuse and Chicago based writer/musician Peter Sotos, whose writings and ethos has influenced the TA project from its inception.” |
| PURPLE MAZE (NETHERLANDS) | |
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PLEASE, THE: S-Gravendijkwal EP 10″ (PM 001EP) 12.50 Anonymous new Dutch imprint Purple Maze makes its entrance into the under world of electronic music courtesy of a 4-track EP from The Please. The Dutch duo comprised of Hans Verhaag and Minggus Dorpmans favor lo-fi, often slo-mo sounds that cross-pollinate house music with a whole other world of leftfield electronic sounds, and do just that on this EP. |
| REMOTE AREA (NETHERLANDS) | |
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HUNER & RAMON TAPIA, SANDY: Chi-Town 12″ (REMOTE 035EP) 12.00 The fusion of Ramon Tapia’s high energy peak-time flavors with Sandy Huner’s signature of uplifting melodies and sassy house harmonies defines a new sound, giving you two melodies that drive you to the housier side of tech-house life. |
| RUSH HOUR (NETHERLANDS) | |
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BNJMN: Black Square LP (RH DC10-LP) 18.00 After debuting in early 2011 with his Plastic World album, BNJMN returns with his second album, Black Square. With Black Square, BNJMN evolves into a more fluid production style, largely by allowing more space into his music. By keeping his drums more sparse and light, his music takes even more of a serene, futuristic quality. A modern electronic classic, we dare to say. Braindance, anybody? Although a quick comparison is made between his music and that of early ’90s UK electronica, BNJMN states that he is trying to stay current and not be influenced by the past, rather making music which is all about the moment. He is also not too bothered about being connected to what else is going on in the musical world. Instead, he prefers to let himself be inspired by his surroundings which are those of the sea and nature around Bournemouth, on the south coast of England, which definitely comes out in his music. All in all, this should remind you of another young lad from the south of England, who had his start some 20 years ago. |
| RVNG INTERNATIONAL | |
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BRONZE: Copper LP (RVNGNL 010LP) 18.00 “Stream-of-consciousness lyrical cooing and restrained analog trickery rest atop constant cog rotation grooves on Copper. These elements yield a truly conductive album, abundant in compositions that beg for a listener’s oxidizing ear. Commencing with ‘A Showdown Of Sorts’, the record assumes a vague narrative aided by the allure of Tuxedomoon / Ralph Records-y exoticism, albeit less claustrophobic. ‘Showing Them’ staggers into even Wierd-er territory, with eye flashes and spots of Legendary Pink Dots. ‘So Slow’ and ‘The Rouge Became’ are sister tracks fallen not far from the same Silver Apple(s) tree. ‘Wits’ and ‘Fumes In Suits’ counter clockwork like a high-pressure Units track and place Copper in the lexicon of San Fran synthesized and syncopated anti-stardom. Each vinyl copy of Copper comes with a copper ring. The ring is intended to be worn to BRONZE performances or even during daily rituals. While wearing the ring, you, the ring bearer, are encouraged to speak informally – if not offensively – with fellow ring mates. When overheard or confronted, blame it on the ring – i.e. ‘It was the copper talking.’ The ring will initially turn your finger green. The ring will also heal your wounds, correct your balance and is a fashionable accessory to boot.” |
| SACRED BONES | |
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PSYCHIC ILLS: Hazed Dream CD (SBR 063CD) 13.50 “Sacred Bones Records is proud to present Hazed Dream, the new long-player from fellow New Yorkers, Psychic Ills. Since their formation in 2003 as a home-recording experiment, the Ills have evolved into a live band, in their element playing the extended jam. Musically, it also marks a departure from some of the band’s more recent sonic explorations. The raga rumbles and synthesizer space-outs aren’t gone all together; the singular blasted musical perspective of the Ills remains.” |
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PSYCHIC ILLS: Hazed Dream LP (SBR 063LP) 16.00 LP version with digital download. |
| SHOEBOX (NETHERLANDS) | |
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SHOEBOX: Jasmine 12″ (SHOEBOX 001EP) 12.50 Shoebox is proud to present their debut release, a four-track EP called Jasmine. Shoebox comes from deep within, creating soul’s pastiches. Jasmine provides uplifting, steaming, dusty soul music. |
| SING SING RECORDS | |
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DWARF: Gotta Get Louder/I Won’t Be Back 7″ (SING 033EP) 7.00 “Once in a while a single gets plucked out of obscurity which is a total revelation and becomes an obsession to track down, but rarely does this same single get played over and over and you know it has the staying power to remain a firm favorite forever. I am very glad to say that this single is one of these rare beasts. It is everything you could ever wish for and absolutely ticks all the right boxes. How to put a tag on ‘Gotta Get Louder’? It sits somewhere between proto-punk, bubblegum/hard rock and powerpop. It’s insanely catchy and an instant exuberant classic. What makes this even more amazing is that most of the band was 15 at the time! ‘I Won’t Be Back’ is stupendous in its snotty teenage punk attitude. I was thinking of the Runaways as I believed a girl singer was involved, but this is not the case as explained by Nick Piunti ‘that would be me, make that pre-pubescent me.’ The guitars clang and crash, the drums are full power with added momentum of a glorious cowbell nailing everything down to the beat. So put both tracks together and you end up with the best coupling since Elizabeth Taylor and Richard Burton!” –Robin Wills (PurePop) |
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JET STAXX: I’m Gonna Be The Best Guy/You’ll Get The Chop 7″ (SING 034EP) 7.00 “In the early ’70s Mike Butcher worked as a studio technician at Morgan Studios in London. On relocating to Belgium a few years later to work at Morgan’s other studio in Brussels he hooked up with co-worker Alan Ward (Elton Motello) to record two singles under the band names Feather and Rollerball as well as co-writing and playing guitar on most of Elton Motello’s two albums. Mike Butcher also recorded two solo singles as Jet Staxx, the first I’m Gonna Be The Best Guy/You’ll Get The Chop was released in Belgium (Topkapi 2103 131), Germany (Bellaphon BF 18594) and Holland (Scramble SRS 510.061) in the spring of 1978. In the studio, Butcher (vocals/guitar) was assisted by drummer Pascal Van Het Groenewoud and someone known as Randy Sod on bass, though it’s likely Butcher played bass himself.” |
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PUMPHOUSE GANG: Pumphouse Gang LP (SING 035LP) 14.00 “Formed from the ashes of a mid-’70s rock band called Horse, the founding members of Pumphouse Gang – Ricky Wreckage (vocals), Ralph Von Wau Wau (bass), SG Coolbridge (guitar) and Dread ‘Family Man’ Jones (drums) were active on the fringes of the UK punk scene as early as late 1976. The band made regular trips from their base in Ryde on the Isle Of Wight to play London’s live circuit at venues like The Marquee, The Speakeasy and The Nashville, and on the same bill as acts like Generation X, Fabulous Poodles, The Lurkers and The Only Ones. This album features the best of Pumphouse Gang’s material for Splash Records, including eight tracks never previously released on vinyl. Lost classics like ‘When We Were Young’, ‘Black And White’ and ‘Teenage Lament’ together with those now highly collectable Splash singles only emphasise how wrong the record buying public were to ignore the band back then. Perhaps this LP will go some way to righting that wrong.” –James Denholm (Worthless Trash) |
| SOUL JAZZ RECORDS (UK) | |
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BAKER, STUART: The Album Cover Art of Studio One Records Book (SJR 247BK) 38.00 “This deluxe 216 page hard-back 12″x12″ book features hundreds of stunning full size record cover designs from the legendary Studio One Records. Described by Chris Blackwell as the University of Reggae, Studio One is by far the most important record label in the history of reggae music, an A-Z of Jamaican music as iconic as Motown was to soul, or Blue Note for jazz. The book features classic artwork from Bob Marley and the Wailers, Horace Andy, Alton Ellis, Freddie McGregor, The Skatalites, Marcia Griffiths, Burning Spear, The Heptones, Toots and the Maytals and many more artists all of whom launched their careers at Studio One. As well as many classic sleeves there are numerous rare designs including a collectors’ section featuring many alternate, silkscreen and rarely seen designs. As Jamaica approaches the 50th anniversary of independence, this stunning deluxe book is a timely look at reggae music’s legendary record label and the artists and musicians that it made famous. The book also includes an introductory essay by Steve Barrow (author of Rough Guide to Reggae) and is edited by Stuart Baker (Soul Jazz Records).” |
| SPECTRUM SPOOLS | |
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HIVE MIND: Elemental Disgrace LP (SP 009LP) 20.00 Elemental Disgrace is an album that needs to happen now. Finally, the next phase has arrived — a stunning double side-long record of some of the U.S.’ best underground synthesizer music. Whatever rise to the synthesizer came later on in the ’00s is hardly of any concern to Greh Holger and his Hive Mind project. Having released private press cassettes of solo synth works as far back as 2002, Hive Mind exists as enigmatic in the world of new-jack synth-heads and the tidal wave of “neo kosmische” flying far under the radar. The silence is now broken and here we are treated to some of the most unique sounds Spectrum Spools has yet presented. No blisscapes to be found here. No soaring latched arpeggios, no cosmic vistas. Not a single melody. This is two sides of ancestral ruin in its clearest and most focused presentation. The brutality of the Earth and the harsh reality of all that it holds. Unknowable sounds — that of the dawn of the Earth, or perhaps the sound of its demise. A toxic swamp of chemicals and mutated creatures left behind long after man has wiped himself away for good. Field recordings from the end of the world. While others are racing for the stars, Hive Mind’s tectonic plate-shifting and brutal rumble will give you a brand new way to look at modern synthesizer composition. With a focus on textural sounds and shifting frequency registers, this album gives the listener a full range of listening possibilities with infinite replay value. It’s worth noting that Spectrum Spools as a label would not exist without Hive Mind. An inspiration and a pioneer in the U.S. synthesizer circuit, it’s with pleasure and honor that they release Elemental Disgrace into the world. Cut at Dubplates & Mastering, Berlin August 2011. |
| STONES THROW | |
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M.E.D.: Classic CD (STH 2275CD) 15.50 “A quick glance at MED’s discography shows many classic releases from years past: Madvillain’s Madvillainy, Madlib’s Shades of Blue, J Dilla’s The Shining, Lootpack’s Soundpieces, Quasimoto’s Unseen. Each appearance showcases his well-rounded knack for lyricism, ranging from vivid street imagery to nostalgia to everything in between. It’s fitting that he calls this album Classic. With the sophomore album, fans are treated to collabs with label mate Aloe Blacc, Talib Kweli (‘Classic’), Hodgy Beats (OFWGKTA), and with producers Madlib, Oh No and the Alchemist.” |
| SUBLIME FREQUENCIES | |
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KORAY, ERKIN: Meçhul: Singles & Rarities LP (SF 067LP) 22.00 LP gatefold limited edition release. 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 |
| SUPERFLY (FRANCE) | |
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KELENKYE BAND: Moving World LP (SRLP 003LP) 30.00 “We are proud to announce the long-awaited release of our new reissue by the extraordinary Kelenkye Band from Ghana. We offer a high-quality reissue of this Holy Grail ’70s Ghana funk LP available for the first time in 30 years. This is one of the most successful attempts to adapt American funk and disco to the African market. Includes the underground African rare groove anthem ‘Jungle Music’. Unique sound! Strictly limited to 1000 copies! 180 gram vinyl, authentic paste-on covers made in Japan. Produced in conjunction with Voodoo Funk (Frank Gossner).” |
| SUPERIOR VIADUCT | |
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BLACK HUMOR: Love God, Love One Another LP (SV 001LP) 16.00 “Black Humor was an experimental rock band from San Francisco in the early ’80s (not to be confused with ‘blackhumor,’ alias of noise artist Frazer Hall). They released just one, very hard to find LP on Fowl Records in 1982. Only 1,000 records were pressed, each with unique handmade covers: thick slabs of paint, collage, parrot feathers, dirt, whatever else happened to be lying around their Tenderloin flat. Many of these have since gone for high, collector prices or ended up in oblivion. Existing in a parallel universe to other bands of the era, Black Humor’s music is filled with jarring images of urban decay and desperation, bass-driven melodies, and layers of dissonant guitar and percussion. And perhaps the only known recording of a parrot that was taught to say ‘Fuck You.’ This first time reissue uses the originally intended artwork for the album cover. Fully authorized and mastered from the original analog tapes. Includes new insert with liner notes by singer George Miller and engineer Tom Mallon. Hand-stenciled and numbered. Limited to 500.” |
| SURELY BASSY (UK) | |
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QUANTAX: Cinematics/Who Needs Attack 10″ (SB 002EP) 11.00 Surely Bassy’s second release is by Leeds-based producer Quantax. With extensive knowledge and experience in sound manipulation, Quantax’s take on ever-evolving bass music guides the listener on a musical journey, evoking thoughts of nostalgia, reflection, contemplation and calm. His stunning debut consists of two tracks of beautifully-crafted electronica encompassing both bass weight and musical harmony. |
| TEMPA (UK) | |
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HORSEPOWER PRODUCTIONS: The Lost Tapes 12″ (TEMPA 058EP) 12.50 The Lost Tapes EP is released as part of the Tempa Ltd series, housed in a limited edition, numbered, foil-blocked sleeve. The early Tempa catalog, from 2001-2003, is synonymous with the Horsepower Productions sound. The Lost Tapes EP is a 4-track collection of high grade Horsepower 2-step/early-era dubstep originals and remixes from that time, destined for release on Tempa. Before release, the DAT tapes went missing. The tapes were eventually found, and the choicest cuts re-edited and digitally restored by Benny Ill. |
| THE BOOKWORM (UK) | |
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VA: The Art Of Worms Book (TBW 001BK) 7.00 The Tapeworm launches its new publishing venture, The Bookworm, with a tidy compendium of its cover art, alongside an especially-commissioned essay by writer Ken Hollings, the author of the books Destroy All Monsters (Marion Boyars, 2001) and Welcome To Mars (Strange Attractor Press, 2008). Ken’s work has appeared in a wide range of journals, reviews and anthologies. He has written and presented critically-acclaimed programs for BBC Radio 3, Radio 4, NPS in Holland, ABC Australia and Resonance FM and has given talks and lectures at the Royal Institution, the British Library, the ICA, Central St Martins, the École de Recherche Graphique in Brussels and the Berlin Akademie der Künste. Future Bookworm booklets are currently being penned by writer/poet Leslie Winer, and graphic designer Chris Bigg (4AD, David Sylvian). “Parasitic Infestation,” an essay by Ken Hollings. Illustrations from the first 25 Tapeworm tapes, including works by SavX, Derek Jarman and Leif Elggren. Cover illustration: Savage Pencil. 66pp, 110mm x 117mm, soft cover, thread bound booklet — no ISBN. Edition of 250 copies only. Printed on Munken Print stock. Typeset in Aldine 401, Berthold Akzidenz Grotesk and Miso. |
| THE TAPEWORM (UK) | |
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SEVEN, LARY: Rotation Cassette (TTW 036CS) 7.00 The Tapeworm presents a cassette-only release by Lary Seven, featuring live tracks from White Columns, New York (2001) and Experimental Intermedia, New York (2004). Cover features an illustration by SavX. Limited to 200 copies only. |
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MATHIEU, STEPHAN: Flags Cassette (TTW 037CS) 7.00 The Tapeworm presents a cassette-only release by Stephan Mathieu. “Flags is a homage to the beauty of data. The pieces are created from photos of my studio equipment which were transformed to audio via header changes. The audio was processed in August 2008 with Soundhack and GraphicConverter. The folder was always called Flags, I don’t remember why.” –Stephan Mathieu, Eschringen, July 31, 2011. Limited edition of 200 copies only. Illustration by Miss Caro Mikalef. |
| THRILL JOCKEY | |
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SKULL DEFEKTS, THE: 2013 – 3012 12″ (THR 012.48EP) 15.00 “2013 – 3012 is a brand new 12″ vinyl only release that follows the Peer Amid album (THR 260LP) and features the Skull Defekts joined by both Daniel Higgs and Zomes. The A side consists of three new songs while the B side is a re-verse cut done on a Scully Lathe. We were told that there were only a handful of mastering facilities with an operating Scully lathe in the United States. We could only find one. The B Side is not only a reverse recording of the A side – but literally plays backwards from the inside of the record to the outside.” |
| THRONE OF BLOOD | |
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ONEAUFF: Heavy Heady 12″ (THRONE 018EP) 12.00 Oneauff (Steve Raney) presents his most fully-realized and developed releases to date. Mixed by Beg To Differ/Mood Music honcho Nick Chacona, it couldn’t sound much better: lush, melodic and unafraid to aim for the heart as well as the hips. The title track comes backed by a brilliant refix courtesy of Tuff City Kids aka Gerd Janson and Phillip Lauer (Arto Mwambe), that channels the lush pop vibe of the original and warps things in an ’80s-era house workout. |
| TOUCH (UK) | |
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WATSON, CHRIS: El Tren Fantasma CD (TO 042CD) 14.50 “Take the ghost train from Los Mochis to Veracruz and travel cross country, coast to coast, Pacific to Atlantic. Ride the rhythm of the rails on board the Ferrocarriles Nacionales de México (FNM) and the music of a journey that has now passed into history.” –Chris Watson |
| TRESOR (BELGIUM) | |
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SLEEPARCHIVE: Ronan Point 12″ (TRESOR 243EP) 11.00 At the urging of Jeff Mills, the Tresor label has added Sleeparchive to their esteemed roster. “The tracks on Ronan Point developed from parts and loops I had created for my live set and always wanted to make tracks from.” Sleeparchive’s live sets have graced the dancefloors and sound systems of Berghain, Arena Club and Bloc Weekend, so it’s fair to say that these 4 tracks were not just tried and tested, but actually born on the dancefloor. |
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PACOU: Sense EP 12″ (TRESOR 246EP) 11.00 Pacou returns to the Tresor Records fold with a rounded four-track EP that traverses his varied electronic styles. “Connection” pries open Sense in classic, pummeling Pacou fashion, transporting us back to the vaults where it all began, backed by the sinister slow-builder “Transmitter.” On the flip, “Response” dips into acid territory and is another of his purely analogue-recorded efforts. Sense concludes on a warm dubby vibe with “Default” — a track originally made 10 years ago. |
| UNIVERSAL SOUND (UK) | |
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MCNEILL QUARTET, THE LLOYD: Washington Suite CD (US 039CD) 22.00 “Soul Jazz is issuing this super-rare deep spiritual jazz album from the Lloyd McNeill Quartet. This album was originally released by flute player Lloyd McNeill on his own private-press Asha Recording Company in Washington, DC in 1969 (30 years ago!), it is the rarest most in-demand of McNeill’s albums and only 1000 copies were ever pressed and Washington Suite has been an extremely rare serious collector’s deep spiritual jazz album ever since, going for many hundreds of pounds at auction. African-American flute player Lloyd McNeill’s self-distributed record label ran from 1968-73. Lloyd McNeill is a multidisciplinary artist — a painter who lived in Paris in 1965 and was a friend of Picasso, a musician who has worked with Nina Simone, Nana Vasconceles, Ron Carter, Cecil McBee and many more and a music anthropologist, poet and teacher. In the 1960s he was involved in the civil-rights movement and produced music for ballet, paintings and installations. Washington Suite was composed for the Capital Ballet Company, Washington in 1970. Soul Jazz/Universal Sound reissued the first Lloyd McNeil album, Asha (US 031CD & US 031LP ) , earlier this year.” Limited edition hard-case CD edition. |
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MCNEILL QUARTET, THE LLOYD: Washington Suite LP (US 039LP) 25.00 LP version, limited to 1000 copies. |
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COLSON & THE UNITY TROUPE, STEVE: Triumph! CD (US 040CD) 22.00 “In the early 1970s pianist and composer Adegoke Steve Colson and vocalist Iqua Colson were both members of The Association for Advancement of Creative Musicians (AACM), the radical home of jazz music in Chicago, and spiritual home of the Art Ensemble of Chicago. In 1980, Colson released Triumph!, recorded in Chicago with a stellar line-up of Art Ensemble and AACM members in the group including Joseph Jarman and Doug Ewart. This album was released on the private-press Silver Sphinx label, and distributed mainly in the local Chicago area. Universal Sound/Soul Jazz Records are releasing this extremely rare deep spiritual jazz album for the first time ever as a hardback edition CD. This album features in Soul Jazz Records’ recent revolutionary jazz cover art book Freedom, Rhythm and Sound, edited by Gilles Peterson and Stuart Baker (Soul Jazz Records). The album also includes the track ‘Lateen’ which appears on Soul Jazz Records’ album New Thing! (alongside Sun Ra, Art Ensemble, Alice Coltrane). Steve and Iqua Colson left Chicago in 1982 to live and work in New York. Steve Colson is currently a member of the word-music ensemble Blue Ark, led by the radical poet/critic Amiri Baraka (aka Leroi Jones).” |
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COLSON & THE UNITY TROUPE, STEVE: Triumph! LP (US 040LP) 25.00 LP version, limited to 1000 copies. |
| UNKNOWN LABEL | |
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FINGERS INC.: Music Take Me Up/Feelin’ Sleazy 12″ (MFAS 002EP) 10.00 Two euphoric Larry Heard productions, originally released on Fingers Inc.’s 1988 LP Another Side. |
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AIRAKSINEN, PEKKA: One Point Music LP (ORO 035LP) 18.00 “Pekka Airaksinen started making music in the late 1960s with the group the Sperm, combining performance art with experimental music of the day. With influences such as John Cage and Karlheinz Stockhausen, the Sperm combined free jazz and psychedelic pop to create a sound resembling early industrial music and noise. After the Sperm’s breakup in the ’70s, Pekka Airaksinen became a Buddhist and would stop releasing music for almost a decade. Airaksinen, who was regarded as a recluse, returned to the public eye in the mid-80s under his own name and with a brand new but equally futuristic vision. His album Buddhas of Golden Light is an incredible mixture of Sun Ra’s cosmic free jazz and twisted rhythms programmed on a Roland 808 drum machine. At the end of the decade techno elevated the 808 to a fetish object and Airaksinen disappeared for another five years. In the ’90s Airaksinen released a large number of CD’s and CD-R’s on his own Dharmakustannus label, on which the style of each track varied wildly – breaking every rule of the niche-group marketing concepts of the era. All his recordings, whether they are his unique interpretations of contemporary music, new age, ambient house or jazz, are characterized by a sense of improvisation and casual roughness that is rare in electronic music. The most avant-garde pieces of his recent output continue his earlier work with the imaginary ‘anthropoid music’ of the future. One Point Music is his shining moment. Originally pressed in an edition of 120, this reissue has been needed for a long time.” Includes an insert with Ilpo Saunio. |
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YA HO WHA 13: Pain/A Thousand Sighs 7″ (YAHOWHA 013EP) 7.00 “Most-sincere moments of unmediated clarity/genius from improvisational psych-rock collective Ya Ho Wa 13. Father Yod’s spiritual encirclement and their well-jocked music tends to be discombobulated at best, but these songs record a very different story: brahmanic ascension, heart-wrenching expression, a beautiful simplicity and sincerity that shines through immediately and captivates with our first utterances of astonishment. This, my children, is the real art. ‘Pain’ & ‘A Thousand Sighs’ can go blow for blow with the most celebrated of the 1970’s rock/psych/experimental cannon, moments of revelation that break through the cult of personality and attempt something much more universal than a simple exercise in improvisation. An essential release.” |
| UPON YOU (GERMANY) | |
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MELOHMAN & JAVI BORA: Calle Cala 12″ (UYS 007EP) 12.00 The Upon You Sweet & Sour series introduces you to fresh artists. This time, the Spaniards Melohman and Javi Bora bring you three dancefloor rockets that can’t wait to be launched into the club-cosmos. There’s an Edit on A1 and the original title on B1. B2 is reserved for a “Calle Cala” remix from producer Tuccillo. |
| W+L BLACK | |
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MAM: MAM Edits 12″ (WLB 011EP) 14.00 The luxury MAM edits; four romantic melodies shown to elicit unrelenting sexual tension on the dancefloor. A collage of gentle pumping puts the most discerning of sound-systems to the test, and the most inquiring of trainspotters to rest. Keep it clean, keep it black. Featuring the orgasmic “Bedroom Dancer.” |
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