Nov 192011
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AUK 103CD DEAD SKELETONS, THE: Dead Magick CD (AUK 103CD) 16.50
“What is a ‘dead skeleton’? Can such an entity exist? Sonic wizards [alt: warlocks] Jon Saemundur, Henrik Bjornsson and Ryan Carlson Van Kriedt probe such questions of depth and intensity on their first full-length release Dead Magick. This album illuminates the fact that magick – as well as music – is far from ‘dead.’ In fact, Dead Magick is a vibrant collection of mystical meanderings through space, time, and all that is. Dead Magick formulates and communicates dynamic concepts, as well as illustrates them via the oldest form of human expression: music.”
BFD 5607LP VA: Pebbles Volume 1 LP (BFD 5607LP) 15.50
2008 release. Artists: The Litter, The Preachers, The Floyd Dakil Combo, The Outcasts, The Squires, The Grains of Sand, The Ju-Ju’s, The Haunted, The Soup Greens, The Wig, Positively 13 O’Clock, Kim Fowley, The Elastik Band, The Split Ends, The Shadows of Knight and The Wild Knights.
BFD 5608LP VA: Pebbles Volume 2 LP (BFD 5608LP) 15.50
2008 release. Original Artyfacts From The First Punk Era Volume Two. Artists: The Satans, The Moving Sidewalks, The Sons of Adam, The Electric Prunes, The Road, The Lyrics, The Buddhas, Zakary Thaks, Randy Alvey and Green Fuz, The Squires, The Little Boy Blues, Phil & the Frantics, The Dovers, The Choir, Bobby Fuller and The Litter.
TW 010CD MILLS, JEFF: Star Chronicles – Orion CD/12″/BOOK (TW 010CD) 50.00
Techno icon/space cadet Jeff Mills gets off his UFO obsession and focuses now on…outer space! This new series focusing on Orion launches with this limited edition set containing a CD, 12″ and book, all framed in some sort of grey matter foam. Remarkable packaging that’s not long for this world. “CD contains three mixes in clear jewel case, 12″ version, and 80 page book about Orion. Limited 150 set.”
TW 010EP MILLS, JEFF: Star Chronicles – Orion 12″ (TW 010EP) 11.00
12″ version.
BERMUDA 002CD VA: BerMuDa 2011 Presents: City Sound Berlin 2CD (BERMUDA 002CD) 21.00
After the successful launch of BerMuDa in 2009, Berlin’s one-of-a-kind electronic music club festival will once again draw clubbers, ravers, musicians, label-execs, and business people in the music scene from all over the world to Berlin. The main event Fly BerMuDa Festival, features local and international festival acts like Plastikman, Sven Väth, Ricardo Villalobos, Loco Dice, Tiefschwarz and many more, held at the Berlin Tempelhof Airport. In recent years, Berlin has become a burgeoning, colorful and bustling metropolis, with an infectious energy that one can feel the minute you hit the streets. Currently, no other city in the world can claim to attract and contain so many creative minds, ideas and sources. Berlin doubles as the capital of a country and of underground dance music. The latter a fact up for little debate, as the city houses the headquarters of more labels, bookings agents and clubs than any other. Many artists call the city home, such as Richie Hawtin, Ellen Allien and the myriad of others traveling the world, bringing the “sound of Berlin” wherever they touch down. City Sound Berlin is a double CD with a soundtrack representative of the sound that is running the city, whether it be Wednesday evening, Sunday morning or Sunday afternoon. Artists like Oliver Koletzki & Fran, Nicolas Jaar, Maceo Plex and Soul Clap provide on the “Day” CD the ideal warm-up party sound, making you long for more. City Sound “Night” takes you on a special tour through Berlin. Showing the way are your captains Pan-Pot and Stuttgart import Tiefschwarz, dancing to Black Rose’s “Anthem.” Meanwhile, king Fritz Kalkbrenner sends kind regards from exile and calls with DJ Madskillz for a “Carnival Chaos” á la Format:B. M.A.N.D.E.A.R. and Mathew Dear offer team spirit with their ode “Buddies,” while Sebo K chills with “Mr. Duke.” Other artists include: Noir & Haze, Hot Natured (feat. Ali Love), Cassius, Franco Cinelli, Thyladomid & Adriatique, Chopstick & Johnjon, WhoMadeWho, Tale Of Us, Sascha Braemer, Nôze, dOP, David August, Marco Resmann, Soucie Six, Mama, Cari Golden, Booka Shade, Deetron and AKA AKA & Thalstroem.
BETTE 008CD SCANNER: Timelapse/(Mnemosyne) CD (BETTE 008CD) 15.50
This release features Scanner’s classical/electronica score to the full-length ballet for Dutch National Ballet, which premiered at Het Muziektheater on June 17th 2011, commissioned for the Holland Festival. Choreographed by Britain-born Berlin resident David Dawson, the work reflects upon the legends from Greek mythology, across a range of moods. Spooky, sexy, percussive strings resonate a cinematic tension, while a disco-from-hell arrives and disappears and we are left in a melancholic realm of romantic strings and heart-aching emotions. Active since 1991, Robin Rimbaud — known as Scanner — has been intensively active in sound art, producing concerts, installations and recordings. He has remixed and collaborated with a wealth of artists across the arts, including Laurie Anderson, Bryan Ferry, Carsten Nicolai, Dangermouse, Michael Nyman, Luc Ferrari, and Mike Kelley, amongst many others.
BU 060LP BONGOLIAN, THE: Bongos For Beatniks LP (BU 060LP) 20.50
LP version. “Bongos For Beatniks sees the welcome return of the Bongolian, AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. His fourth album under the Bongolian moniker continues the musical journey where 2007’s Outer Bongolia left off, bringing us back down to Earth possibly via France circa 1967 via 2011, in a wildly eclectic rare groove fusion of funk soul Hammond beat jazz and a sci-fi boogaloo. Dig it.”
BLP 4187LP YOUNG, LARRY: Into Somethin’! LP (BLP 4187LP) 11.50
Early Larry Young session for Blue Note, originally released in 1964. Featuring Sam Rivers (tenor sax), Grant Green (guitar and Elvin Jones (drums). Probably “adventurous and colorful,” but still pre-Fuel/Love Cry Want.
BPC 244CD DILLON: This Silence Kills CD (BPC 244CD) 14.50
Debut album for the singer and pianist Dominique Dillon de Byington aka Dillon, who has made a winding journey from Brazil to Berlin via Cologne. Dillon is inspired by Billie Holiday, Jean-Michel Basquiat, Jeff Buckley, and highly recommended by DJ Koze. Everyone knows that DJ Koze has prophetic qualities, and not just since he began dropping tracks under his guru pseudonym Swhaimi. You see, many years before, he also waxed oracular about the singer Dominique Dillon de Byington, aka Dillon: “She sings comfortably imperfect and true. She has character. I like her. She has a bright future ahead of her.” And that future once prophesied by the wise Hamburg resident about the young artist from Berlin is now, as Dillon has sat down at her piano many times during the past few years and written captivating, quiet songs that definitely should be heard extremely loud. This Silence Kills was co-produced by Tamer Özgönenc and Thies Mynther in Hamburg during Winter 2011. CD housed in a deluxe digipak with fold-out poster-booklet.
BDS 5673LP SINS OF SATAN, THE: Thou Shalt Boogie Forever LP (BDS 5673LP) 11.50
Exact repro of this 1976 Detroit funk album, produced by Jimmy Roach and Al Perkins. Featuring rare groove favorite “Dance And Free Your Mind.”
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.
CADENZA 069EP BENEDETTI, DAVIDE: Through The Years 12″ (CADENZA 069EP) 14.00
Fresh blood on Luciano’s Cadenza imprint. Italian Davide Benedetti has been making unforgettable impressions over recent years with his spellbinding and peak-time music. Flooding the dancefloor with sheer force, Davide plays with the core structure of classic house and techno music on “Can’t Do This,” building the ultimate fist-punching opener that makes this a solid debut EP on Cadenza.
CARRY 003EP MOTORCITYSOUL: Carry On 12″ (CARRY 003EP) 12.50
This is the “Carry On” theme by the masters of all things house, Motorcitysoul. The sanguine composition comes in two original versions. “Carry On Cruising” breathes the skills, talents and passion of trained jazz musician Matthias Vogt. “Carry On Cowboy” has a little more dirt and a most definite C-ROCK touch! Already stashed in the saddlebags of Will Kane, Ben Cartwright, Fuzzy Jones, etc. The remix by Good Guy Mikesh & Filburt merges proto-disco elements with minimal deep house. On clear vinyl.
CAT 2611LP MCCRAE, GWEN: Melody Of Life LP (CAT 2611LP) 12.00
Gwen McCrae’s 1979 album, produced by Betty Wright. Includes the dance floor classic “All This Love That I’m Givin'” (sampled by French duo Cassius on “Feeling For You”). Exact repro, manufactured by Rhino.
GCH 26034LP BURRELL, KENNY: Recapitulation 2LP (GCH 26034LP) 15.00
Italian compilation of Detroit jazz guitarist Kenny Burrell’s 1960s recordings for Cadet Records. Songs from The Tender Gender, Man At Work, Ode To 52nd Street, Illinois Jacquet’s The Message, Hank Jones’ Here’s Love and Have Yourself A Soulful Little Christmas.
CF 001LP BROTZMANN/BENNINK: Ein Halber Hund Kann Nicht Pinkeln LP (CF 001LP) 29.00
Peter Brötzmann: soprano, alto, tenor saxophone, b-flat clarinet, bass clarinet, piano. Han Bennink: drums, piano, viola, banjo, bass clarinet. Recording: A1 & A2 recorded live by Bernhard Arndt on April 8th & 9th, 1977 during the Workshop Freie Musik at the Akademie der Künste in Berlin. A3, A4, A5 & B1 recorded by Jost Gebers on March 26th, 1977 at the Quartier Latin in Berlin. B2 to B5 recorded by Jost Gebers on March 27th, 1977, at the Quartier Latin in Berlin. Produced by Jost Gebers. This album was originally released on FMP, 1977. Original FMP catalog number: FMP 0420.
Cien Fuegos presents live recordings circa 1975 Berlin from the legendary free music duo of German free jazz saxophonist Peter Brötzmann, Dutch jazz drummer and percussionist Han Bennink and pianist/accordionist Fred Van Hove. Instrumentation: Peter Brötzmann (clarinets, alto, tenor & bass saxophone, vocals), Fred Van Hove: (piano, accordion), Han Bennink: (drums, cymbals, Schwirrholz, accordion, clarinets, floor, walls, megaphone, etc.). Recorded by Jost Gebers on Sunday afternoon, September 14th, 1975 at the Quartier Latin in Berlin. A6 was recorded live by Jost Gebers on September 13th, 1975 at the Quartier Latin in Berlin. Produced by Jost Gebers. This album was originally released on FMP, 1970. FMP catalog number: FMP 0230.
Cien Fuegos presents live recordings circa 1970 Berlin from the legendary free music duo of German free jazz saxophonist Peter Brötzmann and Dutch jazz drummer and percussionist Han Bennink and pianist Fred Van Hove. Instrumentation: Peter Brötzmann (tenor saxophone), Fred Van Hove (piano), Han Bennink (drums, gachi, shell, voice). Recording: Recorded by Wolfgang Bukatz on August 17th, 1970 in Berlin. Supervision by Hans-Dieter Frankenberg. Produced by Jost Gebers. This album was originally released on FMP, 1975. Original FMP catalog number: FMP 0020.
CINE 802DVD VA: Wheedle’s Groove DVD (CINE 802DVD) 13.00
Seattle’s Forgotten Soul of the 1960s and ’70s. “During the late ’60s and early ’70s, and decades before Nirvana, Microsoft and Starbucks put Seattle on the map, Seattle’s African American neighborhood known as the Central District was buzzing. The soul sounds of groups like Black On White Affair, Cookin’ Bag, and Cold Bold & Together filled local airwaves and packed clubs seven nights a week. As many of the bands began breaking out nationally via major record deals, television appearances, and gigs with the likes of Curtis Mayfield and Stevie Wonder, the public demanded disco and the scene slipped into obscurity. Flash forward thirty years later, local crate digger DJ Mr. Supreme unearthed Seattle’s soulful past by finding a dusty 45 single by Black On White Affair in a .99 cent bin at a Seattle record show. By 2003, he had carved out an impression of a once thriving scene with a pile of Seattle soul 45s, some of which were fetching upwards of $5,000 on the collector circuit. Supreme approached local label Light In The Attic with the idea of releasing an album compilation of his discoveries, and the result was entitled Wheedle’s Groove. At the release party, a line of nostalgic 60 year old fans and funk-hungry 20- somethings wrapped around the block as the musicians inside (currently working as graphic designers, janitors, and truck drivers), reflected on music dreams derailed, and prepared to perform together for the first time in 30 years — their performance sizzles. Narrated by Seattle’s own Sir Mix-A-Lot and featuring interviews with local soul musicians of the era, as well as commentary from Seattle native and legendary producer Quincy Jones, jazz pop star Kenny G (himself a veteran of the 1970s regional scene), and fresh perspectives from members of Soundgarden, Death Cab For Cutie, and Mudhoney, Wheedle’s Groove proves that The Emerald City’s got soul!” 87 mins approx; Color; NTSC all-region format.
CC 009-2CD JAAR, NICOLAS: Space Is Only Noise CD (CC 009-2CD) 17.00
Second edition with amended tracklisting (the track “I Got A Woman” has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar’s potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on “être,” but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with “Too Many Kids Finding Rain In The Dust,” Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on “Keep Me There,” Jaar’s voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. “How can you talk about a landscape without showing the sky and the earth?” a voice asks, translating from the French on “être.” So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast — the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music’s most exciting producers.
CCO 049LP SWOD: Drei LP (CCO 049LP) 18.00
LP version. Swod are Oliver Doerell and Stephan Wöhrmann, two musicians who met in Berlin in 1991. Ever since, they have been collaborating on various projects. Oliver plays guitar, bass and takes care of electronics, Stephan plays drums and — most importantly — the piano, the instrument which sets Swod’s trademark sound and reputation. Oliver Doerell is also a member of Dictaphone, the band with which he has released two albums and an EP on City Centre Offices so far. With Raz Ohara, he has recorded two albums so far under the Raz Ohara And The Odd Orchestra moniker. While not working on Swod, both musicians are busy working on theater productions. After 2004’s Gehen and 2007’s Sekunden, this is Swod’s third album. There is no other instrument which experienced such a glorious renaissance over the last couple of years like the piano. Heavily tempered with or as pure as possible, the piano has re-established itself as a driving force in innovative music. Ever since the release of their first album in 2004, Swod have been among the most respected acts in this genre which many falsely label “neo classical.” With Drei, Swod take their unique sound to a new level. “Sans Peau” for instance, a piece of gold for every DJ with an open mind, perfectly sets the stage for the new album. With heavy 808 toms, the right amount of noise and distortion and one of the most catchy hooklines of all times, the track is a perfect example of how the two Berlin-based musicians have fine-tuned, taken apart and reassembled both their style of composing and cutting-edge production. Fear not, though, Drei is a carefully-crafted evolution of the well-established Swod sound. It’s all there, and more. The melancholy of the piano, found sounds, delicate bass and guitar, the always-present samples of a woman we all love and worship. For the first time, however, Drei showcases inspirations and influences more prominently which had been present in the band’s earlier work, but which had been somewhat carefully buried. A deep love for the minimalists, which gives tracks like “Hellerau” or “I Am Here” an almost mechanical, sequenced feel, opens up Swod’s body of work to a whole new audience.
CORR 004EP MORE/ROMAN FLUGEL, TOMAS: Scopic Drive EP 12″ (CORR 004EP) 12.00
Roman Flügel is someone who has experienced and taken part in the many different phases of dance music. He has not only been an incredible DJ, he has also been making some of the best music of his career. Flügel’s experience runs deep, remixing the likes of Radio Slave, Daft Punk, Chicks On Speed, and so many more. Correspondant are not only excited, but also honored to present to you his remix of “Scopic Drive.”
“Here be the Spartan Dreggs, Billy Childish’s new ensemble. The Spartan Dreggs sank from the scum of the Vermin Poets – but kept the same line-up and similar songs. Once more Childish drives from the back seat, playing tug-boat bass guiatar. Wolf, of course, is playing the drum set and lead voice and guitar are supplied by the excellent Neil Palmer. Nurse Julie, with babe in arms, offers up harmony.”
LP version.
“The funkier side of SJDK. The undisputable reigning champions of soul give 12 blazing hot tracks — made famous in their infamous soul revue — their long overdue album debut. Majority unreleased — several tracks from 45s and from Daptone Gold.”
LP version.
DOY 655LP HOWLIN’ WOLF: Moanin’ In The Moonlight LP (DOY 655LP) 23.00
“1959’s Moanin’ in the Moonlight was Howlin’ Wolf’s first long-playing album for the Chicago-based Chess label. It was a compilation of previously released singles spanning an eight year period (from 1951-1958), beginning with his first single–1951’s ‘How Many More Years’/’Moanin’ At Midnight’ — which immediately shot to the top of the R&B charts, all the way through to 1958’s ‘Moanin’ for My Baby’. During the 1950s, the Wolf had two more top 10 hits, ‘Smokestack Lightnin” (perhaps his single most influential song) and ‘I Asked For Water (She Gave Me Gasoline)’, also featured here.”
DOY 656LP RUSH, OTIS: The Cobra LP (DOY 656LP) 23.00
“‘The great Chicago bluesman Willie Dixon knew raw talent when he saw it, and he saw it in the 20-year-old southpaw guitarist from Mississippi, Otis Rush. Thanks to Dixon, Rush was soon cutting singles for the Chicago-based Cobra Records, and in 1956 his first single, ‘I Can’t Quit You Baby’, shot to number six on the R&B charts. Over the next two years Rush released a total of eight singles for Cobra (all produced by Dixon), including masterpieces like ‘Double Trouble’ (featuring Ike Turner on guitar), ‘Keep On Loving Me Baby’ and ‘All Your Love (I Miss Loving)’, inventing Chicago’s West Side blues style (along with Magic Sam and Buddy Guy) along the way. These eight singles, collected here, represent one of the most outstanding moments in Chicago blues.”
DOY 657LP WILLIAMS, ROBERT PETE: Free Again LP (DOY 657LP) 23.00
“Robert Pete Williams (1914-1980) is the quintessential Delta bluesman. His songs, which tell the tale of his own life’s considerable hardships, are performed in the style of the early country blues, with only a fleeting adherence to a twelve-bar form. Much like Lead Belly, Williams was ‘discovered’ by a music historian (Harry Oster) at Louisiana’s infamous Angola prison, where he was serving a life sentence for murder. Williams, again like Lead Belly, managed to ‘sing himself to freedom’, thanks to Oster’s petitioning for his release. While still incarcerated, his first recordings appeared on the Folk Lyric label in the form of Angola Prisoners’ Blues, but by the time Free Again (as the title suggests) was released in 1961 he had been paroled to a work farm. Although the farm was better than prison, the 80-hour work week left precious little time for music. Amazingly he did manage to record and perform occasionally and Free Again, a collection of gripping solo guitar and vocal performances recorded by Oster himself in Baton Rouge on November 14, 1960, is a shining example of this.”
DOY 658LP SPENCE, JOSEPH: Music Of The Bahamas: Bahaman Folk Guitar LP (DOY 658LP) 23.00
“Music historian Sam Charters first recorded the legendary Bahamian guitarist Joseph Spence on Andros Island in July 1958 for Folkways Records. Charters was so enthusiastic about Spence’s playing that the LP, released in 1959, became one of the label’s first to be dedicated entirely to a single artist from outside the US. This reissue, long out of print on vinyl, includes three bonus tracks that originally appeared on a 1964 Folkways split LP featuring Spence and two other Bahamian musicians, John Roberts and Frederick McQueen.”
DU 065EP VA: Dynasty EP 1 12″ (DU 065EP) 12.00
Dumb Unit continues unabated into the future with Dynasty EP 1, the first of many releases for Dumb Unit Dynasty, a special yearlong focus showcasing the diverse talent of the label. “Vanitas” by Jeremy P Caulfield & Seph is a gentle storm of synths and percussion. Pherox’s rework of “Chase’s Dream” by Agaric & Walker takes one of this summer’s hits into new darker places. Pablo Denegri’s “Olga” is a deep, dark lullaby that is both powerful and persuasive.
DTD 023CD VA: I Have My Liberty!: Gospel Sounds From Accra, Ghana CD (DTD 023CD) 14.50
I Have My Liberty! Gospel Sounds From Accra, Ghana is an album of sounds and performances recorded live in 2008 from the churches of Ghana’s capital city. This album is the missing link between American gospel records by artists like Rev. Johnny L. Jones and traditional African artists like those featured on Opika Pende: Africa At 78 RPM (DTD 022CD). Amid Accra’s bustling sprawl of swirling dust and exhaust, are countless havens for homegrown musical expression: charismatic and spiritual Christian churches. There, distorted PA systems, anchored by female singers, and ramshackle guitars played by a rotating cast of local men weave in and out of popular melodies, bringing congregations to their feet. Singers emote in repeated phrases, lifted by tambourines, claps, and percussion, to unite their voices in praise and worship. I Have My Liberty! Gospel Sounds From Accra, Ghana takes listeners into these churches, where congregations join together to process the anxieties of their West African metropolis. Recorded and edited by Calpin Hoffman-Williamson, a Philadelphia-based producer and audio engineer.
EBM 022CD SHAZALAKAZOO: Karton City Boom CD (EBM 022CD) 17.00
Shazalakazoo is an electronic music band from Belgrade (Serbia) formed by Milan Djuri? and Uros Petkovi?. The band composes and performs danceable electronic bass music heavily spiced with live sounds originating from the duo’s own region — the Balkans. Their interpretation of Balkan melodies, harmonies and rhythm patterns are often intertwined with influences from Latin America and/or Sub-Saharan Africa, creating a unique musical blend which they call “Folkstep.” Electronic music has long been a privilege of the population of advanced countries or of upper classes in the developing world. With the general cheapening and increasing accessibility of computer equipment and accompanying music accessories, we now have, for the first time, electronic music made by the poor. Almost in a synchronized manner, new electronic music trends are sprouting in shanty houses across the globe. For instance, we have baile funk in Brazilian favelas and kuduro in Angolan ones; there are kwaito and shangaan electro in South African townships and tallava in karton (cardboard) cities of the Balkans. Newcomer shantytown music producers in all these different regions use almost identical methods to create their music. They first make an electronic music base on the computer to which they add elements of local traditional music and then record vocals on top of it all. The result is numerous music movements which are, substantially, and on the level of ideas, very similar to each other. This music is actually dance music, music for entertainment, a past-time. The idea of this album is to merge the elements of those fresh electronic music movements of the developing world and its diaspora with the trends of their Balkan equivalents, into an integral sound. The outcome is the booming sound of karton cities, as Belgraders refer to their shantytowns. Enjoy the Karton City Boom.
EBM 023LP SHAZALAKAZOO: Karton City Boom LP (EBM 023LP) 20.00
LP version.
ECHOSPACE AIR1 VAN WEY, BROCK: White Clouds Drift On And On 2CD (ECHOSPACE AIR1) 18.50
2011 repress, originally released 2009. San Francisco’s Brock Van Wey (also known as bvdub) has been spreading his ambient-textured deep techno to the world for the past few years with releases on Styrax, Millions Of Moments, Southern Outpost, Meanwhile, and his very own Quietus imprint. His love of abstract shapes and forms of electronic music caught the echospace label’s attention — so much in fact, that Stephen Hitchell (Intrusion, Echospace) has made his own interpretive versions as an additional album, included along with the original. This is a soundscape of subtle beauty which paints a picture of lands yet to be explored, a sonic collage filled with heartbreak, love and happiness, all played in the same key. A pure, refined sonic collage, filled with influences that could easily be said to border the surface of works by Steve Roach, Gas, Hans-Joachim Roedelius, Brian Eno, Philip Glass, Steve Reich, John Cage, or even the ambient works of Basic Channel, and yet, this still has an identity all its own. Beautiful layers of sound rush over you like waves in the ocean, a tidal wave of organics and textures so subtle, soft and virtually hypnotizing. There is a sense of space felt here which cannot be described in words, a sense of displacement which takes the listener out of their normal environment and away to someplace else. These spare musical fragments voyage off into the land of dreams, a place where everything appears to move in slow motion and hours feel like seconds. Simplicity in its own world is the most beautiful of things, an art of restraint — not to do too much but to do everything at the same time, which is exactly what Brock has perfected here. This is an absolutely gorgeous gem of the highest caliber and one that the folks at echospace consider an integral part of any ambient or electronic music lover’s collection.
RZ 1005LP SPAHLINGER, MATHIAS: Morendo LP (RZ 1005LP) 23.00
1990 release. Six compositions by the German composer Mathias Spahlinger: (“Morendo” for orchestra), (“Yon Hier” for string quartet), (“Vier Stücke”), (“Entlöschend”), (“Storung” — electronic music), (“Sotto Voce” — choral work).
RZ 1007LP RADULESCU, HORATIU: Clepsydra LP (RZ 1007LP) 23.00
1990 release. Two 22+ minute works by this Romanian composer. (“Clepsydra” for 16 sound icons [a grand piano laying vertically on its side, with the strings played by bowing]) & (“Astray” for 6 saxophones and sound icon). “Clepsydra” is a massive, rumbling work of outstanding darkness, and needs to be heard.
RZ 1008LP ICHIYANAGI/MAKI ISHII, TOSHI: Music For Living Process/Cho-Etsu LP (RZ 1008LP) 23.00
1997 release. Two pieces by Japanese avant garde composers, performed in 1973. (“Music For Living Process” for Shakuhachi, flute, harp, percussion) & (“Cho-Etsu” for Shakuhachi, shell horns, percussion, harp).
RZ 60001CD SCHERCHEN, HERMANN: Musikalisches Opfer CD (RZ 60001CD) 20.00
1993 release. J.S. Bach’s “Musical Offering” as conducted by Hermann Scherchen. Made up as a series for small ensembles (various groupings of violin, viola, cello, oboe, English Horn, flute, bassoon & harpsichord).
EF 040EP DENTON, ARTHUR JAMES: An Odyssey 12″ (EF 040EP) 15.50
An Odyssey is the second release by new artist Arthur James Denton on Endless Flight. The title track is a dark Chicago house track. “Loon” is funky rave house track. Legowelt’s remix of “An Odyssey” is a more tech house style.
ERATP 033LP FRAHM, NILS: Felt LP (ERATP 033LP) 23.00
LP version. Berlin-based pianist Nils Frahm is already a firebrand in the modern classical world, collaborating with contemporaries such as Peter Broderick, Ólafur Arnalds and Anne Müller. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. He finally returns with the successor to his highly-acclaimed solo piano works Wintermusik (ERATP 018CD/LP) and The Bells (ERATP 021CD). Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on your headphones and dive into a world of microscopic and delicate sounds — so intimate that you could be sitting beside him. Recorded late at night in the reflective solitude and silence of his studio in Berlin, Frahm uncovers a new sound and source of inspiration within these peaceful moments: “Originally I wanted to do my neighbors a favor by damping the sound of my piano. If I want to play piano during the quiet of the night, the only respectful way is by layering thick felt in front of the strings and using very gentle fingers. It was then that I discovered that my piano sounds beautiful with the damper.” Captivated by this sonic exposition, he placed the microphones so deep inside the piano that they were almost touching the strings. This brought a host of external sounds to the recordings which most producers would try their hardest to hide: “I hear myself breathing and panting, the scraping sound of the piano’s action and the creaking of my wooden floorboards — all equally as loud as the music. The music becomes a contingency, a chance, an accident within all this rustling. My heart opens and I wonder what exactly it is that makes me feel so happy.” Felt creates its own personal microcosm, offering a refuge of tender and honest beauty.
ERATP 034EP FRAHM, NILS: Juno 7″ (ERATP 034EP) 12.00
Berlin-based pianist Nils Frahm presents Juno, recorded and mixed by Frahm in his Durton Studio. “This session was recorded in just one night sometime in the beginning of 2010. Peter Broderick loved the sound of this synthesizer so much, he asked me to record some solo sketches with it. This is what I came up with. I didn’t use any overdubs or punch-ins. See it as a synthesizer solo performance.” –Nils Frahm; cover photograph by Peter Broderick. Includes download code.
ERATP 035EP BRODERICK, PETER: Old Time/Solace In Gala 7″ (ERATP 035EP) 12.50
Following on from his contemporary dance scores Music For Falling From Trees and Music For Congregation, 2011 will see Peter Broderick return with a brand-new work released on Erased Tapes Records, entitled Music For Confluence. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions. This double A-sided single includes a download code for the full 14 track score for Music For Confluence.
ERATP 036CD BRODERICK, PETER: Music For Confluence CD (ERATP 036CD) 15.50
New-Berliner Peter Broderick has established himself as a composer in his own right, may it be as a touring member in Efterklang, collaborating with label mates Nils Frahm and Dustin O’Halloran, or most recently, working on the Last Night soundtrack with Clint Mansell. His innate gift as a musical medium, picking up any instrument to turn his musings into songs, has won the 24-year old American composer many hearts worldwide. Following on from his contemporary dance scores Music For Falling From Trees and Music For Contemporary Dance, Broderick returns with a brand-new work entitled Music For Confluence. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions. In his own words: “I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes. So, with my minimal equipment … I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year’s Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording ‘Old Time,’ a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering.”
“Deep archeology into a long buried and previously undocumented chapter in the history of the early ’70s loft era brings forth the revelatory Father of Origin, Eremite’s box set retrospective of percussionist/bassist Juma Sultan’s Aboriginal Music Society. Drawn from Sultan’s mammoth private archive of recordings, this ground-breaking set includes two audiophile LPs and a CD, a 28 page 12×12′ book featuring previously unpublished photographs and ephemera and a detailed historical essay by jazz scholar Michael Heller, all manufactured to highest quality-freak standards. This old-school multi-media extravaganza exposes some of the most extraordinary and explosive free jazz of the period to the light of day for the first time. Established by Sultan and percussionist Ali Abuwi in Woodstock in 1968, Aboriginal Music Society was both a radical arts presenting organization and a killer band. Dedicated to musician self-sufficiency and stubbornly non-commercial, AMS waged guerrilla cultural warfare against mainstream America from strongholds in rural Woodstock and from lofts on New York’s Lower East Side. For ten years, Sultan and the loose alliance of like-minded musicians in AMS produced independent concerts, owned and operated its own recording studio, and collaborated with legendary artist-run New York loft space Studio We on performances and educational programs. But during that whole time, they never released a record. Inspired by an emerging understanding of African cultures and the political ideas of the black power moment, AMS synthesized an African approach to percussion and collective performance with the revolutionary jazz of its day. In open-ended free improvisations they played an incendiary mix of massive trap kit and hand drum grooves and heaven-storming free jazz. The music was a cry of freedom, a declaration of black cultural artistic and political independence; and until now it has not been heard since the day it was made. The first of the set’s two LPs, a 1970 Boston studio date, features a New York-Woodstock sextet–including Sultan, Abuwi, Dinwiddie, Wilson, Walsh, and Cross–engaged in a characteristically percussion-heavy improvisation. The other vinyl disc features a private jam session by Sultan, Abuwi, and saxophonist Frank Lowe at the Broadway headquarters of AMS. Recorded in April 1971, it predates by several months Lowe’s recording debut on Alice Coltrane’s World Galaxy. The CD features yet another historic meeting–an undated concert with the Woodstock crew and a trio of Midwesterners recently relocated to New York–saxophonist Julius Hemphill, cellist Abdul Wadud, and drummer Charles ‘Bobo’ Shaw, all members of the St. Louis music and arts collective, Black Artists Group. Father of Origin is presented in a heavyweight telescoping box in paper wraps screen-printed by Alan Sherry at Siwa, who also screen-printed the LP sleeves, CD jacket & additional loose memorabilia.”
“For this album Greg Kelley plays trumpet and Olivia Block plays electronics and piano.”
“Jerome Noetinger plays tape machine Revox, and electronics; Will Guthrie plays drums, percussion, microphones, and electronics.”
FIRE 143CD ADVERTS, THE: Crossing The Red Sea With The Adverts CD (FIRE 143CD) 18.50
“Fire Records reissue the 1978 classic debut punk record Crossing the Red Sea with the Adverts. Released after an ever growing live following and the string of successful chart hits the Adverts’ debut has cemented its place in punk rock history. The reissue includes the extra single and live bonus tracks.”
FIRE 179CD GIANT SAND: Chore Of Enchantment CD (FIRE 179CD) 16.50
“Realized through tragic circumstances, the passing of Rainer Ptacek and the birth of Calexico, it all came together at the end for Giant Sand. Arguably Giant Sand’s finest album, the fruits of an astounding story and the mesmerizing high point of the 25th anniversary reissue series.”
FGR 029EP CONGOROCK: Babylon 12″ (FGR 029EP) 11.00
“Congorock’s enormous international club hit is available on vinyl for the first time ever. Featuring the indelible vocals of dancehall hero Mr Lexx and massive, bass heavy remixes from Proxy (Turbo) and Riton (Carte Blanche — Ed Banger), it’s a hard-hitting, genre-disregarding jam.”
FGR 033EP K.L.A.M.: Funky 4 12″ (FGR 033EP) 11.00
“Following a series of triumphant festival gigs and remixes for the likes of Major Lazer, MIA, The Prodigy and Kid Sister, K.L.A.M. comes screaming back with an original release on Fool’s Gold, the dancefloor flash grenade ‘Funky 4.’ The tune is a cheeky nod to the group’s breakbeat past, but its frantic snare rolls and staccato bass thumps are undeniably right on time. Smash remixes by dirty house titans The Martin Brothers and two-stepping upstart Hot City round “out the release, while dark and dubby b-side ‘South London A1 Sound’ offers another look at where K.L.A.M. are headed today.”
FGR 036EP TREASURE FINGERS: Keep Up 12″ (FGR 036EP) 11.00
“Keep Up is the latest gem to emerge from the Treasure Fingers dance lab: four minutes of vocoder funk, throwback freestyle synths and candy-sweet vocals, backed by two huge remixes: Jackson (Warp) who delves into previously uncharted big-room territory with his synthed out ‘Uro Trans’ mix and house legend Kenny Dope (Masters At Work) nods to his NYC classics with a massive and appropriately titled ‘Rowdy Remix’ sure to set fire to late nights everywhere.”
FREUDE 053EP HEMMANN, MAREK: Infinity EP 12″ (FREUDE 053EP) 12.00
Marek Hemmann captures the melodiousness and laughter of a complete club night with Infinity. Here, the poles of happiness and dreaminess switch back and forth, taking emotional dance music to a new level. The sparrows are already warbling from the rooftops that a new album is forthcoming — this small teaser features tracks that will massively blast the dancefloors of the world. On “Roundabout,” Marek ventures into the breaks-dub-drum’n’bass-realm, injecting it with a powerful dose of Hemmann medicine.
FRIGHT 003EP NAUM GABO: The Crystal Line 12″ (FRIGHT 003EP) 12.00
Naum Gabo aka Jonnie Wilkes (1/2 of Optimo) and James Savage have come up with three tracks specifically tailored for Fright — three mid-tempo and melancholic gems that also maintain an unmistakable NG groove for the stranger dancefloors. An absolute highlight, “The Crystal Line” is dedicated to the late, great Kurt Hauenstein aka Supermax. Superbly cut LOUD at 45rpm, this epic tribute is what vinyl addicts dream of hearing.
GED 009EP COOLIN’ SYSTEM, THE: I Need Some Money 7″ (GED 009EP) 11.00
“Nashville soul-jazz heavyweights the Coolin’ System return with their sophomore 7″ on G.E.D. Soul Records. This smoking 45 features two tracks recorded during the band’s residency in G.E.D. Soul’s Poor Man Studios for their self titled debut full length. The A side showcases a scorching rendition of Eddie Harris’s ‘I Need Some Money’ featuring A.J. Eason, the label’s resident soul shouter holding down vocal duties. The Coolin’ System’s above average musicians and A.J. Eason’s rough and tough vocal performance make this Eddie Harris tribute stand toe to toe with the original.”
GED 1004CD SKY HI: Testify CD (GED 1004CD) 15.00
“The new album from Nashville modern funk collective, Sky Hi, is a testament to the group’s longevity. Nearing their tenth year, the band has weathered every manner of lineup changes and reinvented themselves more than a few times. But the current lineup, as it stands, brings something very special to the table. A slew of different styles and influences converge to create something palpable and unique. It has the grit and the raw essence of old school hard soul but also liberal splashes of modernity.”
GED 1004LP SKY HI: Testify LP (GED 1004LP) 18.00
LP version with mp3 download.
“Here are two ultra-rare and as yet un-reissued Exploito LPs from 1968. Mind-blowing titles, crazy sound effects, mystical instruments, discordant guitar work and outright and far out sounds from a time when who could be the weirdest won awards!”
GET 52711CD OL’ DIRTY BASTARD: Return To The 36 Chambers: The Dirty Version 2CD BOX (GET 52711CD) 28.00
“It’s safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard’s 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB’s unhinged genius provided by Wu-Tang Clan’s landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. In honoring the legacy of one of hip-hop’s most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard’s Return to the 36 Chambers: The Dirty Version on double CD, which contains the complete original album, remastered for optimal sound quality, plus a 13-track second disc featuring remixes, a capellas, instrumentals and rarities from the Return to the 36 Chambers sessions. The two-disc set comes packaged in a deluxe bill fold wallet, designed especially for this release, which includes a reproduction of the laminated food stamp card featured on the album’s iconic cover art. Also included are a vintage ‘On Tour’ poster, promotion sticker, extended artwork and detailed liner notes.”
GET 54044CD VA: Breakin’ Original Motion Picture Soundtrack CD (GET 54044CD) 17.00
“Inspired by a German documentary about the emerging breakdance phenomenon in Los Angeles, the 1984 film Breakin’ is for many a reference point for the explosion of hip-hop in the United States and across the world. With its colorful cast of characters and dazzling array of dance moves, the movie became an international hit and the soundtrack captures the sounds that inspired an entire generation of breakers and b-boys to push their craft to new heights. Anchored by the Billboard Top 10 hit single Breakin’… There’s No Stopping Us Now by Ollie & Jerry, Breakin’ pulses with the electric funk beats and early hip-hop flavors–including The Bar-Kays ‘Freakshow on the Dance Floor’ and ’99 1/2′ by Carol Lynn Townes — guaranteed to get the dance floor rocking. Featuring additional appearances by Chaka Khan, Re-Flex and a young L.A. rapper named Ice-T (who also appears in the film), the Breakin’ soundtrack is an essential album for all breakers, poppers, lockers, b-boys, and b-girls, or any fan of hip-hop and disco. In continuing their commitment to producing first-class reissues of landmark records, Get On Down is proud to present Breakin’ in a brand-new CD release, featuring remastered sound and a reproduction of the original movie poster, all presented in six-panel digi-pak.”
GET 54045CD IMPOSSIBLES, THE: Hot Pepper CD (GET 54045CD) 15.00
“The rise to fame of the talented Impossibles is one which will never be described as such. Historically regarded as a legendary and iconic ’70s era string-pop band in their native land of Thailand, the Impossibles became well known internationally for their covers of Western rock songs. In 1975, the Impossibles became the first band in the history of Thailand to sign a recording contract with an international firm (Phonogram). Hot Pepper — an all English language recording, was also the first such album recorded overseas by a Thai pop group. In addition to rock and pop, the band’s sound frequently crossed over into funk, R&B, country and folk. Two covers of Kool and the Gang tracks (‘Give It Up’ and Love The Life You Live’) appear on their heralded 1975 album Hot Pepper. Get On Down is proud to present the Impossibles 1975 album Hot Pepper available for the first time ever on compact disc. The album features audio completely remastered from the original audio tapes and comes packaged in a four panel digipak.”
GZH 036LP KNOX & FREDERIC D. OBERLAND, RICHARD: The Rustle Of The Stars LP (GZH 036LP) 25.50
A music related concept by Richard Knox and Frédéric D. Oberland. 450 km from the Arctic Circle, The Rustle Of The Stars is a phenomenon of austere beauty, a barely audible noise that occurs when the draught from human breath causes multiple collisions among the ice micro-crystals in the air. Some words from Richard & Frederic: “We met on tour when performing in Europe with our respective bands Glissando and FareWell Poetry. We had beautiful times, drinking and talking our common grounds while some simple ideas formed in our minds: to compose an album together. To imagine a musical passage through the North Pole explorer diaries. To ask some people and some friends to participate. To record the project in a church. To act quickly. We began to work at our homes in November 2010, in Paris (FR) and in Leeds (UK), with electric guitars, a bunch of pedals, piano, dulcimer, organ, crystal glasses, bows and field recordings, sending and adding ideas together to the tracks, trying to find a global organic sound. We met in Leeds two months later at the beginning of 2011 to record in the St. Margaret of Antioch Church, using a ‘wall of sound’ process in some of the tracks and arranging/recording the string parts you will hear in the music. We would like to think of this album as a polar journey to the ends of the earth through the Arctic Sea. We kept in mind the first polar expeditions, Edgar Allan Poe’s ‘Dream-Land,’ the ships trapped or crushed by ice, the point of no return, the minds sinking, the attempt on the Pole ending in disaster, the quest of the Northwest Passage, Erebus & Terror, the Mercy Bay, Mangazeya, Charles Francis Hall, Beechey Island, the midnight sun and the polar night.” Limited edition pressing of 300 numbered/heavyweight LPs with artprint/postcard and download code.
GR 730CD DAKOTA SUITE/QUENTIN SIRJACQ: The Side Of Her Inexhaustible Heart 2CD (GR 730CD) 20.00
“Life is only in a personality and every personality is based on dark ground, but this ground must be knowledge.” –J.W.F Shelling”All my records are about my life with Johanna, my recognition that I am so very lost without her, the knowledge that she sustains and nurtures me. I have made each song for her from the start. I set out to write songs to celebrate who she is — more than I have ever done before, I wanted to recognize that she makes me whole, that even though I have often pushed her away and caused her almost unbearable emotional pain due to my inability to see a way through this life, the trial and struggles of not feeling like I belong in it, feeling the world touches me too hard — and through all this, she will not let me go. Meeting Quentin in November 2009 was like meeting someone cut from the same tree. When I talked to Quentin about the way the world is, he seemed to have examples of his own that matched mine, the way he played piano showed me he stood up to his ankles in the same muddy water as myself. I sent Quentin sketches on guitar and piano of these pieces and over many months he worked to arrange the pieces as you hear them now. These pieces took hundreds of hours of fine tuning and listening to unbelievably small sections and examining them for truth. The idea was not to play if we didn’t have to. I have always been inspired by two musical icons, Arvo Pärt and Bill Evans, and if they have taught me anything, it’s that you MUST not play anything if it isn’t required. This music is all about the truth, the truth of who she is, the truth about what sustains me. The quiet places, the moments and minutes that make up who she is.” –Chris Hooson
EFG 7341LP MARTINEZ, SABU: Afro Temple LP (EFG 7341LP) 11.50
Outrageous exact repro of Afro-Cuban conga player Sabu Martinez’s last album, recorded in Sweden in 1973. Total cult exotica record that reaches for the highest WTF status, filled with Afro-funk and Latin-inflected jazz and breaks. In a perfect world, the song “All Camels Hump” hump would be a go-to stadium anthem.
GRCD 4337CD WALLUMROD, SUSANNA: Jeg Vil Hjem Til Menneskene CD (GRCD 4337CD) 17.00
Susanna Wallumrød is one of Norway’s finest and most distinctive vocalists. Jeg Vil Hjem Til Menneskene (trans. “I Want To Go Home To The People”) is her first Norwegian-language album. All the lyrics were taken from the writings of poet Gunvor Hofmo, whose profound ability to express human longing, loss and a sense of wonder in the presence of both evil and beauty in life struck a chord with Susanna Wallumrød. Wallumrød became interested in Gunvor Hofmo in 1999, when she received the Christmas book Jeg Glemmer Ingen (trans. “I Forget Nobody”), published by Gyldendal Norsk Forlag, presenting 15 unknown poems by Hofmo. Wallumrød’s interest in Hofmo intensified a few years later after reading Jan Erik Vold’s Mørkets Sangerske (trans. “Singer Of Darkness”), about Hofmo. She was inspired to set Hofmo’s poems to music one evening in 2009 during a conversation with Håvard Rem about the poet. Gunvor Hofmo (1921-1995) published her first collection of poems, Jeg Vil Hjem Til Menneskene (“I Want To Go Home To The People”), in 1946. Altogether, she had 700 poems and 20 poetry collections published. She is regarded as one of Norway’ most significant modern poets and as one of the powerful voices of the post-war generation. Susanna Wallumrød has established herself as one of Norway’s top musicians with her duo Susanna And The Magical Orchestra (with Morten Qvenild) and as a solo artist. She has released three albums with Susanna And The Magical Orchestra and two solo albums, and has attracted attention both at home and abroad. Wallumrød has received glowing reviews and has given concerts all over the world. Her music has been heard on the successful series Grey’s Anatomy, and she has collaborated and toured with the American artist Bonnie “Prince” Billy. Jeg Vil Hjem Til Menneskene is an encounter between two of the most prominent of the melancholic Northeners. The album was recorded in Stockholm in ABBA’s old studio, Atlantis, and was produced by Helge “Deathprod” Sten. Susanna Wallumrød put together a dream-team of musicians for the recording: Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal), Hans Magnus Ryan (Motorpsycho), Jo Berger Myhre (Solveig Slettahjell, Splashgirl) and Erland Dahlen (Nils Petter Molvær, Madrugada, Xploding Plastics).
HJR 059CD PINCH & SHACKLETON: Pinch & Shackleton CD (HJR 059CD) 17.00
Pinch & Shackleton’s self-titled release finds the two dubstep pioneers at the top of their game. The deadly concision, the rhythmic punch and dramatic timing, the spry, side-to-side detailing of a cavernous stage, the crisp-biscuit vocal sampling and Middle Eastern percussion — their sound signatures are not so much totalled as squared. Truly an album, the music is multi-leveled — dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.
HJR 059LP PINCH & SHACKLETON: Pinch & Shackleton 2LP (HJR 059LP) 20.00
Gatefold 2LP version.
A vanguard of electronic music, Oliver Huntemann’s truly universal appeal lies in his ability to consistently produce some devastatingly brilliant electronica, illustrated by the fact that he has remixed the likes of Underworld, the Chemical Brothers and Depeche Mode. The longevity of Huntemann’s distinguished career rests upon his ability to consistently progress and develop his sound. Despite this constant evolution, few would argue that Huntemann is synonymous with an honest brand of deep and intricate electronica which is evident on this exciting new release. The precision and skill with which Oliver Huntemann expertly engineers his songs together with his studio wizard and co-producer André Winter is once again apparent on Paranoia, which maintains the lofty standards already set by previous albums and his musical output. On Paranoia, Oliver Huntemann’s prowess and versatility as a producer is evident, from the space-age minimalism of “Magnet,” through to more melodic, upbeat productions such as “The End,” in which warm sounds resonate through the listener. Moreover, tracks such as “Phantom” and “Tranquilizer” are sure to appeal to those who love techno that is expertly programmed and synth-heavy, creating dramatic sonic soundscapes, which transport the listener away to another world. Paranoia features a number of beautifully-crafted tracks aimed purely at the dancefloor which are guaranteed to excite Huntemann’s legions of fans. Both “Delirium” and “Dark Passenger” are “heads-down” tracks full of pulsating bass, thudding rhythms, twisting synths and metallic industrial sounds, and are guaranteed to be a favorite for many DJs. Similarly, on the hypnotic “Rotten,” a spoken-word vocal is looped over a robotic beat which captivates the listener, drawing you deep into the song’s core. The calibre of the vocalists which feature on the album illustrates the high regard in which Oliver Huntemann is held by his peers. “Hope” sees a notable appearance from the world-famous and highly sought-after American vocalist Robert Owens, whose mesmerizing vocal contributes to produce an anthemic tune which is undoubtedly one of the album’s standout tracks. Also from prime electronic stock is the supremely talented Danish singer Ane Trolle, who has previously worked with Trentemøller. On “Wahnfried” she lends a wonderfully delicate vocal to a slow and intense atmospheric beat. And to make the release even more special, there is a free bonus DVD with an accompanying set of videos. Oliver has commissioned a hand-picked group of global film-makers, and some musical peers in Sebrok and Xenia Beliayeva, to produce a video for each track. The videos further explore the themes from the album, and are a fantastic addition to the release. Once again Huntemann has delivered a compelling and memorable album which keeps drawing the listener back into its darkest depths again and again. DVD is European PAL format, region-free.
IMV 5091DVD REED, LOU: Live Performances 1972 & 1974 DVD (IMV 5091DVD) 17.00
“As the lead singer and songwriter of the Velvet Underground in the 1960s, Lou Reed helped invent punk rock and while writing about femme fatales, black angels and heroin. Having seen him live since the Velvet Underground, his shows are always brilliant. Filmed in 1972 for French television, Lou is joined by frequent bandmates from this era. A true classic.” NTSC format, region 0. 5.1 audio. Running time: 45 minutes.
IMR 007CD TRENTEMØLLER: Reworked/Remixed 2CD (IMR 007CD) 21.00
Anders Trentemøller has become one of the most respected names in cutting-edge electronic music. His rise to notoriety was sparked by his early, techy releases for Poker Flat and Audiomatique and has since gone on to stellar highs with his own personal take on the genre, spanning, pop, rock, indie and classical. Now, this special double CD release celebrates some of the producer’s favorite remixes he completed for other artists, and also some of his personal picks where other musicians have reworked his music. With over 20 super-slick productions to choose from, this is a real treat for any Trentemøller fan, or indeed a great introduction into his sound — from crisp electronic beats, to atmospheric and filmic moments, to heavy post-rock mutations and beyond. All the reworked tracks are taken from 2010’s Into The Great Wide Yonder album (IMR 002CD-LTD/LP), which fused melancholic, emotional melodies with a more indie/electro-rock studio focus. This double CD packs so many quality songs and productions, it’s hard to list them all, yet highlights on CD1 include the introductory swathes of Marie Fisker’s wonderfully contemplative version of “Sycamore Feeling,” taking us into lazy, hazy hypnotic waves of neo-folk. “Tide” flows in as three different versions: Efterklang’s beautiful new remix, a Trentemøller version, and Modeselektor’s dirty ride with plenty of lo-fi synths fusing with high-end production. There’s also a remix by Andrew Weatherall, and the main man’s remixes of artists like UNKLE, The Dø, Franz Ferdinand or Modeselektor featuring Thom Yorke — all must-have modern works, also including Kasper Bjørke’s tender “Does Not Matter” which is re-shaped by Trentemøller. On CD2 we find even more electronic versions, kicking off with Trentemøller’s foreboding new mix of his own “Neverglade,” before we hear his interpretations of Efterklang’s “Raincoats” or the heroic version of Depeche Mode’s “Wrong.” I Blame Coco provide their brilliantly different interpretation of “…Even Though You’re With Another Girl,” featuring the new recorded vocals of Coco Sumner. “Even Though…” is also reworked by Kollektiv Turmstrasse providing a stylish mixture of pop-meets-deepest-electronica. Furthermore, we discover brilliant reworks of bands like Mew, Giana Factory and Chimes And Bells. UNKLE, maverick UK producer James Lavelle’s ambitious ongoing project, reaches out into filmic, spacey zones with their remix of Trentemøller’s classic “Neverglade.” Among UNKLE’s version and the bristling, tense electronic remix by Trentemøller himself, this track also appears as an instrumental version. Trentemøller Reworked/Remixed is a beautiful journey into the musical world of one of the best producers and musicians today, enriched with reinterpretations by some of the most interesting artists.
IRL 003CD THROBBING GRISTLE: Throbbing Gristle Bring You… 20 Jazz Funk Greats 2CD (IRL 003CD) 21.00
Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle’s pop-influenced masterwork. It’s hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album’s front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song “Hot On The Heels Of Love” is far removed from the dissonant nihilism of the previous TG albums. It’s a sleek, minimal synth-pop song that foreshadows Tutti’s later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of “Persuasion” and “Six Six Sixties” is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TG’s third album is far ahead of its time and still sounds as relevant as ever. The CD version includes a bonus CD of live recordings, including two versions of the manic classic, “Discipline.” The 8-page full-color book includes visual ephemera and previously-unpublished photographs. Cover artwork has been painstakingly restored from the original source material.
IRL 003LP THROBBING GRISTLE: Throbbing Gristle Bring You… 20 Jazz Funk Greats LP (IRL 003LP) 23.00
LP version. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. Each vinyl release is limited to 2,000 copies.
JMAN 043CD CONTRERAS, TINO: El Jazz Mexicano De Tino Contreras CD (JMAN 043CD) 17.00
Jazzman’s never-ending mission to reveal the under-appreciated-yet-worthy-of-attention jazz masters around the world has now taken them far away and across the sea to Mexico. Not the first port of call you’d consider if you were looking for hard bop or modal jazz, but here they have found an incredible jazz drummer whose career has spanned over 5 decades, and who is still playing to this day. In that time, Tino Contreras has produced countless recordings, played innumerable live dates and performed with various jazz groups all around the world. Yet he is still relatively unknown, and probably Mexico’s best-kept jazz secret. During his far-reaching travels over the years, all kinds of weird and wonderful sounds have come to influence the music of the imaginative Mexican jazzman. Hear Latinesque ritual chants on “Orfeo En Los Tambores,” insane percussion on the high-tempo jazz-dance favorite “What Is This Thing Called Love,” avant-garde experimentation with a psychedelic subframe on “Orbita,” exotic waltz-time jazz on “Visnu” and religiously-themed chamber jazz with choir on “Credo,” Santo” and “Gloria.” Not only that, but noted influences from India, Egypt, Turkey and Brazil create a most fascinating jazz album, the likes of which you will most likely never have heard before. Jazzman tells the story of the maverick that is Tino Contreras, showcasing his unique and fascinating career with 16 tracks, a 12-page color CD booklet. Includes extensive original liner notes in both English and Spanish with comments from Tino himself.
KMLP 001LP DR. ALIMANTADO: Best Dressed Chicken In Town LP (KMLP 001LP) 19.00
“Reissue of the drop-dead classic album from 1978, Alimantado with Horace Andy, Lee Perry, King Tubby, Gregory Isaacs, Jah Woosh, Jimmy Radwell and Jackie Edwards. Recorded in several sessions, at the Black Ark, Channel One, Randy’s and King Tubby’s studios, it was the first album put out by Greensleeves, now reissued by the good Dr. himself on his Keyman label. Alimantado’s graffiti, daubed round Westbourne Park and Notting Hill back in ’78 survived longer than any Banksy could, without a sliver of perspex in sight.”
CDA 041CD VA: Kitsuné Maison 12: The Good Fun Issue CD (CDA 041CD) 15.50
Here is the 12th edition of the Kitsuné Maison compilation series with The Good Fun Issue. Kitsuné’s head-honcho and brain behind its renowned compilation series, Gildas Loaëc, is letting us discover it for the first time on headphones because his young sons are sleeping next door. However, the energy is more present than ever in the spontaneous musical outbursts gathered in this new edition and which were, of course, conceived in bedrooms, kitchens, garages, etc. These tunes sure don’t beat around the bush and never fail to provoke emotions or make you wanna jump up with joy. Artists include: Citizens!, Computer Magic, The Cast Of Cheers, Housse De Racket, Oliver, Mark Ronson & The Business Intl., Plastic Plates, White Shadow, The Magician (feat. Jeppe), Fabian, Lemaitre, Juveniles, Theme Park, Plaintext, New Navy, Man Without Country, Trophy Wife, Tesla, Heartsrevolution and Pyramid.
KOM 236EP COMA: Gravity 12″ (KOM 236EP) 12.00
“Gravity” perfectly captures the raw energy of Coma’s live sets. Highly infective staccato bass lines and a thrilling storytelling characterize this class-A stomper. The flipside tracks operate on a deeper level. “Total DLY” sounds like an homage to The Modernist with its jumpy yet elegant chord patterns, while the lullaby-ish “Fiction” is the perfect end-of-the-night track, complete with a tender vocoder chorus. What sets Coma apart from most of their competition is their capability to create emotive, highly recognizable music.
LBOP 003LP ZE, TOM: Brazil Classics 4: The Best of Tom Ze LP (LBOP 003LP) 20.50
Vinyl issue of the 2005 CD release. Tom Ze’s best songs compiled by David Byrne. “Tom Zé continues to feed off of these conflicts in Brazilian life. His music reflects an acute awareness of what is going on. You can hear it without understanding the lyrics… Tom Zé’s is music which gives us hope. Music that finds beauty in strange place.” –David Byrne
MINIMAL 008LP REIHSE, ANDREAS: Romantic Comedy LP (MINIMAL 008LP) 18.00
LP version. Andreas Reihse has been well known since 1994 in his role as a musician with Kreidler. Sometimes he releases club music using his alias April or with Detlef Weinrich (Kreidler, Tolouse Lowtrax) as Binford on labels like Italic, Onitor or Smoothrooms. He has also composed soundtracks for films and installations (Rosemarie Trockel, Maximilian Zentz Zlomowitz, Thea Djordjadze, Andreas Gursky, Frances Scholz/Mark von Schlegell, among others). Romantic Comedy is music for dark clubs, for places without much light and oxygen — it’s driving, percussive dance music. A comedy in six acts: from L.A. to Düsseldorf and back. Of course it’s a romantic comedy, a bittersweet romance full of memories and a bit of sorrow. The title “Der Lange Weg Nach Düsseldorf” reminds of Mittagspauses Der Lange Weg Nach Derendorf, the district of Düsseldorf where Reihse and Stefan Betke/Pole in the late ’80s shared a rehearsal room. “Langeweg” also was the address of Klaus Dinger’s studio in Zeeland. The titles of the other pieces refer to dubious characters that show that the trip on the West Coast makes stops in Manchester, Milano, Brussels and London, without forgetting Charlottenburg and Williamsburg — places that hold up against oblivion and reinvent themselves. Your club needs you.
MEX 098EP APACHE DROPOUT: Radiation 7″ (MEX 098EP) 5.50
“2011 was the year Apache Dropout cracked your dome. Lift the tonearm in your mind and drop the needle on the new single by Indiana’s finest rock and roll trio. Born from the wreckage of the bands Lord Fyre and John Wilkes Booze, the ‘Drop rattles the chains of acid’s hallowed hallways. Radiation bemoans the state of isotopes in our own bodies in the groovin’ garage dance party of our own demise. ‘School Girl’ keeps tabs on our nation’s youth in similar fashion, and the EP closes out with ‘Born to Die,’ a sensitive, forlorn ballad that’s the first song of its kind from said outfit.”
MEX 100EP FORD & LOPATIN: Snakes/Flying Dream 12″ (MEX 100EP) 15.00
“For our 100th release, Mexican Summer proudly presents an extremely special one-off: two productions from Ford & Lopatin quite unlike anything heard from them to date, featuring guest appearances from label mates Tamaryn and Shannon Funchess (Light Asylum). Limited edition of 750 pressed, clear vinyl, screen printed inner sleeve, large one-sided poster.”
MK 321LP LEWIS, FURRY: I Will Turn Your Money Green 2LP (MK 321LP) 17.00
Restocked, lower but not-quite cut-out pricing. “One of the great Memphis bluesmen of the 1920s, Furry Lewis was one of the only bluesmen of his generation to achieve widespread fame with the blues revival of the 1960s, after a recording hiatus of nearly three decades. He began his recording career in 1927 (his first session is found here) and his prowess on his instrument, along with his natural flair for storytelling, immediately set apart from so many other struggling young bluesmen. Songs like ‘John Henry’ and ‘Casey Jones’ are some of the greatest blues narratives ever recorded, and have long since become standard blues fare. Although Lewis remained an amazing musician up until the end of his life, even opening for the Rolling Stones during these later years, and appearing on the ‘Tonight Show’, these sides represent his best material, recorded at the end of the roaring twenties, when Lewis was a young man and at the height of his abilities.”
MK 323LP BEALE STREET SHEIKS, THE: Chicken You Can Roost Behind The Moon LP (MK 323LP) 15.00
Restocked, lower but not-quite cut-out pricing. “The Beale Street Sheiks was the moniker used by Memphis guitar duo Frank Stokes and Dan Sane for their Paramount recordings (made in Chicago in 1927 and 1929). Stokes (1887-1955) was one of the earliest Memphis bluesmen, and his distinct vocal and guitar style has been imitated by many bluesmen since. Not only did he have a truly distinct style, but his repertoire was one of the most enormous and diverse in the history of blues, and his songs have become a living history of a bygone era. Although W.C. Handy is often cited as the father of Memphis blues, many scholars believe Frank Stokes to be its true originator.”
MULE 085EP CAZUMA & ANDREAS: Eld & Djupa Vatten 12″ (MULE 085EP) 15.50
Mule Electronic welcomes old friend Andreas aka Swell Session/Statless/Andreas Saag. Andreas is a well-known artist in the nu jazz scene and has already released lots of great material. Recently he moved to Berlin from Gothenburg, Sweden and into more electronic music. This time he teamed up with friend Cazuma, who has previously released two singles on Berlin label Kurbits Records. Both tracks are high quality modern house music.
NW 80716CD GARLAND, PETER: Waves Breaking On Rocks CD (NW 80716CD) 15.00
“Peter Garland (b. 1952) studied with Harold Budd and James Tenney at Cal Arts and had long student-mentor friendships with Lou Harrison, Conlon Nancarrow, Paul Bowles and Dane Rudhyar. Like Harrison, Garland has forged his own musical vocabulary as a kind of new indigenous music, celebrating pan-cultural experience and vision, and is unafraid to suggest that music can still give us a glimpse of that which is sacred. Waves Breaking on Rocks (Elegy for All of Us) (2003) is a suite of elegies that was composed for and commissioned by Aki Takahashi, Garland’s long-time friend and collaborator. The work’s six movements are composed for lost friends or are personal responses to the cycles of life and the recurrence of the seasons. Together, they form a structure for the whole that elegizes both our togetherness and our impermanence. Garland’s musical approach to the piano emphasizes resonance, space, and color. The piano is a sculptural whole in this music, in which phrases, melodies, and songs seem to be carved from the keyboard rather than imprinted from without.”
NW 80722CD BLACK/JOHN MCDONALD, ROBERT: Modern American Bass 2CD (NW 80722CD) 30.00
Performed by Robert Black (bass) and John McDonald (piano). “In the twentieth century, a series of instruments and ensembles have found their repertoire expanding exponentially and their place on the classical stage suddenly front and center, instead of accompanying from the wings. The contrabass and viola were the last of the string instruments to make the leap to this prominence, and Robert Black’s recital on these discs shows the remarkable emergence of the former as a leading voice for the most intimate and imaginative musings of American composers from the last century. Black’s program falls into two parts. Disc 1 features music for bass and piano, Disc 2 the instrument unaccompanied. It also breaks down chronologically, with the former works largely earlier and more traditional in character, the latter later and more experimental/avant-garde. The works for accompanied bass show the first step taken toward instrumental ‘equality’: it becomes a lyric partner with the piano like any other string instrument. Composers come to realize that the exceptional range of the instrument, combined with its rich and differing timbres from one register to another, make it uniquely expressive. And the bass’s importance in jazz is mirrored in a new interest in active rhythms and pizzicato textures. When we move to the unaccompanied works, a new conception of the bass emerges. In the postwar years, a series of factors combined to create a new instrumental practice, one combining elements of theatricality, a concentration of unusual sounds and techniques, and extreme virtuosity.” Featured works: Joseph Iadone: Sonata for Double Bass and Piano (1944/1950); Halsey Stevens: Arioso and Etude (1953); Quincy Porter: Lyric Piece for Contrabass and Piano (1950); Jerome Moross: Sonatina (1967); Otto Luening: Suite for Bass and Piano (1958); Johanna Beyer: Movement for Double Bass and Piano (1936); Barney Childs: Sonata for Bass Alone (1960); George Perle: Monody II (1962); William Sydeman: For Double Bass Alone (1959); John Cage: 59 ½” for a String Player (1953); James Tenney: Beast (1971); Jacob Druckman: Valentine (1969).
ZEN 12298EP FALTYDL: Atlantis 12″ (ZEN 12298EP) 10.00
“Drew Lustman aka FaltyDL releases his debut EP with Ninja Tune and it’s an absolute cracker. Over its four tracks he shows the range and grasp of rhythm, atmosphere and melody which have made him one of the most exciting producers in electronic music right now.”
ZEN 12302EP STARKEY: Open The Pod Bay Doors 12″ (ZEN 12302EP) 10.00
“Starkey continues Ninja Tune’s fine run of EP’s with Open The Pod Bay Doors. The kind of transcendental, melodic and immaculately produced music that will see Starkey fit in nicely within the labels roster. The EP is a good example of Starkey’s (aka PJ Geissinger from Philadelphia) multifaceted and genre-crossing talents as a producer that have been gaining much acclaim ever since his 2005 debut. Starkey’s original grime and bass leaning productions can be heard throughout (his own Seclusiasis label is at forefront of Street Bass in the USA), especially on ‘Rayguns’ and ‘Blood Roses’ but it’s his compositional talents and more delicate blemishes seaping into his beats which are really starting to make Starkey stand out. Lead track ‘Open The Pod Bay Doors’ is an epic statement of intent that builds in the most beguiling of ways, at once melodic, futuristic and tough.”
NNF 212CD UMBERTO: Prophecy Of The Black Widow CD (NNF 212CD) 11.00
“Goblin-worshipping classic gets reissued on CD digipak. Prophecy Of The Black Widow is Umberto’s sophomore album and while the badass evil Italo goth-synth horror-score blueprint of Grave remains, the main variation is subtle vibe-shift from ’70s Argento/Carpenter-isms into more early/mid-80s new wave creep-scapes. There’s still plenty of eerie nightmare keyboard riffs and vintage witch-disco breakouts but the synths squelch with more of a neon retrofuturist bent and there’s even one brazenly feel good soaring-into-the-sunset closing credits anthem (the literally-titled ‘Everything Is Going To Be Okay’). Whatever prophecy Prophecy is foretelling, we’re on board.”
NA 5086CD DIMLITE: Grimm Reality CD (NA 5086CD) 18.00
“Dimlite’s two EPs for Now-Again, Prismic Tops (2009) and My Human Wears Acedia Shreds (2010), captured an artist in flux: a producer fleeing from his loosely hip-hop, jazz and electronica-infused early material and towards a more realized world of sound. With Grimm Reality, Dimlite incorporates the techniques and artistic attitude of two of his alter-egos (Misel Quitno, a fanatic in low-fidelity electro-acoustic composition; the Slapped Eyeballers, a two-headed, world-rock-folk combo) to color a progressive sonic vision. Titling his third album Grimm Reality might seem to point to a new autobiographical streak in this Swiss producer/electronic musician, but that would be too simple. It’s up to the listener to piece together a version of Grimm’s Reality from mere hints: the wistful romance of ‘XY,’ the tension and release of ‘New, Better Pain’ and so on through every perfectly poised moment on this record. Likewise, looking for the remains of a hip-hop influence, or a connection to what’s happening on modern-day dance floors, won’t yield much here. The precedents that spring to mind are all cherished outsiders — Neu, The Residents, Beefheart, Philip Glass — footnotes in mainstream music history but, in an altogether preferable parallel universe, titans of the recent past.”
OM 014EP CARTER, CHRIS: Moonlight 12″ (OM 014EP) 12.50
Originally released in 1985 for Chris Carter’s Mondo Beat LP on Conspiracy International, “Moonlight” is getting a long-overdue single release of the original and reinterpretation from Neurotic Drum Band. A long-time fave of JD Twitch’s, “Moonlight” was a hit in the late ’80s with a much slowed-down bootlegged version on the Belgian new beat scene and amongst the Italian cosmic DJs. Neurotic Drum Band keep the original feel, slowing it down just a touch for an ultra-head-trip psychedelic spaceflight.
OSLO 001CD VA: No Way To Norway CD (OSLO 001CD) 17.00
Oslo’s debut compilation CD No Way To Norway, which is compiled and mixed by its label head Federico Molinari, attempts to put the focus firmly back on the DJ. The special mix CD contains ONLY unreleased and exclusive tracks from 20 of the most exciting producers in underground house and techno. And in a major break from tradition, the mix album does not have a tracklist. Instead, it comes with only an alphabetical list of the artist contributors, which means the listener will not know which producer made each track. That’s not to say that the Mannheim-based label doesn’t respect its artists. On the contrary, by keeping the CD’s tracks completely anonymous, it allows the listener to fully immerse themselves into the mix without prejudice. And with all of the contributors shown equal respect and disregard, the listener is more able to fully appreciate the artistry behind the mix. Altogether 20 known and respected artists (mostly Oslo favorites, some new to the label) provided 18 exclusive and unreleased tracks for No Way To Norway. They are: Christian Burkhardt, Damian Schwartz, Einzelkind, Ernesto Ferreyra, Franco Cinelli, Guillaume & The Coutu Dumonts (feat. Qzen), Ivel Tax, Johnny D, Juan Sorrentino, Skipson, Leonel Castillo, Maayan Nidam, Michael Melchner, Markus Fix, Noidoi, Reboot, Ray Okpara & Nekes, and Sascha Dive. Federico Molinari’s 79-minute voyage begins with an atmospheric wave of sound. Digital bleeps and instrumental moans somehow tie the past and the present together. A deep, muted house groove kicks and grows in confidence, as a party forms around it. Disco moments and loose drums rise and fall. Soulful male and female vocals hypnotize, spiritualize and energize. Sweet keys flow in and out of the mix. Rough kicks and analog hits urge you to move. Wet and dry sound FX compete for dominance with each one providing convincing dancefloor arguments. A hotbed of rhythms bubble and sizzle, as lines of melody and crooked beats worm their way into ever more potent combinations. Basslines punch and growl purposefully. Soaring breakdowns, tribal drops, unstoppable momentum, inescapable soul; and then before you know it, the journey is over and you are cast out of the warm and moist womb of sound into the harsh and cold reality of our concrete world. You press play again.
OST 001CD CORKER, ADRIAN: Way Of The Morris CD (OST 001CD) 15.50
Way Of The Morris is a contemporary film exploring the roots of Morris Dancing in the village of Adderbury in Great Britain. This unusual soundtrack release is a wondrous and slightly ghostly sonic trip into rural England, utilizing field recordings, actual sound from the film and inventive modern compositions from the score. It is being released on the OST label, a brand new offshoot of Trunk Records. Adrian Corker is an experienced musician and soundtrack man. His work in the past has involved both solo work and inspiring collaborations, co-composing for over 15 films beginning with the gangster movie Face directed by Antonia Bird and starring Ray Winstone. On the other side of the Atlantic, he has composed for Hollywood films such as Ravenous alongside Michael Nyman and Damon Albarn, as well as writing the score for the European art house film Three Degrees Colder, performed by the Nuremburg Symphony Orchestra. Away from the screen, he has recently co-written a new experimental piece “What Happens” with John Matthias and Andy Prior for piano, voice, violin and electronics and is also musically involved with Peter Greenaway’s new film Goltzius And The Pelican Company. He is a founding member of sound/film collective 4Way Lab. The score for Way Of The Morris was performed by Adrian using a mixed bag of both ancient and modern instruments, a ’70s Japanese tape delay and a laptop. It was all later mixed by David Prior, who is a sound artist winner of this year’s PRS New Music Prize. The album also features performances from, amongst others, the Adderbury Village Morris Men, Chris Leslie of Fairport Convention and some birds in a field in Oxfordshire. The feathered kind, of course. The album works wonderfully as a slightly spooky voyage through historic rural England, deliberately avoiding all the current soundtrack musical clichés.
ASH 3043LP FLIED EGG: Dr. Siegel’s Fried Egg Shooting Machine LP (ASH 3043LP) 22.00
Japan’s proggers Flied Egg, consisting of former Strawberry Path alumni Shigeru Narumo and Hiro Tsunoda, supported by former Brush leader, Masayoshi Takanaka, released two albums in the early ’70s, Dr. Siegel’s Fried Egg Machine being the first and undoubtedly the better of the two. Dr. Siegel’s…, originally released in 1972, is a much more keyboard-oriented affair, with Narumo adding a Moog, celeste and harpsichord to his usual Hammond and piano line-up. On this album, the musical influences are more Uriah Heep than the previous Hendrix-inspired leanings, although touches of Emerson, Lake & Palmer, Deep Purple, Birth Control and even Black Sabbath find their way into the musical mèlange. Dr. Siegel’s… presents a rich selection of musical styles, culminating with “Guide Me To The Quietness,” a glorious prog epic that brings an inventive and enjoyable album to a climactic finale. Digitally remastered. 180 gram vinyl pressing housed in a gatefold sleeve.
FREE 001EP LE VOLUME COURBE: Theodaurus Rex EP 10″ (FREE 001EP) 13.00
“Le Volume Courbe is the work of Charlotte Marionneau, along with her friends and band: Melanie Draisey, Lascelle Gordon, Theodore Hall, Chris Mackin, Barney Slater and Wildcat. The Theodaurus Rex EP is the first release on Pickpocket Records, Kevin Shields’ and Charlotte Marionneau’s label. A heady and captivating collection of eclectic ideas and delicate moments, the EP includes the touching and fragile ‘I Love The Living You’, with My Bloody Valentine’s Kevin Shields, used as the closing track in Nick Moran’s 2010 movie ‘The Kid’. As well as two other original tracks, ‘Born to Lie’ and ‘Lazy’, it also includes a cover of Nico’s ‘Le Petit Chevalier’ — a song Le Volume Courbe played at their first ever gig; a Nico tribute show.”
POGUS 21061 WOOLEY, NATE: The Almond CD (POGUS 21061) 13.00
“The Almond started as a short study for trumpet for the British website Compost and Height. Wooley, a rising young composer known mostly for his radical recontextualization of the trumpet in improvisation and jazz music, was, at the time, feeling constricted by the sound based language he had been using up to that point in both his live solo playing and his earlier solo records. His goal was to make a true solo trumpet record, using only the trumpet as it was intended to be played with no extended techniques. This challenge spawned a 20-minute piece that, at the surface level, was a quick, arcing narrative made up glacially shifting textures of pure pitched sound. The process behind the piece was much more complex, however, as each pitch heard in the piece was made up of anywhere from three to ten different recordings of the trumpet recorded in different mutes, tunings, with different microphones, and in different rooms. The result was each note of the piece, now expanded to 70 minutes in its final version, takes on a synthesized aspect, sometimes sounding like a voice, others like an organ, but always maintaining some timbral tie to the trumpet. With the exception of one very low pedal tone, all the pitches are played on a regular embouchure, again a far cry from Wooley’s usual work.”
R-N 134CD LIPPOK, ROBERT: Redsuperstructure CD (R-N 134CD) 17.00
Simple sonic events are unfolding themselves, evoking the sound of a Carl Orff children’s ensemble. Pleasant and strange noises join a bass foundation that recreates the ground-shaking subsonic waves of mid-’90s drum n’ bass. It’s like a drum major meets a Tibetan monk. They try to do a dervish thing together, elegant and funky, which forcibly drags the slowest souls out of their torpor and forces them to run and jump. Loops radiate, something is bouncing, the universe steps out of an anti-academic cloud, into your mind and the unexplored regions of our sensibility. All is good in the noosphere with Redsuperstructure. Robert Lippok’s new record is based on the spectacular set he performed at Raster-Noton Electric Campfire at Villa Massimo in September of 2010. After this event, the label encouraged him (as they do every year) to re-record the material for their catalog. The events and structures of Lippok’s vaudeville follow scripts which Lippok notated himself with watercolor and pencil. Other tracks were even visualized as clay sculptures. His sensitive sound syntheses are complemented by only a few samples and field recordings. On the last track, “Daylightastronomy,” the accompanying harp is played by Italian harpist and composer Beatrice Martini.
RC 031EP DUB TAYLOR: Mind Bubble 12″ (RC 031EP) 12.00
Nice, dubby, trippin’ tech tracks from Dub Taylor. On red/black-swirl-colored vinyl.
RB 003CD BOOF: Shhh, Dandelions At Play CD (RB 003CD) 17.00
First there was Life Is Water For Gerbadaisies When They Are Dancing, then there was A Soft Kiss By A Rose, now we have Shhh, Dandelions At Play — the latest album by Boof. Produced by legendary house producer, Maurice Fulton. Super-funky bass, ultra squelchy, squealing synths, claps, pianos and other bizarro dance elements.
RVNGNL 011EP BLONDES: Wine/Water 12″ (RVNGNL 011EP) 11.00
“Blondes’ Wine/Water 12″ follows their Lover/Hater and Business/Pleasure 12s on RVNG and completes the duality trilogy set forth at the outset of 2011. These two tracks are sentimental stunners, and the young duo’s best work yet.”
SS 055LP LOS LLAMARADA: Gone Gone Cold LP (SS 055LP) 16.00
“Gone Gone Cold marks Los Llamarada’s third and final album. Since their first album on S.S., The Exploding Now!, Llamarada has made some of the most striking psychedelic punk of the last decade. In the spirit of Red Crayola and 13th Floor Elevators, Llamarada approach to psych is devoid of rules, trends, or convention. Like Mars, they feel their way through sound, finding songs in the playing. However, while The Exploding Now! and their second album, Take the Sky, reflect the band’s (then) excitement with their future and possibility, Gone Gone Cold looks at present day Mexico and it’s never-ending drug war. On Gone Gone Cold, fans of Los Llamarada will hear their oft-noted claustrophobic sound, but the songs a less settled than before. Confusion trumps structure, until a riff or pulse builds in intensity and the song enters into panic. Or a song starts at a panicked pace and unravels into a single phrase. There still is the subverted surf-guitar and male/female chant/vocals, but the drums are stronger and keyboards more insistent — sounds desperate for a way out.”
LP version. “Carbohydrates Hydrocarbons is not only a great collection of punk-induced psychedelia, as heavy as anything can be without sludging to death; it was also the best thing Yonkers had done since Microminiature Love, and a high point of the Blind Shake. A few years later Yonkers and the Shake got together for a brief split/collaborative album on Learning Curve Records. Good stuff but not quite as powerful as the two aforementioned monsters. Now comes Period, Michael Yonkers and the Blind Shake’s first full album together since Carbohydrates Hydrocarbons and their best yet. Like Yonkers and the Shake’s previous work, Period is tuneful and heavy and punk and psychedelic, but there is also something more. The album has an energy which is dark but not sinister. Yonkers’ lyrics are intense, even painful, but his voice is strong. The swirl of sound created by his homemade guitar is other worldly, and when woven into the guitar/baritone guitar/drum throb and punch created by the Blind Shake, Period is nothing less than great. Seriously, after six straight months of listening to Period, I rank it up there with such classics of heavy weirdness as Von Lmo’s Future Language, High Rise II, and Monoshock’s Walk to the Fire. Period is even worthy of a listen next to Blue Cheer’s Vincebus Eruptum. Period by Michael Yonkers with the Blind Shake will stand as a classic. I am sure of that. Vinyl copies of Period are housed in a Stoughton ‘old style’ tip-on sleeve.”
SH 070CD BORIS: New Album CD (SH 070CD) 15.50
“Boris has long been celebrated for their rare ability to reinterpret a multitude of esoteric musical genres into a sound uniquely their own. New Album finds the intrepid Japanese trio etching their own post-noise, extreme pop niche with their most accessible and melodic effort to date. Where their two previous albums, Attention Please and the all new Heavy Rocks — both released by Sargent House on the same day, May 24th, 2011 — offered divergent expansions to their sonic palette, New Album is the culmination of the band’s ongoing experimentation that catapults its ferocious sound headlong into pop territory.”
SCOB 001CD MUNGO’S HI-FI: Sound System Champions CD (SCOB 001CD) 16.50
Mungo’s Hi-Fi’s last set, the continually-popular Sound System Champions of 2008, is finally available on CD again, re-pressed on their own Scotch Bonnet imprint (having previously been licensed to Rocker’s Revolt). Scotland’s number one reggae dancehall sound system and bona-fide institution, Mungo’s Hi-Fi have been releasing hits since 2001 when their killer tracks “Wickedness” and “Ing” featuring Brother Culture first took the world by storm, getting heavy plays by Jah Shaka, the late great John Peel and Mr. Scruff, who went on to include “Ing” on his Solid Steel mix released on Ninja Tunes. At this point in their life, the trio have truly earned the title of Veteran Selectors and are one of the most in-demand sound systems in Europe. Drawing faithfully on foundation reggae, dub and dancehall music from the last 50 years, their genuinely fresh sound spans a broad selection of musical stylings from ska and rocksteady, through roots and steppers, to rub-a-dub, digital roots and dancehall. As with their live sound, powered by their own enormous, homebuilt PA, their inspirational forward-thinking productions continually push reggae boundaries into new groundbreaking frontiers. Sound System Champions features an onslaught of world class reggae MCs and singers, including Top Cat, Tippa Irie, Ranking Joe, Soom T, Kenny Knots, Mikey Murka, Ras Charmer, Aya Faith, Suncycle, MC Ishu and Marina P, and is as huge as Mungo’s infamous speaker stacks.
SRSCD 3603CD SAMLA MAMMAS MANNA: Samla Mammas Manna CD (SRSCD 3603CD) 14.50
2011 repress. Exacting reissue of the 1970 debut album by this trailblazing Swedish quartet, led by composer/pianist/organist/accordionist/vocalist Lasse “Lars” Hollmer, just prior to any knowledge of anything called “RIO” (Rock In Opposition). Formed in the late late ’60s in Uppsala, SMM canvassed the festival circuit (appearing on the same bill that Träd Gräs och Stenar recorded their mammoth Live Gardet 1970 album) to popular and critical appeal. Later SMM would team up with groups like Henry Cow and such to affix a politically-bent moniker to their particularly labyrinthine chord progressions. Here we get a few prog-polkas for the kids, a bit of tasteful Rhodes bob, a few Swedish-folk sounding numbers, a fast carnival segue or two, near Deep Purplesque organ snaking, etc… Altogether pleasing, crude at points, plenty of humor, handclapping.
2011 repress. The second Samla Mammas Manna album, originally issued by Silence in 1973. With two bonus tracks. Two more albums would follow on Silence under this spelling of the name, then they would change it to Zamla Mammaz Manna and finally, Von Zamla, going into the mid-’80s. This group falls well into the “progressive weirdness” category that Gong, Area, and Pell Mell were part of. While some of the many short tracks have a considerable amount of “noise” (screechy vocals, strange sounds), the band has, not unlike Gong, a killer musicianship that makes Måltid a listenable (and enjoyable) offering. Not unlike early Magma or Moving Gelatine Plates, but with more of a sense of humor.
SRSCD 3611CD ALGARNAS TRADGARD: Framtiden är ett Svävande Skepp, Förankrat i Forntiden CD (SRSCD 3611CD) 14.50
2011 repress. 1995 reissue of this Silence album, originally issued in 1972. Älgarnas Trädgård’s name translates as “Garden of the Elks” and this debut album has always stood as one of the pinnacles of underground psychedelic rock — comparable to early Pink Floyd, Group 1850 and other world masters of space-out genius. The title translates as The Future is a Hovering Ship Anchored in the Past. The group employed an instrumental array made of: violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, jew’s harps, tablas, percussion, Moog-synthesizer & VC-3 Putney-synthesizer. Recorded at Studio Decibel in 1971, this CD reissue adds two bonus live tracks from 1972. From Dan Söderqvist’s notes: “We have known each other since 1968, when we met in our home neighborhood Västra Frölunda, Gothenburg. We listened to everything; Perotinus heavenly choirs from the 13th century, Messien’s heavy works for orchestra, Beefheart’s Safe as Milk, with it’s surreal lyrics, King Crimson’s endless string of chords, the beautiful acoustic Third Ear Band, Terry Riley’s minimalism and above all the psychedelic music of early Pink Floyd. Sometimes we played our ‘dägga-däng-music’, crazy rhythmical plays with acoustic guitars and hysterical giggles. Sometimes we just sat and listened to the sounds slowly disappearing into space … We experimented with getting strange sounds out of our instruments, started to use amplifiers and played with echoes … We constantly expanded our possibilities to get new sounds, with organs, mouth harps and pedals … We got our hands on the first Moog module system that just about had reached Sweden. We mixed Middle Age instruments such as zinks and rebecs, sound effects, church bells, fragments of both Bach and The Beatles and improvised our way through the first album.”
2011 repress. CD reissue of this all-time Swedish underground classic, originally issued on the Scandinavian Love label in 1968. International Harvester were the second incarnation of Bo Anders Persson’s group, after Pärson Sound (whose early sound experimentation was finally documented in 2001 by Subliminal Sounds). Early in the 60’s Bo Anders Persson had envisioned a new kind of communicative music — would it be possible to create a more contemporary kind of rhythmic music that could play the same role as traditional folk music, a music that was both sensual and transcendent? In 1967 came the answer. The hypnotic feelings of Terry Riley’s eternity music + the rough-riffing of The Rolling Stones = a new alchemical wedding. Pärson Sound was formed, which started to perform publicly in the summer of 1967. The next year they changed the name into International Harvester, taken from the American company manufacturing agricultural machines, trucks and ambulances. The astonishing thing about their two official recordings is the complete freedom of the music, inspired by a Terry Riley-esque repetitive song structure. The atmospheres of these songs are both utopian and dystopian, mixed with an early environmental awareness. Sov Gott Rose-Marie starts with the strongest of statements: the Latin death hymn “Dies Irae,” played like it was a medieval heavy rock-theme. This was music of turmoil and inner upheaval, mostly played in the slowest of rhythms, but still with a sense of constant change. There’s constant juxtapositions going on between documentary sounds and floating states of mind; hard rocking tunes, demonstrations against the war in Vietnam, bird song, sounds from police radio, psychedelic tranquility, lullabies.
TEG 76534CD DINOSAUR L: 24-24 Music 2CD BOX (TEG 76534CD) 20.00
“Though classically trained Arthur Russell’s major contribution to the music world was in the dance genre. Despite the fact that his pioneering work in the late ’70s and through the ’80s was only quietly acknowledged at the time his long term impact on the genre is best described as formidable Russell’s innovative; left field dance records were way ahead of what people were used to hearing at the time, in part due to his involvement New York’s downtown avant-garde music scene. He scored several hits on the underground New York dance scene at clubs like the Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, ‘Go Bang!’ and ‘Is It All Over My Face?’ were worldwide club hits and are still played today as classics. Sleeping Bag Records and Traffic Entertainment Group are proud to present his seminal work, 24-24 Music expanded to a deluxe double CD box set issue. In addition to the music found on the original issue of 24-24 Music this set includes rare 12″ remixes and edits including the highly coveted ‘Go Bang! (Walter Gibbons Mix) and the never before on CD ‘You Can’t Hold Me Down (Test Pressing Version)’. Both discs are housed inside beautiful full color sleeves that tuck into the extra durable box along with a 48 page booklet featuring unreleased photos by Janette Beckman and other Russell ephemera with words courtesy of Russell biographer Tim Lawrence. Sadly Arthur died in 1992, but his music lives on and his influence is still felt in the world of dance music and beyond. His tunes still sound great and are still moving many dancers around the world, so his spirit lives on.”
SMALL 004CD MOOMIN: The Story About You CD (SMALL 004CD) 17.00
Moomin’s debut album The Story About You is an album of uniqueness and transcendence, like a meteorite touching the ground in your own private garden. Sebastian Genz aka Moomin never intended to reinvent house music, as his productions come from the heart and are related to the lovely people’s dancefloor. That’s what gorgeous parties and releases of the White label around Oskar Offermann and the Smallville imprint taught him: real house music is only possible within a soulful surrounding. Moomin builds an enchanting sound and wonderful tracks — everything one could love about instrumental house music, including that reduction of groove and loop: a hypnotic theme that could last forever, giving a night its color and deepness. The secret is not only his skills but also quite an enormous selection of vintage analog machines — whether it is the holy Roland instruments TR 606, 808, 909, the Roland Alpha Juno, an SP 1200 or a Korg Poly 61. The musician’s addiction to producing keeps Sebastian Genz playing the machines every day and every night.
SRS 001LP MASTER MUSICIANS OF JAJOUKA: The Music And Ritual Of Jajouka, Morocco LP (SRS 001LP) 18.00
Full title: The Primal Energy that is the Music and Ritual of Jajouka, Morocco. “In 1972, Joel Rubiner made his way to Jajouka to do fresh recordings of the group. He knew that there was an audience for the unfiltered sounds of the Master Musicians of Jajouka and spends the summer with a tape machine and the musicians. Jams formed into songs, Rubiner had tapes that music freaks would die for. Hypnotic, pulsing, energetic, and discordant – the Rubiner recordings needed to be released. In 1974, Adelphi Records took a chance on the Master Musicians and released The Primal Energy that is the Music and Ritual of Jajouka, Morocco. When the album was released on CD, it netted the All Music Guide’s Best of Genre award. Out of print on vinyl for over twenty years, The Primal Energy… makes a return on Sol Re Sol Records (a spin-off of avant-rock label S.S. Records). Sol Re Sol’s repressing of this classic album contains the music of the original (remastered by John Golden), plus the original liner notes by Robert Palmer. The packaging however is something new – housed in a gatefold sleeve, it includes a new cover with little seen Rubiner photographs from the time the album was recorded. The recordings and photographs have been fully licensed. The group’s publishing royalties have been paid. No one is getting exploited in order to return this wonderful music to vinyl. Fans of Sublime Frequencies, Mississippi Records, the Nonesuch Explorer series, Ocora Records, and the Ethnic Folkways series will dig this release.”
Ruede Hagelstein is best known for techno and house, although his heart beats not only for the bass drum. His first album, Soft Pack, invites you to melancholic deceleration, which runs like a thread throughout the album. Yes, Ruede is a resident DJ at Berlin’s Watergate club, but here he presents songs he would not play in the club because they are too downtempo and sentimental for sweaty dancefloor nights. In 2004, his first EP Sweaty Balls appeared on Freundinnen Records, the label of his friend and Berghain-Panorama Bar resident, ND_Baumecker. Celebrated in England by the sleazy disco crowd, and licensed by Output Records. The B-side, “Eclectic People,” inspired France’s electro-clash scene and landed on a Kitsuné Maison compilation. Despite different stylistic orientations, Ruede’s choirboy vocal remained the unifying element. This was followed by functional techno hits on Lebensfreude Records, losing the vocals in the process. But Ruede Hagelstein hasn’t lost any ground on the dancefloor with his new album. A good example of the arc that spans Ruede between strobe and candlelight is the track “Emergency,” which stormed DJ charts and polls in 2010 and will be presented in a downtempo edit on Soft Pack. For most of the tracks, Ruede calls in for back-up, and formed a band, The Noblettes. Together with his buddy Justin Evans, he writes spherical numbers like “Posteriori” and “Leaving The Center,” reminicent of Simon & Garfunkel. The most danceable track is “Private,” featuring vocals from Aileen Mrkwitschka, although he also composes without beats, as on “Good Night” — the complex horns are contributed by a friend of Aileen, Mieke Wenzl, who joined the band as a multi-instrumentalist. The blend of these four musical personalities is Ruede Hagelstein & The Noblettes, who managed to create this timeless indie-electronica album.
SVT 068CD NICONE & SASCHA BRAEMER: Romantic Thrills CD (SVT 068CD) 17.00
Stil vor Talent have long been mad about Niconé and Sascha Braemer. Now it’s about time they join forces to release a whole album together. While Sascha Braemer has only recently made waves, Niconé is a long-established pillar of top-class electronic music. Known for their often very musical techno and house productions, Romantic Thrills encapsulates this style while adding an extra element of sex and pop appeal. All their production experience and DJ expertise seems to have streamed into an album that manages, in all its eclecticism, to be conceived as a complete whole. Think what you want from electronic albums — this one is so much more than a mere collection of unreleased singles. The slow-moving, piano-driven “Dreamer” is more reminiscent of Radiohead than the sound of Berlin’s club scene. Simply a pretty epic pop track with a great falsetto vocal line. “Little Love” progresses slowly towards deeper techno terrain with great-sounding synth leads and bass lines. Keeping the vocal elements central to the arrangement, it makes for a wonderfully deep and soulful tech anthem. “Liar” best represents the eclecticism at the album’s heart. Over a Skaaeske groove, a chunky bass and considerably slower BPM, a male speaker humorously ponders his relationship to drugs. “Romantic Thrills” then moves things back to the dancefloor, with an infusing tech-house groove, piano stabs and deeply hypnotic vocals. “Runaway,” “Pianotic” and “Caje” represent three more prime examples of how to incorporate piano, trumpet and guitar melodies into electronic music organically without sounding artificial. The guitar on “Runaway” adds a deeply melancholic element to a track underlined by wonderful singing, which, again, reminds one of Radiohead. The melodies on “Pianotic,” meanwhile, make you want to hug the world again and again. “Caje” takes the Spanish guitar to the dancefloor and makes everyone sit in a circle and clap their hands. Things take yet another turn to more oldskool-oriented dancefloor music with “Never.” Sascha and Niconé have managed to recreate a late disco track that meets up with Chicago house along the way. A thick bass line, some wonderful strings and a great melodic vocal make this track special. “Love Me” is one of the most sexy tech tracks on this album. The billowing synth pads and mesmerizing vocal lead the way for the organic and super-deep bass line that kicks in at the right moment, every time. “Not The End” is a powerful little piece of tech-house that works with many delicately arranged samples. Ultimately, “Thänk You” is another humorous and epic spoken-word piece, with a siren marking the groove and the piano melody causing shivers down the spine of the listener. Sascha Braemer and Niconé have clearly managed to create an album with distinct and versatile stylistic aesthetics. This album is all killer, no filler. Featuring contributions from Jan Blomqvist, Narra and Wrongkong.
WIRE 334 WIRE, THE: #334 December 2011 MAG (WIRE 334) 8.50
“On the cover: Manuel Göttsching (the Ash Ra Tempel guitarist reveals how he made electronic masterpiece E2-E4, influencing 30 years of repetitive house and track rock). Features: Roger Reynolds (American New Music’s answer to Xenakis is extending the power of percussion on Sanctuary); Andre Vida (Clive Bell meets a sax improviser who’s worked with everyone from Anthony Braxton to Jamie Lidell); Invisible Jukebox: Spinn & Rashad (Chicago’s Juke duo perform some fancy Footwork around The Wire’s mystery record selection); Grouper (For Liz Harris, escaping a childhood sect unlocked a range of morbid confrontations with the void, from tape works to Ambient song); Sandwell District (Robin Howells keeps the peace between the brutalist international techno trio who have created a label hub for fetishistic electronica); The Primer: Turkish psychedelia (A user’s guide to the byzantine East-West acid folk and rock fusions of Anadlou psych); Collateral Damage (Sharing out-of-print records online confounds received narratives of musical history, argues Mutant Sounds’ Eric Lumbleau); Global Ear: Belfast (Peter Rosser observes Northern Ireland’s ascension as a world capital of sound art); Cross Platform: Nathalie Djurberg (The Swedish artist’s creepy video animations are enhanced by the sonic machinations of collaborator Hans Berg); Epiphanies: Man Booker-nominated novelist Esi Edugyan praises the voice of Polish soprano Marcella Sembrich).”
THRONE 019EP POPULETTE: Lasers Are Forever 12″ (THRONE 019EP) 12.00
“Lasers Are Forever” combines analog squelch, lush synth atmospherics and subtle percussion to create an effect that is both compelling and visceral. “Hello Darkness” uses an imposing ARP 2600 bassline to pulse with a relentless acid-tinged snarl. Throne of Blood alumni Remain & Mlle Caro take the tempo down a few notches and let swelling analog filters and unfurling LFOs do the rest. Get The Curse Music’s Clement Meyer’s remix of “Hello Darkness” tightens the original’s percussion to an industrial stomp.
ST 5171LP SCORPION: Scorpion LP (ST 5171LP) 11.50
Exact repro of this 1969 self-produced album by this Detroit band, mixing hard rock and soul (for fans of Black Merda, Purple Image, etc.).
TRAUM 144EP EULBERG, DOMINIK: Diorama Remixes Pt. 1 12″ (TRAUM 144EP) 12.00
This is part 1 in a 12″ remix series of tracks from Dominik Eulberg’s album Diorama (TRAUM 024CD). Stephan Bodzin chose the clubbiest track on the album “Teddy Tausendtod” and transformed it into an afterhour monster. Petar Dundov remixed “Der Tanz Der Gluehwuermchen” and created a piece of music based on “Chicago trax beats” fuelled with Detroit strings. Much more on the melodic side of things is Ryan Davis’ mix, who transformed “Taeuschnungs-Blume” into a soothing, Rhodes-powered, lush track.
TROST 107CD FULL BLAST & FRIENDS: Sketches And Ballads CD (TROST 107CD) 17.00
If you know the score, you might actually think of the piece’s title as a bit of an understatement. After all, it is made of 50 densely-written pages, which might cause some interpreters to lose track of sight. For Michael Wertmüller’s composition Sketches And Ballads is full of seemingly unplayable rhythms, which hail from his extensive experience as a percussionist: complex 256th parts and 512th parts are no exception in Wertmüller’s work. Even the visual appearance of it shows much of the dynamic and ferocity of his music. And these notations are really just “sketches.” The piece was originally composed for the SWR to be played at the NOWJazz sessions of the Donaueschinger music days in 2010. The title’s true meaning becomes apparent when Michael Wertmüller himself talks about his work. As it turns out, the term “sketch” is actually a reference to Miles Davis’ Sketches Of Spain, especially because Wertmüller is very impressed by the density of Gil Evans’ composition for Davis. Still, there is a deeper level as well. Although the score of Sketches And Ballads is written out in detail, it only fully unfolds its beauty and real meaning when the single particles are connected by free improvisation. This is one of the reasons why Sketches And Ballads clearly is a jazz piece — the other reason being that the composed parts are really vibrating with a jazzy groove due to the free work of the musicians with the material and their jazz-like phrasing. The piece was performed by a sextet in October 2010 in Donaueschingen for the first time. The musicians were fronted by the trio Full Blast — a critically-acclaimed group consisting of Peter Brötzmann (saxophone), Marino Pliakas (e-bass) and Michael Wertmüller himself on drums. For the realization of Sketches And Ballads, some friends joined the threesome for the performance. American saxophonist Ken Vandermark has often been linked to Full Blast and adds some special timbre to the baritone saxophone and the clarinet. German trumpeter Thomas Heberer is one of the most creative and versatile musicians in New York’s Downtown scene; percussionist Dirk Rothbrust plays a wonderfully headstrong timbal. Although there are two percussionists involved, Sketches And Ballads only works with a few, very well-placed passages in fortissimo. The composed parts are strongly influenced by Wertmüller’s highly sophisticated understanding of time. At the same time, there are also temptingly tender parts: the ballads which are almost tailor-made for Peter Brötzmann. The German saxophonist, internationally well-known for his distinctively raw sound on saxophone, clarinet and tárogató (a Hungarian woodwind), developed a seemingly more melancholic side. Brötzmann’s touching sound acts as a counterpart to Wertmüller’s fast-paced compostion. Michael Wertmüller accomplishes a lot with his piece: he provides the proliferating free jazz with certain compositional structures without holding back. Eventually the formally structured “neo free jazz” — also incorporating intense rock elements — still has the same core theme it used to have in the 1960s: criticizing the political state of affairs and social injustice that leave the masses paralyzed. Peter Brötzmann (tenor sax + tárogató), Ken Vandermark (baritone sax + clarinet), Thomas Heberer (trumpet), Marino Pliakas (e-bass), Dirk Rothbrust (percussion + timpani), Michael Wertmüller (drums + composition). Recorded live at the Donaueschinger Musiktage, 10/16/2010, recorded by SWR.
TROST 107LP FULL BLAST & FRIENDS: Sketches And Ballads LP (TROST 107LP) 22.00
LP version.
VG 001CD MINT JULEP: Save Your Season CD (VG 001CD) 14.50
Mint Julep, the husband and wife team of Keith and Hollie Kenniff present their second album, Save Your Season. The album is the husband and wife team’s follow-up to the ultra-rare, limited release Songs About Snow. This release is hallmarked by Hollie’s seductive, dreamy vocals and soaring choruses, all of it etched with Keith’s vivid, glinting keyboards and towering guitars. Opening track “Chasing The Wind Catching The Shadows” offers listeners an enticing taster of the sweeping harmonies, delicate vocals and luminous melodies that appear throughout Save Your Season. The LP then sweeps you into the hazy romanticism of “Aviary” and the soft propulsion of single “Days Gone By.” Keith Kenniff is a critically-acclaimed musician best known as the brains behind dulcet ambient/electronic practitioners Helios and the fingers on the ivories of post-classical piano minimalists Goldmund (the latter’s music once described by no less an authority than Ryuichi Sakamoto as “…so, so, so beautiful…”). A succession of albums under those aliases has made Kenniff the darling of discerning critics and his music has also been widely used in film, television and advertising, not least on the soundtrack to Harmony Korine’s 2007 comedy-drama Mister Lonely and the trailer for the 2009 Academy Award-nominated Revolutionary Road, directed by Sam Mendes. For fans of M83, Beach House, Maps, Ulrich Schnauss, Slowdive, My Bloody Valentine, I Break Horses and Mazzy Star.
VOLT 417HLP BAR-KAYS: Soul Finger LP (VOLT 417HLP) 14.00
1967 pre-plane crash debut by these soul music innovators who inspired the likes of Booker T. Jones and Steve Cropper. Eleven infectious instrumental tracks. 180 gram exact repro reissue, manufactured by Rhino.
BSK 3319LP STAPLES, MAVIS: Oh What A Feeling LP (BSK 3319LP) 12.00
Cut-out 1979 release containing “the full disco version of ‘Tonight I Feel Like Dancing’ remixed by Jimmy Simpson’.”
WG 009CD TIEFSCHWARZ: Watergate 09 CD (WG 009CD) 17.00
Tiefschwarz mixes the ninth edition of the Watergate compilation. This series is a further means for the club to stamp its seal onto the scene, with many of the club’s residents and regular talents having been invited to contribute. Previous artists have included the likes of Ellen Allien, Sascha Funke and Lee Curtiss, amongst others. This time round, the mighty Schwarz brothers step up, using it as a means to take stock and look back at their extensive music career. The mix takes them all the way back to their early days throwing parties in Stuttgart, at the Red Dog club which they named in honor of the legendary Chicago venue. These soulful roots which first hooked them and got them producing, stuck with them throughout, an insistence of melody and warmth which has pervaded throughout all their productions regardless of whether it can be labeled deep house, electro house or minimal. This mix is just a way of demonstrating the sheer timelessness of classic production techniques and how they so readily still influence so many of today’s releases. Neither is it just a mere greatest hits of Chicago and Detroit, a legendary anthem like Frankie Knuckles’ “Baby Wants To Ride” sitting quite comfortably alongside the tense melodies of John Roberts’ house, which itself wears its Chicago influence proudly on its sleeve. There are some real dancefloor bombs, the cult classic “Intellidred” remix of DJ Assassin which slides effortlessly into the infectious jack of Kevin Saunderson. The anthemic MK classic “Burnin'” comes in a surprising new form, courtesy of Jay Haze, and there’s plenty more vocal action in the mix with Julio Bashmore’s recent smash “Father Father” and a brand new Tiefschwarz production punctuated with the ethereal voice of Mama. One of Tiefschwarz’s first loves were the prolific house legends Masters At Work, a true personal milestone for the brothers when they were asked to remix their heroes’ smash hit “To Be In Love.” They’ve included one of their all-time favorites, the MAW remix of the Afro Celt Soundsystem, the world music collective on Peter Gabriel’s influential Real World Records. This then functions to lead out the mix, the brothers deftly tracing a line through a very recent Marc Ashken track on Hot Waves and into Romanthony’s “Rumpshaker,” which, having been released on their own first label back in 1997, draws a neat circular close to this very personal retrospective. Other artists include: When Saints Go Machine, Nicolas Jaar, John Roberts, Deadbeat, Javeon McCarthy, Matias Aguayo, Alton M, Ron & Chez D, Chris Simmonds, Latin House Crew, Gemini, Manuel Tur, Holly Backler, Isolée, Major Mal’fun’ctions, 4-W.D and G Strings.
WP 049 WAX POETICS: #49 November/December 2011 MAG (WP 049) 9.99
The Latin Issue. On the covers, front: Eddie Palmieri; back: Victor “Chino Boy” Vasquez of the Northern Souleros crew. Contents: Editor’s Letter; Bio Ritmo; Helado Negro; Cal Tjader; Alegre and Fania All-Stars; Eddie Palmieri; Harlem River Drive; Speed Records; Lowrider Oldies; Re:Discovery (Joe Arroyo y La Verdad). 98 pages, full color, high gloss.
“First new material in 30 years, No Thyself is the band’s fifth studio album. Magazine front man, Howard Devoto, co-formed Buzzcocks with Pete Shelley after the pair travelled down to London to see the Sex Pistols in early 1976 and promoted the now legendary Manchester Lesser Free Trade Hall gigs. Devoto left in 1977, after releasing the seminal Spiral Scratch EP, and created Magazine. Magazine went on to release four groundbreaking LPs before parting company in 1981 and have been cited as influences on the likes of Morrissey, Jarvis Cocker, U2, Muse and, most notably, Radiohead.”
LP version. “First new material in 30 years, No Thyself is the band’s fifth studio album. Magazine front man, Howard Devoto, co-formed Buzzcocks with Pete Shelley after the pair travelled down to London to see the Sex Pistols in early 1976 and promoted the now legendary Manchester Lesser Free Trade Hall gigs. Devoto left in 1977, after releasing the seminal Spiral Scratch EP, and created Magazine. Magazine went on to release four groundbreaking LPs before parting company in 1981 and have been cited as influences on the likes of Morrissey, Jarvis Cocker, U2, Muse and, most notably, Radiohead.”
Recorded live on April 12, 2011 at Kino Siska, Ljubljana, Slovenia, and April 14, 2011 at Vatroslav Lisinski Concert Hall, Zagreb, Croatia. This is the fourth release in the Zeitkratzer Old School series. The first three CDs, dedicated to the music of John Cage, James Tenney and Alvin Lucier have been highly-acclaimed. This new release is dedicated to the music of Karlheinz Stockhausen. Karlheinz Stockhausen is one of the most outstanding composers of the 20th century. After his early, super-organized compositions as Gesang Der Jünglinge, Kontakte or Studien 1 and 2, he conceived his From The Seven Days works as a precisely-organized text composition. Not one single note is written, but it is exactly defined: what kind of material the musicians should choose and how they should play it. Length, tempi, etc., are not given. Zeitkratzer had the chance to work on this piece in Ljubljana in the Spring of 2011, and tried to develop their approach to interpret the texts as precisely as possible, in the traditional way of score-reading. As Stockhausen pointed out: “musical meditation is not sentimentality, but ultra alertness and — in the lightest moments — creative ecstasy.” Set sail for the sun. Directed by Reinhold Friedl. Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); Ulrich Phillipp (double bass); Reinhold Friedl (piano); Christian Lillinger (percussion); Frank Gratkowski (reeds); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Martin Wurmnest (sound). Mixed by Martin Wurmnest, mastered by Rashad Becker, produced by Reinhold Friedl. “I do not want a spiritualistic session. I want music.” –Karlheinz Stockhausen
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