FORCED EXPOSURE MAILORDER UPDATE
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PETERS & STEVE RODEN, STEVE: Not A Leaf Remains As It Was CD (12K 1069CD) 13.00
‘”In 1995 Steve Peters and Steve Roden toured as a trio with singer Anna Homler; sometimes they would vocalize behind her, and they liked the way their voices blended together. They then spent about 15 years saying that ‘someday’ they should record a voice-based project together. Aside from the physical distance between them, the problem was always: What would we sing? Neither wanted to write or sing lyrics. Inspiration came in the form of a book of Japanese jisei — poems allegedly written by monks on their death bed — printed in both English translation and Romanized Japanese. Phonetically pronouncing the Japanese reminded Peters of the technique Roden has used of systematically chopping up the syllables in English texts to transform them into sound poems. Since neither of them speaks Japanese, it seemed like a good place to begin. The two of them applied for a residency at Jack Straw, a non-profit recording facility in Seattle that gives grants of studio time. They had no exact plans other than they intended to avoid electronic instruments, or directly referencing the poems’ literal meaning, or imitating any Japanese musical idioms or ‘Zen’ stereotypes. Culling some of the poems that made references to sound and noting them on 3×5 cards, Peters and Roden sorted the cards into four groups according to the seasons of the year that the poems represented, divided the cards between them, and taped them to their music stands. They then sang random fragments from the various cards – a word here, a line there, maybe backwards, maybe the English translation. They made no effort to keep the poems intact or retain any of their meaning, instead treating the material simply as phonemes to put in their mouths. 12k is known to be a label of understatement and restraint, however, Not A Leaf Remains As It Was is arguably the most hushed and delicate record in the label’s catalog. Every sound on the album’s four tracks, be it the artists’ voices, a pump organ or melodica hangs by a thread, played ever so slightly, with utmost care. Noises, created from turtle shells, leaves, and bells shuffle and flutter, as if they are quietly alive, in the background providing a textural backdrop to the sublime tones and ghostly voices.”
DICKSON, GARETH: Quite A Way Away CD (12K 1070CD) 13.00
“Given the episodes that lead up to Quite A Way Away it’s only fitting that the album lands on 12k, whose road from stark, synthetic post-techno, fourteen years ago, to the textured electro-acoustic ambience of today has been a gradual but well-documented voyage. The label’s flirtations with song structures being fused into its experimentations have defined the label as one to skirt the edges of boundaries and genre labels. But no release has quite stepped out of 12k’s bounds like Quite A Way Away. Yet despite the fact that Dickson’s music is classified as ‘singer/songwriter’ and there isn’t an electronic gadget to be heard anywhere on the album, it’s remarkable how well it seamlessly blends into 12k’s existing catalog. The minimal, fragile, and engrossing sounds of 12k’s well-established brand of experimental music is ever-present in Dickson’s quiet finger-picked guitar and breathy vocals that hang on the edge of disintegration. Quite A Way Away is somehow as much ’12k’ as it is a step in a totally new direction. Dickson, who hails from Glasgow, often gets comparisons to Nick Drake but it’s important to mention the influence he takes from experimentalists like Brian Eno, Aphex Twin, Bert Jansch, and Glenn Gould. His music is characterized by an intimacy gleaned from his dream-like approach to singing and playing guitar as well as the immediacy of being captured shortly after being written by whatever recording device is closest at hand, be it a cassette machine, handheld recorder, or 4-track. His use of analogue delays and reverb add to this soft, spacey vibe. The lo-fi nature of his sound harbors all of the cracks, flaws and rough edges of humanity, soul, and the deeply personal circumstances that surround the creation of art.”
VAN DER GRAAF GENERATOR: The Least We Can Do Is Wave To Each Other LP (4M 216LP) 19.00
“The Least We Can Do Is Wave To Each Other, released in 1970, is technically the second Van Der Graaf Generator album, but is the first with the full band. Recorded in late 1969 at the cutting edge Trident Studios, The Least We Can Do Is Wave To Each Other was listed at #15 on Q & Mojo’s ‘Top 40 Cosmic Rock Albums.’ An absolute classic of British progressive space rock.” Gatefold sleeve; 180 gram vinyl.
VAN DER GRAAF GENERATOR: H To He, Who Am The Only One LP (4M 217LP) 19.00
“Originally released on Charisma in 1970, H To He, Who Am The Only One, is the third album from Peter Hammill’s legendary British prog group. In addition to the core band, the album features Robert Fripp of King Crimson on one track. Another cosmic classic from Van Der Graaf Generator.” 180 gram vinyl; gatefold sleeve.
VAN DER GRAAF GENERATOR: Pawn Hearts LP (4M 218LP) 19.00
“Released in 1971, Pawn Hearts is the 4th album from Peter Hammill’s legendary prog group, Van Der Graaf Generator. Featuring some of their finest playing and most well known songs, Pawn Hearts is an absolute classic of British progressive and cosmic space rock.” Gatefold sleeve; 180 gram vinyl.
SANDRU: Eucalipto/Zuckerkrawatte 12″ (AG 004EP) 12.50
On Amuse Gueule 004, Cologne-based Sandru presents his next tasty goodie. “Eucalipto” and “Zuckerkrawatte” are convincing pieces of tech-house, making your legs shake. Driving grooves and crispy beats with wonderfully-constituted chords make this 12″ an extraordinary treat for the ears. On the B-side, Mollono.Bass and Jules & Jazper rotate with each other, remixing Sandru’s track brilliantly.
AXT, HARRY: No Return 12″ (A&L 003EP) 12.50
Harry Axt has sharpened the axe, bringing three tracks of peak-time madness. “No Return” is a dark floor-burner with a break that will blast every dancefloor. “Gameshow” is a stompy homage to Germany’s ’80s quiz-show master, Harry Wijnvoord and “Klapperstorch” is dedicated to the stork and his flapping habit.
COLEMAN, ORNETTE: Ornette! LP (ATL 1378HLP) 14.00
180 gram vinyl version. Originally released in 1962, recorded a month after Free Jazz: A Collective Improvisation. With Don Cherry, Scott LaFaro and Ed Blackwell. “Ornette Coleman’s proposition is a very simple one: release me from the bondage of long out-dated harmonic and formal conventions, and I will take you away from the wallpaper-like cliches of my contemporaries and let you hear a world of sound which you have never heard before, which is free, and which is beholden only to its own innermost logic and discipline.” Exact repro reissue, manufactured by Rhino.
CROSBY, DAVID: If I Could Only Remember My Name…. LP (R1 7203HLP) 20.00
Originally released in 1971, David Crosby’s If I Could Only Remember My Name is listed second in the Vatican’s “Top 10 Pop Albums of All Time.” Gatefold 180 gram vinyl reissue, remastered and manufactured by Rhino.
TIGER STRIPES: Glorified 12″ (AM 047EP) 12.50
Tiger Stripes returns to Audiomatique with a funky little number. Going by the name of Glorified, this return to the dancefloor is cutting-edge tech-house and techno. “Glorified’ opens with a tight, swinging groove. As we are quickly drawn into the snaking arrangement, an uplifting speech arrives from a preacher from the House of Jack. Rodriguez Junior lends his hand on the remix, drawing out the introduction and adding tension. Pushing drums lead a pitching, super-stereo chord pattern, evolving into an early morning anthem.
CIANI, SUZANNE: Lixiviation CD (BMS 040CD) 15.50
Amazing comp of classically trained/avant-minded commercial composer Suzanne Ciani, the “American Delia Derbyshire Of The Atari Generation.” Ciani stands alongside the likes of Pauline Oliveros, Daphne Oram, and Ursula Bogner in the continuum of female early electronic knob-twiddlers that would’ve never gone out on a date with you. “With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman’s touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract Sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani’s synthetic sound (The Buchla Synthesiser). Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica companybecame the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years… until now.”
CHITHRA, K.S.: K.S Chithra CD (BMS 041CD) 15.50
“The electrification of K.S Chithra and Kollywood pop! Known by adoring fans and devotees, throughout South India, as Chinna Kuyil (Little Nightingale) on account of her expansive vocal range and crystaline sweet voice, the uplifting and surprising sound of K.S. Chithra is, for many, best exemplified by the early plugged-in-pop she made in the 1980s with the man/machine who first introduced her to the Tamil film industry, Maestro Ilaiyaraaja. There are few records you will hear this year that combine the sounds of a child’s choir, a DX7 bass line, three types of drum machine, amariachi trumpet cry, a resampled forty-piece orchestra and an electronic bass line that takes the moog taurus by the horns and rides into the Indian summer. There is probably less chance of hearing a vocal performance so confusingly dazzling that it instantly detracts from the previously aforementioned wish list combination of bizarre instruments but for those intrepid enough to dig a little deeper and take a detour due East, pick-axing right where Lollywood meets Bollywood – then prepare to be rewarded with a double, triple and quadruple whammy! This compilation focuses on a small and select handful of Chithra and Ilaiyaraaja’s developing collaborations from the formative years of their relationship between – 1986 and 1991- a vibrant time where analog recording techniques and digital technology first overlapped and Chithra, as a developing vocalist, adapted to the the sounds and arrangements of a classic maverick composer pushing the boundaries…. Rare Tamil recordings — never previously released on CD and considerably rare on their original vinyl pressings.”
ABER, SHLOMI: In Dancetrippin 12″ (BAO 034EP) 12.50
“In Dancetrippin” features trippy vox and rolling grooves dubbed into Shlomi Aber’s own dark and hypnotic quality trademark sound. “Faced U ” is another kind of trip, with a more minimalistic yet jazzy approach. Another peaktime anthem, but you knew that already.
HAINO/JIM O’ROURKE/OREN AMBARCHI, KEIJI: Imikuzushi CD (BT 007CD) 17.00
“The yearly summit of Keiji Haino, Jim O’Rourke and Oren Ambarchi continues with Imikuzushi, which finds the group extending the power-trio strategies of 2011’s highly-praised In A Flash Everything Comes Together As One There Is No Need For A Subject (BT 005LP) and bringing to them a newly-sustained intensity. For this performance, Haino limits himself to electric guitar and vocals, forming complex networks of slashing rhythm work, noise squall and chromatic shredding, moving at times to near-silent passages of howled vocals and isolated, hanging guitar strums. The tendency towards driving free-rock which surfaced on moments of the trio’s last release is cemented here, with O’Rourke’s fuzzed-out, non-linear bass riffing moving the music into almost garage-rock areas, combining with Ambarchi’s drums to form a bedrock of hypnotic, metronomic pounding which transforms itself effortlessly into passages of flowing free-time. Like all of Haino’s best work, the trio transcends any ‘rock’ genre exercise to enter a non-idiomatic zone of ritual intensity, creating a music formed purely out of instrumental and group-mind possibility. Presented as four unedited excerpts salvaged from an epic show that lasted well over three hours, the sometimes raw nature of the recording only adds to its directness and harshly emotive quality.” –Francis Plagne, Melbourne, November, 2011; Released as a 6-panel digipak CD. Design by Stephen O’Malley (Sunn O)))) with high quality live shots by Ujin Matsuo and stunning images by Tokyo-based photographer and sound artist Shunichiro Okada.
BLAKEY AND THE JAZZ MESSENGERS, ART: Moanin’ LP (BLP 4003LP) 11.50
Exact repro of this 1958 album for Blue Note, featuring Benny Golson (tenor sax), Bobby Timmons (piano), Jymie Merritt (bass), Lee Morgan (trumpet) and Blakey (drums). “..ranks with the very best of Blakey and what modern jazz offered in the late ’50s and beyond.” –All Music Guide
BROOKS, TINA: True Blue LP (BLP 4041LP) 11.50
Exact repro reissue of hard-bop tenor Tina Brooks’ 1960 album, featuring Freddie Hubbard (trumpet), Duke Jordan (piano), Sam Jones (bass) and Art Taylor (drums).
MCLEAN, JACKIE: Action LP (BLP 4218LP) 11.50
Exact repro of Jackie McLean’s 1964 album, featuring Charles Tolliver (trumpet), Bobby Hutcherson (vibraphone), Cecil McBee (bassist), and Billy Higgins (drummer).
BASHO, ROBBIE: Venus In Cancer LP (BTS 010HLP) 17.00
Robbie Basho’s 1969 guitar classic. Basho was one of the main ’60s acoustic guitar innovators, alongside John Fahey and Leo Kottke. Gatefold 180 gram reissue.
VA: BNR TRAX 01-10 3LP (BNR 073LP) 26.50
Vinyl compilation of Boysnoize digital-only sublabel BNR TRAX. Just 15 months after the launch of BNR’s sub-label BNR TRAX, Boysnoize Records is proud to see that the newborn has grown up and become a highly profiled digital platform for innovative experimental music and real techno rockets. So far there have been 11 BNR TRAX releases so far… strong releases featuring Benny Rodrigues, Para One, Bobmo, Maelstrom or completely unknown youngsters such as Audionite and BS1. BNR TRAX 01-10 is a compilation of the best stuff that BNR TRAX has to offer over the first 10 releases and a good opportunity to have bombs like Strip Steve & Das Glow’s “Calcium,” Para One’s “Nevrosis” and Bobmo’s “Northside” as a physical copy. BNR is proud to be able to offer you this release, especially if you weren’t aware of the great music that has been happening here on BNR TRAX. BNR TRAX 01-10 features Strip Steve & Das Glow, Djedjotronic, Shadow Dancer, Para One, Maxime Dangles, Benny Rodrigues, Electric Rescue, Audionite and Maelstrom. Boysnoize is looking forward to a new year with more bombs and rockets.
FELDMAN, MORTON: Piano And String Quartet CD (BRIDGE 9369CD) 15.00
“Composed two years before his death, the ultra-impressionistic Piano and String Quartet is one of the most beguiling of Feldman’s late works. With its chords based on semitones, this nearly 80-minute, single movement work floats in a typical Feldmanesque haze, yet progresses with a forward moving determination and logic that sets it apart from some of Feldman’s more static pieces of this period. This gorgeous performance by Vicki Ray and the Eclipse Quartet has an almost erotically sensual quality. Turn down the lights, get comfortable and prepare to be enveloped in an aural experience of exceptional warmth and depth.”
QLUSTER: Antworten CD (BB 077CD) 17.00
“Antworten (meaning: answer) is the third installment in a trilogy of Qluster music, following on from the Fragen (BB 076CD/LP) (meaning: question) and Rufen (BB 075CD/LP) (meaning: call) studio albums. The fact that the music on Antworten was created before Rufen and Fragen were recorded is less of a paradox than it might at first appear. For the expansive piano fantasies of their 2007 recordings had already provided a clear answer to the two musicians’ question as to whether, and to what degree, they wished to collaborate in the future. Seldom has a musical duo been so united in heart and soul as Roedelius and Bock that January of evening in 2007. Their improvised nocturnes on two Steinways in the Berliner Philharmonie were delectable. Completely unplugged and utterly relaxed, Roedelius and Bock tossed musical ideas back and forth without pause, occasionally adding in the delicate tone of a distant singing bowl. Something rare, something wonderful happened in the course of this midnight session. Two perfectly inspired virtuosos coalescing into one person –Qluster– speaking in one language to tell us of something which we no longer need to dream, as we can hear on Antworten. The notes flow incessantly, yet they also convey peace and quiet, a balancing act of which only the most mature personalities are capable. Roedelius and Bock pulled off the trick, this sleight of hand, with the greatest of ease. The antworten/answers are, in equal measure, lucid and lost in reverie. Lucid, because Qluster reveal the source of their art: inspiration and solid craftsmanship. Lost in reverie, because the music is far removed from daily monotony, from common cliche. Balsam for the ears, without any esoteric frippery or contrived secrecy. Nevertheless, the antworten/answers remain auratic. It can be explained with a single word: art. Antworten is an early Qluster statement, and thankfully Roedelius and Bock chose to continue and intensify their work together. The previously issued Fragen and Rufen albums offer convincing proof thereof. And Qluster senses a responsibility to long-term artistic development whose transitory power continues to look ahead, into the future.” –Asmus Tietchens
QLUSTER: Antworten LP (BB 077LP) 17.00
180 gram LP version with free download code. “Antworten (meaning: answer) is the third installment in a trilogy of Qluster music, following on from the Fragen (BB 076CD/LP) (meaning: question) and Rufen (BB 075CD/LP) (meaning: call) studio albums. The fact that the music on Antworten was created before Rufen and Fragen were recorded is less of a paradox than it might at first appear. For the expansive piano fantasies of their 2007 recordings had already provided a clear answer to the two musicians’ question as to whether, and to what degree, they wished to collaborate in the future. Seldom has a musical duo been so united in heart and soul as Roedelius and Bock that January of evening in 2007. Their improvised nocturnes on two Steinways in the Berliner Philharmonie were delectable. Completely unplugged and utterly relaxed, Roedelius and Bock tossed musical ideas back and forth without pause, occasionally adding in the delicate tone of a distant singing bowl. Something rare, something wonderful happened in the course of this midnight session. Two perfectly inspired virtuosos coalescing into one person –Qluster– speaking in one language to tell us of something which we no longer need to dream, as we can hear on Antworten. The notes flow incessantly, yet they also convey peace and quiet, a balancing act of which only the most mature personalities are capable. Roedelius and Bock pulled off the trick, this sleight of hand, with the greatest of ease. The antworten/answers are, in equal measure, lucid and lost in reverie. Lucid, because Qluster reveal the source of their art: inspiration and solid craftsmanship. Lost in reverie, because the music is far removed from daily monotony, from common cliche. Balsam for the ears, without any esoteric frippery or contrived secrecy. Nevertheless, the antworten/answers remain auratic. It can be explained with a single word: art. Antworten is an early Qluster statement, and thankfully Roedelius and Bock chose to continue and intensify their work together. The previously issued Fragen and Rufen albums offer convincing proof thereof. And Qluster senses a responsibility to long-term artistic development whose transitory power continues to look ahead, into the future.” –Asmus Tietchens
ROEDELIUS: Plays Piano (Live In London 1985) CD (BB 078CD) 17.00
Breathtakingly beautiful piano fantasies from the year 1985 — released for the very first time! In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since acquiring his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. While staying with Brian Eno in 1985 (they had collaborated earlier in the ’70s), Roedelius composed a wealth of new material on his friend’s two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career: “At the Bloomsbury Theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven,” he describes of the instrument. The audience responded enthusiastically. “People were kneeling down before me in gratitude and happiness,” Roedelius recalls. And anyone who listens to the recordings will understand why. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius’ 1991 opus Piano Piano are just as valid here: “His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp.” (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: “I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice.”
MOEBIUS & RENZIEHAUSEN: Ersatz CD (BB 091CD) 17.00
Bureau B reissues this collaboration between Dieter Moebius and Karl Renziehausen, initially released on the Pinpoint label in 1990. Liner notes by Asmus Tietchens. “1990 sees Dieter Moebius enter new musical territory, cautiously reconnoitering the digital world. His companion on this excursion is Karl Renziehausen, a visual artist and constructor of sound sculptures. The two of them distance themselves sonically and musically from existing Moebius collaborations with Conny Plank and Gerd Beerbohm (almost all of which have been reissued on Bureau B); similarly, only sporadic echoes can be heard of Cluster and Harmonia, two projects whose style Moebius influenced significantly over a number of years. There is an exactness to the music of Moebius and Renziehausen, who allow nothing to stray from their chosen path. They stage seven little musical comedies with different plots, much as if they were writing for the theater. Common to each of the pieces is a prevailing mood of surrealism: Moebius appears to have an unlimited menagerie of imaginary sonic creatures at his disposal, introduced to the audience in a clearly discernible framework of dramaturgy. Their actions are utterly unpredictable, the ‘plot’ develops in the listener’s head. Renziehausen constructs the space: moving scenery to accommodate wonderful transparency and depth, as warm, bright light affords a clear view of each and every delectable detail. Ersatz is music at its most pictorial, far removed from cheap, programmed music. Although Moebius and Renziehausen frequently cross the boundaries of tonality, they still remain firmly grounded. The connection to the real world is never completely severed. Which is what makes this music so puzzling to anyone willing to engage with it: the occasional fleeting sense of something familiar, yet no sooner than something appears which one might have heard before, it disappears again, replaced by something new and unrecognizable. Listeners can look forward to nine meticulously crafted soundscapes of uncharted, fantastic regions. Soundscapes, perhaps, of some imitation paradise? Rather than measure this album by a musical yardstick then, one ought to evaluate it as one of the great discoveries in its own right.” –Asmus Tietchens
MOEBIUS & RENZIEHAUSEN: Ersatz II CD (BB 092CD) 17.00
Bureau B reissues the second collaboration between Dieter Moebius and Karl Renziehausen, originally released in 1992 on the Spanish Nova Era label. Liner notes by Asmus Tietchens. “Two years after the release of Ersatz (1990), Moebius and Renziehausen issued Ersatz II as the culmination of their ongoing studio collaboration. It is as meticulously-crafted as Ersatz, dipped in the same luminance and confounds with a similar wealth of musical ideas. And yet Ersatz II does not simply carry on where Ersatz left off. Moebius and Renziehausen composed and improvised quite intuitively on Ersatz, emptying their music of messy ballast, yet adding decorous, delicate detail. This is even more true of Ersatz II, with the marked difference that the music has become even more transparent and the individual tracks shorter in length. The two sound artists reach an almost ascetic level with their unwavering concentration on musical substance and the deliberateness of their creative approach. ‘Almost’ is the word, for this is a pop album with all of the vibrancy associated with this world. It is neither minimalist in the academic sense nor suitable for any form of meditative exercise, the brevity of the tracks already enough to preclude this. The album also differs from Ersatz rhythmically: it is almost danceable. Again, only ‘almost,’ as Renziehausen and Moebius defy conventional rules of rhythm to such an extent that one might easily stumble. Harmonies and melodies, on the other hand, appear immediately familiar. Nevertheless, listeners will still have a sense of standing (or listening) on shaky ground. Ersatz II defines pop music in an idiosyncratic, rather odd manner, using the same pieces but coming up with whole new patterns. If there were such a thing as a kaleidoscope with asymmetrical pictures, then this would be something to which one could compare the music of Ersatz II. Colorful, shimmering and always a little off-kilter. When Ersatz II appeared almost 20 years ago, this form of electronic music had no place in the hype of the early ’90s. Moebius and Renziehausen were not bothered in the slightest, instead working towards the goal of their own musical world, a place as vivid and imaginative as possible. Far removed from turgid abstraction, Ersatz II is particularly enjoyable as the two musicians can really be heard playing with one another, intelligently, spontaneously and more than adeptly.” –Asmus Tietchens
MOEBIUS & RENZIEHAUSEN: Ersatz II LP (BB 092LP) 17.00
180 gram LP version. Bureau B reissues the second collaboration between Dieter Moebius and Karl Renziehausen, originally released in 1992 on the Spanish Nova Era label. Liner notes by Asmus Tietchens. “Two years after the release of Ersatz (1990), Moebius and Renziehausen issued Ersatz II as the culmination of their ongoing studio collaboration. It is as meticulously-crafted as Ersatz, dipped in the same luminance and confounds with a similar wealth of musical ideas. And yet Ersatz II does not simply carry on where Ersatz left off. Moebius and Renziehausen composed and improvised quite intuitively on Ersatz, emptying their music of messy ballast, yet adding decorous, delicate detail. This is even more true of Ersatz II, with the marked difference that the music has become even more transparent and the individual tracks shorter in length. The two sound artists reach an almost ascetic level with their unwavering concentration on musical substance and the deliberateness of their creative approach. ‘Almost’ is the word, for this is a pop album with all of the vibrancy associated with this world. It is neither minimalist in the academic sense nor suitable for any form of meditative exercise, the brevity of the tracks already enough to preclude this. The album also differs from Ersatz rhythmically: it is almost danceable. Again, only ‘almost,’ as Renziehausen and Moebius defy conventional rules of rhythm to such an extent that one might easily stumble. Harmonies and melodies, on the other hand, appear immediately familiar. Nevertheless, listeners will still have a sense of standing (or listening) on shaky ground. Ersatz II defines pop music in an idiosyncratic, rather odd manner, using the same pieces but coming up with whole new patterns. If there were such a thing as a kaleidoscope with asymmetrical pictures, then this would be something to which one could compare the music of Ersatz II. Colorful, shimmering and always a little off-kilter. When Ersatz II appeared almost 20 years ago, this form of electronic music had no place in the hype of the early ’90s. Moebius and Renziehausen were not bothered in the slightest, instead working towards the goal of their own musical world, a place as vivid and imaginative as possible. Far removed from turgid abstraction, Ersatz II is particularly enjoyable as the two musicians can really be heard playing with one another, intelligently, spontaneously and more than adeptly.” –Asmus Tietchens
UNKNOWN: Turn It Around/Physical 12″ (CEDI 002EP) 14.00
C-Edits presents a limited series of vinyl-only, DJ-friendly versions of songs from the past and present. Second installment in the series, featuring a sexed-up house version of “Turn It Around” as well as a space disco mix of “Physical.” Must have.
KOOL G RAP & DJ POLO: Live and Let Die 2LP (TEG 77512LP) 21.00
“A strong case could be made for Live and Let Die as Kool G Rap & DJ Polo’s crowning achievement. Who can really say for sure if the controversy surrounding the cover artwork, which shows the duo feeding steaks to a pair of rottweiler’s, in front of two noose-necked white men, clouded a proper consensus? The artwork could have been even more graphic according to the liner notes by legendary photography/art director George DuBose. With across-the-board stellar production help from Sir Jinx and Trakmasterz, G Rap (who also produces) continues his no-holds-barred narratives that peaked with Wanted: Dead or Alive’s ‘Streets of New York,’ but most everything on this album comes close to eclipsing that song. ‘Ill Street Blues’ is practically a sequel, and it manages to use more swanky piano vamps and horn blurts without making for a desperate attempt at capitalizing on a past glory. Few tales of growing up in a life of crime hit harder than the title track, in which G Rap displays the traits, unforced frankness, that unmistakable voice, and a flow that drags you involuntarily along, that made him a legend. The album is one story after another that draws you in without fail and they come at you from several angles. Whether pulling off a train heist, venting sexual frustration, analyzing his psychosis, or lording over the streets, G Rap is a pro at holding a captive audience.” Includes 22″x22″ poster of the cover.
BIZ MARKIE: The Biz Never Sleeps CD (TEG 77516CD) 16.00
“During the golden age of hip-hop, few labels produced as many classic artists and records as Cold Chillin’ Records. Among the many artists to come from their now revered ranks is the timeless Biz Markie, the famed ‘Clown Prince of Hip Hop.’ Biz’s reputation for playful and mischievous lyrics and beat-boxing skills has earned him a sterling reputation, not just a mainstay of hip-hop culture, but as a television personality and comedian as well. It’s with great pride that we at Traffic Entertainment Group have partnered with Cold Chillin’ to deliver this re-issue of his most famous album, The Biz Never Sleeps. The Biz Never Sleeps is considered a standard among golden age hip-hop music, and is a definite must have for any fan of the genre. Released for the first time ever in an extended format this issue comes housed in a handsome six panel digipak and features never before seen photography from original Cold Chillin’ art director and photographer George DuBose as well as 12″ versions and remixes of the hit singles ‘Spring Again’ and of course ‘Just A Friend,’ all previously never available on CD format.”
BIZ MARKIE: The Biz Never Sleeps LP (TEG 77516LP) 19.00
LP version. Includes 22″x22″ poster.
AUREO, MARIO: After Dark EP 12″ (COLOUR 007EP) 12.00
The much-anticipated After Dark EP from Mario Aureo features remix action from two of the hottest producers in the game, Re.You and Moodymanc. “Inside The Dark” is a beat-driven affair with a dirty piano lead, huge drops and a touch of Native American spirit. “But Tonight” boasts some great disco-tom action and a beautifully-crafted vox hook. Re.You takes “Inside The Dark” into technoid territory and Moodymanc steps up and treats “But Tonight” to a total percussive workout.
COLEMAN, ORNETTE: Science Fiction LP (KC 31061LP) 17.00
Legendary 1971 session featuring Dewey Redman, Don Cherry (pocket trumpet), Charlie Haden (bass), Billy Higgins (drums), Ed Blackwell (drums) and Bobby Bradford (trumpet).
COLEMAN, ORNETTE: Skies Of America LP (KC 31502HLP) 15.00
Ornette Coleman’s 1972 “third stream” album with the London Symphony Orchestra, conducted by David Measham. 180 gram exact repro.
PHARCYDE, THE: Bizarre Ride II The Pharcyde 2LP (DV 14221LP) 24.00
2008 release. “Bizarre Ride II the Pharcyde is the debut album from The Pharcyde. Released in late 1992 by Delicious Vinyl, the album was hailed by critics and alternative rap fans and appeared in ‘best albums’ lists in several publications. Produced entirely by J-Swift with easily some of the tightest and most inventive beats of the era, ‘Bizarre Ride’ features only one guest appearance, provided by little known Los Angeles rapper Buckwheat (who would become known as ‘Bucwheed’ from The Wascals). Released during the dominant gangsta rap era of the West Coast, the music was described as ‘refreshing’ due to its playful, light-hearted humor and lush, jazzy production. Along with albums like To Whom it May Concern… by Freestyle Fellowship, and I Wish My Brother George Was Here by Del tha Funkee Homosapien, Bizarre Ride helped establish a new alternative scene on the West Coast followed by artists such as Hieroglyphics, The Coup and Jurassic 5.” On orange and blue vinyl.
EVA BE (FEAT. LADI6): Confusion Of A Lady 12″ (DERWIN 006EP) 12.00
Eva Be elegantly moves between genres such as dub and house. She is called the “First Lady of Dub, House & Electro” by true Berliners, and she stays true to her nickname: from deep house sounds over hypnotic dub tunes crossing smart techno with a dash of Detroit. Her productions and DJ sets are well-known over the German border as well, but the center of her creativity is and always will be Berlin. Remixes by Alex Barck and Rampa.
PIRUPA: Party Non Stop 12″ (DESOLAT 019EP) 12.50
This is Pirupa’s hard-rocking debut on Desolat. His “Party Non Stop” is not only a trip down memory lane, crossing the paths of hip-house in a vocal version and early rave-ish bleep sounds in an instrumental version — it’s first and foremost the house sound of now, with attitude. DJ QU, the man behind Strength Music, rounds out the EP with a healthy dose of drama with his epic, raw remix.
NAUJOKS, CHRISTIAN: True Life/In Flames CD (DIAL 024CD) 17.00
After his self-titled debut of 2009, True Life/In Flames is the second album by Berlin-based Christian Naujoks. Recorded by Tobias Levin at the Laiszhalle Philharmony Hamburg. A dense concert atmosphere sets the tone. Stringent seriality is combined with a romanticism of the minor key which one also finds in a certain corner of modern 20th-century piano music, in the vein of Michael Nyman, Wim Mertens, Arvo Pärt, John Cage and György Kurtág. Deep contemplation and solemn expression paired with intellectual clarity. Each note has weight, and every sound a purpose. Unlike Naujoks’ debut, True Life/In Flames completely relinquishes the use of any sort of electronically-generated sound. Instead, there is a consistent stylization of what one might call “organic sound.” The figure of the bedroom producer is relieved here by that of the composer and pianist. There’s a piano, played by Naujoks; there’s the marimba of Martin Krause and then Naujoks’ voice. This album could be designated as a suite with various movements, bracketed by the conspicuous reprise of its most song-like piece, “Moments I” and “Moments II,” as well as by the economy of the unchanging instrumentation and the black and white cover photograph by Dirk Stewen that references the recording location: the Laeiszhalle of the Hamburg Philharmonic. Piano and marimba stand there on an almost cave-like stage, surrounded by music stands, microphones and stacked Egon Eiermann SE 68 SU chairs — a company of genuine instruments. Again, Christian Naujoks embraces the world of contemporary music-loving connaisseurs. True Life/In Flames is a gift for all those hunting the unique, the deep, the outstanding. All’s quiet at the beginning, as it is at the end.
H.O.S.H.: Life Is Music Is Life 12″ (DIYNAMIC 055EP) 14.00
After his debut album Connecting The Dots (DIYNAMIC 005CD/LP) and several remixes, H.O.S.H. returns to Diynamic Music with some fresh productions. H.O.S.H. presents three astonishing, original takes on vocal music, all featuring the soulful singer, Malonda. “What Do You Want Me To Say” consists of an emotive vocal supported by sexy percussion, an impulsive cowbell and a deep, pumping bass. “Hidden Pleasures” is an instant viber and “High!” is a slow and true groover.
FROM THE MOUTH OF THE SUN: Woven Tide CD (EXP 021CD) 11.00
“Woven Tide is the debut album by From The Mouth of The Sun, the new collaboration between Dag Rosenqvist, aka Jasper TX, and composer Aaron Martin. Out of the charred embers of dusk Woven Tide emerges with an incandescent glow. Each glimmer cast by the sustained notes of ebony keys, the taut strings of the cello, and the rampant buzz of guitar lights our way, gives us hope, brings us into the dawn of a new day. As From The Mouth of the Sun, the duo act as our torchbearers, scrawling messages along the walls of an elongated cave, toiling through the decayed remnants of fetid matter to create eight illuminating pieces. The listener, who has wiled away the hours, will find a door; Woven Tide will be the light out of the darkness.”
FROM THE MOUTH OF THE SUN: Woven Tide LP (EXP 021LP) 15.00
LP version. Includes mp3 download code.
CELER: Evaporate And Wonder LP (EXP 022LP) 15.00
“Since 2005, Celer, the duo of the late Danielle Marie Baquet and William Thomas Long, have released a wealth of ambient material and established themselves as one of the preeminent and best loved outfits in the genre. For the uninitiated, Celer’s aesthetic is glacial, beautiful and devotional. It is utterly devoid of hard edges and culled from a wealth of exotic and traditional instrumentation. The pair’s inimitable sound is the result of careful attention to processing and a keen, quasi-cinematic ear for arrangement and juxtaposition. The source material for the recordings on Evaporate and Wonder was limited to improvised synthesizers and field recordings, but the end results are predictably grand and mysterious, suitable indeed for the promises of the album’s title. Comprised of two sidelong pieces, this record is a perfect entry point into the pair’s wonderful oeuvre or…a more than welcome audio pictogram that lets us as listeners continue the journey.” Includes mp3 download code.
GUZMAN, GEORGE: In Line (En Linea) LP (SLP 373LP) 12.00
Exact repro of this 1969 album from NYC boogaloo scene conga player George Guzman. Passionate Latin rhythms that are at once soulful, fiery and danceable.
COSMIC MICHAEL: Cosmic Michael/After A While CD (GF 257CD) 13.00
“Finally, on compact disc and in digipak format, the classic and ultra-rare 1969 and 1970 recordings from this crazed Troubadour from New York. Featuring both his albums, this is free form ’60s Mayhem at its best!”
BALLIN’ JACK: Ballin’ Jack CD (GET 52189CD) 15.00
“Seattle Washington’s horn rock legends, Ballin’ Jack originally formed in 1969 after witnessing the success of their childhood friend blossom and then explode. Who was this childhood friend? Well none other than the one and only Jimi Hendrix. While Ballin’ Jack never reached the same Olympian heights that Hendrix did, their self titled debut garnered critical acclamations and respect amongst horn rock aficionados. Most of the material from their self titled debut album was played on tour with Hendrix, when they joined him in 1970 on his ‘Cry of Love’ tour. Ballin’ Jack scored modest mainstream success with their single ‘Super Highway,’ peaking at #90 on the US Billboard Singles chart. Hip hop fans will recognize Ballin’ Jack for a different reason. The song ‘Found A Child’ was famously sampled for Young MC’s enormous hit ‘Bust A Move.’ Get On Down is proud to present Ballin’ Jack’s self titled debut as it was intended to be experienced, with a beautiful new digital transfer from the original analog tapes.”
BUCKETHEADS, THE: All In The Mind CD (GET 52712CD) 17.00
“As legend has it, Kenny ‘Dope’ Gonzalez came up with the idea for the Bucketheads while riding through Manhattan and listening to the radio. The Brooklyn-born DJ, already a New York house music star thanks to his production and remix work with ‘Little’ Louie Vega (as Masters at Work), was unimpressed by the Euro-flavored dance records that were getting rotation and started digging in his own collection for the antidote to the tepid tracks coming from overseas. The result was the Bucketheads, an infectious blend of hip-hop, disco, funk and house influences that, like anything Kenny touches musically, simply could not miss. The Bucketheads impact is still felt today, as Miami rapper Pitbull would revive ‘The Bomb’ for his own 2009 smash hit ‘I Know You Want Me (Calle Ocho).’ In 2006, Slant Magazine named the song as number 65 on their list of the ‘100 Greatest Dance Songs,’ saying it ‘brought disco revivalism to the world of jock jams.’ Get On Down is honored to present the reissue of The Buckethead’s essential 1995 album All in My Mind on CD, restored with brilliant sound, newly designed cover art and packaged in an embossed digi-pak.”
ELLIS, TOM: One By One 12″ (GRM 002EP) 12.50
Tom Ellis presents four evocative songs that feel pretty organic and sensitive at the same time. You might be ready to embark on such an affecting voyage built upon those ever-imperfect harmonies and natural rhythms. This EP can be correctly catalogued as deep house, but with everything mixed up — sax samples and voices go further to get the dancefloor moving. Sax & voice by Michiel Renger & Sammy Maine, respectively.
SLY & ROBBIE: Blackwood Dub PIC. DISC (GAP 113-PIC) 22.00
Vinyl picture-disc version, limited to 500 copies.
SLY & ROBBIE: Blackwood Dub CD (GAP 113CD) 15.50
Groove Attack presents Blackwood Dub, Sly & Robbie’s first flawless dub album in years. This release was realized with long-time companions including Mikey “Mao” Chung (guitar) and Uziah “Sticky” Thompson (percussion) and others. The album was recorded in 2011 at the legendary Harry J Studio (which also recorded the first Bob Marley & The Wailers albums for Island Records) in coordination with the producer talent of Alberto “Burur” Blackwood and Gilroy “Rolex” Stewart. Sly Dunbar and Robbie Shakespeare are by far the worldwide most known and most successful Jamaican musicians, responsible for countless essential recordings for local artists and producers that have made real reggae history. The duo remain engaged as drummer and bass session players for celebrities of the international rock/pop circuit, never failing to support new young talent coming from the ghettos of Kingston or the Jamaican countryside. CD is housed in a 6-fold digipak, including a sticker. Featuring: Sly Dunbar (drums/percussion/Syn drums), Robert Shakespeare (bass/guitar), Mikey “Mao” Chung (guitar), Dalton Brownie (guitar), Dougie Bryan (guitar), Daryl Thompson (guitar), Robbie Lyn (keyboards), Hansel Collins (keyboards), Sticky Thompson (percussion) and Skully (percussion).
SLY & ROBBIE: Blackwood Dub LP+CD (GAP 113LP) 19.50
LP version with CD, poster & sticker.
DERDIYOKLAR IKILISI: Disko Folk CD (GUESS 036CD) 17.00
Anadolu pop doesn’t get weirder than this! Back in 1979, two Turkish guys armed with electro-saz, guitar, drums and synthesizers were hitting the Turkish market in Germany where they lived, playing their sets of traditional-flavored electro-folk in weddings and circumcision feasts for Turkish emigrants in Germany. That’s their crazy story, and that’s their crazy sound. This is their third album, in a limited edition of 500 copies only. Comes with a booklet including liner notes.
DERDIYOKLAR IKILISI: Disko Folk LP (GUESS 092LP) 23.50
LP version with insert.
ZAHIR, AHMAD: Volume 2: Afghan 70s Psychedelic Folk-Pop 2LP (GUESS 093LP) 33.00
Following the success of Guerssen’s first Ahmad Zahir release, here’s a stronger second chapter: a full double LP set. A new, exciting selection from this Afghani legend’s proud discography, with his very own sound blending folk with pop and hits of psychedelia, the Afghan way. This second volume features a surprising marriage of Western music with Afghan melodies, and at the center, the crooning voice of a one-of-a-kind artist that happened to shake his country’s musical and cultural foundations forever.
HUMAN WOMAN: Delusional 12″ (HFN 010EP) 12.50
Human Woman is made up of two artists from Iceland; Gisli Galdur (aka Galdur) of Icelandic band Trabant, and producer Jón Atli Helgason (aka Sexy Lazer). Coming together in the studio, the pair has forged a fantastic fusion of modern electronic pop with their debut single, Delusional. Taking influences right across the board, the duo have cooked up a sensual, catchy indie-dance track that’s pleasingly reminiscent of the ’80s, yet carries a great modernism. Remixes by Kasper Bjørke, Vincenzo and Zev.
BJORKE, KASPER: Lose Yourself To Jenny 12″ (HFN 012EP) 12.50
Kasper Bjørke is ready to release his second artist album on HFN music, entitled Fool. Amongst the plethora of quality on offer on the LP, there is “Lose Yourself To Jenny,” one of a handful of songs that feature Jacob Bellens. The original version has a super-catchy melody line, where ’80s new-beat and nu-wave meets modern studio charms. This 12″ hosts a variety of outstanding remixes, from the likes of Axel Boman, Rebolledo, Till Von Sein and Maxxi Soundsystem.
PRED, NOAH: Motive Unknown 12″ (HIGH 110EP) 12.50
Noah Pred’s first EP for Highgrade Records sets an exciting precedent. “Motive Unknown” trickles organically into the aural canals, before the drips become digital drops and the track comes crashing from the speakers in a steady flow. The remix from Deepchild brings dub elements. “Folding Cranes” follows the thread through a musical universe infused with pounding percussion.
YAYA: Something Happened 12″ (HOEHE 020EP) 12.00
Here is the next Höhenregler from Yaya. Big support by: Loco Dice, Guti, Luciano, Federico Mollinari, Felipe Venegas, Nick Curly, Mendo and more. Includes a remix by Basti Grub.
PORTRAITS: Portraits LP (IMPREC 345LP) 18.00
“Beautiful new full length LP featuring Jefre Cantu-Ledesma (Root Strata, Tarentel), Evan Caminiti & Jon Porras from Barn Owl, Lisa McGee (Higuma), Gregg Kowalsky (Date Palms), Marielle Jakobsons (Date Palms), Maxwell Croy (Root Strata/EN) Steven Dye & Tony Cross (Tarentel alum) and Michel Elrod, who plays tambura with Date Palms, Barn Owl & The Alps among others. Edition of 500. Screen printed jackets. This large group is somehow able to focus and refine their sounds into sublime acoustic drone full of deep tones, rich harmonics, and an overall lush blend across a wide range of frequencies. Recorded & mixed by the Normal Conquest who also worked on the recent Barn Owl/Infinite Strings Ensemble.”
KUBIN, FELIX: TXRF CD (ITS 008CD) 17.00
Total Reflection X-ray Fluorescence (TXRF)* is a method used to analyze the surfaces of materials by firing extremely flat X-rays. Subsequently, the physicist Joachim Knoth (1941-2004) developed a patent for precise measurement of defects in semiconductor chips. In 10 sequenced-based electronic miniatures, Felix Kubin, who presently consists of dangerous uninsulated powerlines, conducts the TXRF through an acoustical test arrangement. The experiment consists solely of a synthesizer, filter and sequencer. Full-bodied consecutive organisms arise out of which kaleidoscopic iridescent blossoms sprout. At times they appear as acoustic by-products of high energy discharges on an X-ray picture and sometimes as quiescent fluorescent images. Who knows when the experiment will come to an end? Will X-rays break at irregularities? Will transparent ears crawl over fixtures and make laboratory benches corrode? In view of the entire event’s musical beauty, all these questions are completely unimportant. Felix Kubin is one of electronic music’s most dynamic and versatile personalities. A love-child of the home recording era, his various experiments and epithets include radio playwright, composer of Futurist and Dadatronic experimental pop as well as chamber orchestra music, filmmaker, incendiary performer, record label owner, lecturer and curator. He has made artwork in all sorts of fields since the 1980s, after studying media art at the ArtEZ Hogeschool voor de Kunsten in Enschede, Netherlands and illustration/animation at the University of Applied Sciences in Hamburg. Kubin’s music is saturated with enthusiasm for disharmonic pop, industrial noise, and 20th-century avant-garde music.
HOULE, MARC: Undercover 2LP (ITEM 012LP) 21.00
Gatefold double LP version. Marc Houle has been famous for his releases on Richie Hawtin’s M_nus label. Now the U.S. producer unleashes his brand-new album on his own imprint Items & Things (which is co-owned by Magda and Troy Pierce). Undercover is a double departure. His last album, Drift (MINUS 098CD/LP) was on M_nus, and his label, Items & Things, was a M_nus sub-label. He’s now left the label, and Items & Things stands on its own two feet. With this new-found freedom, Marc’s synth-driven techno sound continues to grow, evolve and surprise. Nowhere is this growth more evident than in the tracks that make up Undercover. Things kick off with “Hearing,” which has a bassline that drives like a vintage Mercedes shifting gears on the Autobahn as it picks up speed. The synths, with their soft melody, let you know how smooth the suspension is while a metallic voice whispers in your ear from the back seat. “Undercover” is a case study in the deep and moody side of old school Chicago house. “Juno 6660” sounds like what could have happened if early Warp artists like LFO and Sweet Exorcist had grown up on NYC freestyle rather than Detroit techno. “Very Bad” is actually very good, so Marc must be referring to something else entirely. “Bink” sounds like it’s from an old music box that’s been wound up just a little too far, held steady only by 4/4 beat, acid house claps and bouncy bass. On “Am Am Am,” Marc takes things in a bit of an industrial direction. Not the industrial of Nitzer Ebb and Einstürzende Neubauten, but rather, a construction site buried deep inside an unsettling dream. When “Mooder” drops, you wake up slowly and find yourself back on the dancefloor. The track’s driving rhythm and pitter-pat toms keep things moving underneath the track’s ever-dreamy pads. The album concludes with “Under The Neath,” which succeeds in taking things even deeper while at the same time unearthing Marc’s roots in the sound of Detroit techno. With influence and inspiration from such diverse sources, Undercover carves out a distinctive flow that is all his own.
DORHAM, KENNY: The Arrival Of Kenny Dorham LP (JAM 5007LP) 11.50
Exact repro of this 1969 album by bop-oriented trumpeter Kenny Dorham, featuring Charlie Davis (baritone), Tommy Flanagan (piano), Edward “Butch” Warren (bass) and Arnold “Buddy” Enlow (drums).
TOLOUSE LOW TRAX: Jeidem Fall CD (KK 066CD) 15.50
This is the third album by Detlef Weinrich aka Tolouse Low Trax. Weinrich is a member of the Düsseldorf group Kreidler. He’s already got three EPs and two albums under his belt. Jeidem Fall sounds like music brought down to earth from the heavens; however, it’s a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. Alongside the constant tapping of drumsticks are melodic arpeggios dancing dark and dirty. At times, longing vocals drift abstractly through the room, as on “Sa Seline” or “Geo Scan,” without telling any obvious story. Jeidem Fall really doesn’t sound like anything that has gone before: you could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon’s first reductive album Nommos. There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filters all his personal preferences through his MPC and his small synth set-up to make them come alive here and now in a new way. He has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Ideal for a journey at the end of the night and for all those non-places where longing sleeps and the last romantics dance while getting drunk.
ANDRE & GILDAS: Kitsuné Parisien II CD (CDA 043CD) 15.50
French label extraordinaire Kitsuné releases Kitsuné Parisien II, a colorful and exciting collection of tracks from the latest emerging bands and acts on the vibrant Parisian scene(s) and beyond. Rich from its experience and contacts, Kitsuné — a great Parisian export — is, of course, well-placed to encounter the new breed and single out talented hopefuls. This is precisely what the Parisien series aims to do, gather and present to the world some of the romantic city’s freshest players, whether they rehearse in damp cellars, compose on their laptop in the kitchen or record in state-of-the-art home-studios. Of course, it’s not just about Paris, as a few artists here don’t actually live in the capital, but they’re all French and have a Parisian connection going (not least for having been welcomed in the extended Kitsuné family). Covering the many bases of electro-pop, indie-dance and everything in between, Parisien II — selected by Kitsuné chef Gildas Loaëc and designed by night bird/graffiti artist André — offers a lively snapshot of what is cooking up for 2012 in Paris and further afield. Artists include: Tomorrow’s World, Juveniles, Owlle, LESCOP, About The Girl, Nameless, Birkii, BeatauCue, We Are Knights, Wolfpack Beartrack, Slowdance, Exotica, LA//KVLKD and Pyramid.
SOLVIS, MIKH: Deep Pool 12″ (KLA 009EP) 12.00
Klangfarbe Schallplatten presents Mikh Solvis, a talented Russian fellow from Yekaterinburg, who delivers two atmospheric tracks in warm and gentle moods. The original tracks are framed with edits by Todd Bodine and Daniel Mehlhart. Supported and played by: Laurent Garnier, Karotte, Someone Else, Oliver Schories, Sebo, Andrew Grant, Mike Callander, Tandem, Seth Troxler, Soukie & Windish, and many more.
DISAPPEARS: Pre Language CD (KRANK 164CD) 13.00
“Right on cue, the third annual report from Chicago’s Disappears is submitted for your consideration. Following up on the acclaimed Guider album released just over a year ago, and with new drummer Steve Shelley now fully integrated into the group, these songs were again forged into proper shape during live shows before heading to the studio and the tape machine. Never ones to dither or be indecisive, it’s a full-bore assault from the opening track to the last as Disappears attack these new songs with their usual relentless determination. It’s a sinister proceeding – debut Lux was preoccupied with death and endings while follow up Guider with protection – but Pre Language finds the band speaking on, of all things, love. Direct allusions to Philip K. Dick, James Baldwin, and Joan of Arc sit side by side with songs about the lows of life and the characters that permeate it. Recorded in Hoboken New Jersey at Sonic Youth’s Echo Canyon West studio and mixed with John Congleton, Pre Language finds Disappears at their most potent and focused. The band has finally stepped into their own world and the results are thrilling.”
DISAPPEARS: Pre Language LP (KRANK 164LP) 13.00
DELREY, BOSCO: Everybody Wah LP (MAD 128LP) 18.00
“Bosco Delrey, the stylish purveyor of electronic-tinged rockabilly , is prepared to release his debut full length album Everybody Wah on Mad Decent. Hailing from New Jersey by way of Memphis, Bosco’s sound references the sounds of Sun Studios-era recordings updating the lo-ti guitar twang with the use of an MPC drum machine and vintage synthesizer emulators to create a wall of distorted dance/grunge, with other apparent influences ranging from southern rap to church hymns and dancehall. He spent the summer in Memphis TN recording the thirteen tracks with Doug Easley at his acclaimed studio whose alumni include the White Stripes, Sonic Youth, Pavement, Wilco, and Cat Power.”
MADLIB: Madlib Medicine Show No. 13 – Black Tape CD (MMS 015CD) 18.00
“When Madlib launched his Madlib Medicine Show, the original idea was simple: twelve releases, one per month, alternating between original works and mixtapes spanning different genres. It took a little longer than planned to get to No. 12 (MMS 012CD), which put the idea in his head to give us all a bonus Medicine Show No. 13. Here is, the long rumored, highly anticipated, final installment of the Medicine Show: Madlib Medicine Show No. 13 – Black Tape. Black Tape (which is of course actually a CD) is a 60 minute hip-hop mix of some of rap’s best, half-best, brilliant and borderline-retarded MCs, all colliding head-on with a collection of Madlib beats.”
VA: Mainkollektiv Vol. 1 12″ (MUSIK 004VA-EP) 12.00
This is volume1 of Mainkollektiv — based on an artist collective formed in Offenbach am Main in late 2011. All of the artists backing the project have built their lives around music. Working variously as record store owners, party organizers, producers, DJs or label owners, loving music is what drives them each and every day. On the first EP for Mainakustik you will find special cuts by Frank Leicher, Danjel Esperanza, Wigbert and Candy Csonka.
CLIO: Do It EP 12″ (MLTD 053EP) 12.00
Clio brings it for Metroline. “Poem” does “big” the George Clinton way. Basslines cranked to “funk,” tempo raised, and drum tracks set to “attack.” Sparse percussion gives “Do It” an entirely different feel, but it’s also fired by a growling sub-bass. Killer. Carlo Lio’s remix of “Do It” thunders along, built for dancefloor shock and awe. Sasch BBC & Caspar go intergalactic on their rework of “Poem.” This is the tune that plays in Hal 9000’s head.
STOTT, ANDY: Passed Me By 2×12″ (LOVE 069LP) 20.00
2012 repress. Produced slowly and meticulously, these seven tracks by Manchester’s Andy Stott take influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era. These seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro “Signature,” “New Ground” heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. “North To South” starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. “Intermittent” is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before “Dark Details” delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. “Execution” and “Passed Me By” end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin.
STOTT, ANDY: We Stay Together 2×12″ (LOVE 072LP) 20.00
2012 repress. Recorded in the immediate aftermath of his last EP Passed Me By, this new double pack from Andy Stott features six new productions that are more desolate and exposed than anything on its predecessor. The opening “Submission” tumbles into being with layers of washed-out digital revolutions, creating an artificial landscape that’s quite at odds with the analog machinations that follow — yet somehow rendering the alienated feel of this material perfectly. “Posers” nudges its way into being abruptly and embeds another squashed funk variant that’s all low-lit neon and growling textures, awkwardly shuffling into a more robust 4/4 template suffused with sparkling percussion and disembodied vocals. “Bad Wires” is the centerpiece of the EP, a relentless percussive clusterfuck that belies its slow tempo with a fearless, rhythmic attitude. It’s as immersive and narcotic as anything ever produced by Stott — peeling away one layer after another with each repeated listen. “We Stay Together” (Part One) was the first track written for the EP and offers a more spacious narrative and a more sparkling, hazy palette — culminating in a beautifully frayed central hook that’s somehow in keeping with the VHS aesthetic of both Jamal Moss and Ferris Bueller. “Cherry Eye” tumbles deep into a darkened hole before EP closer “Cracked” turns up, fuelled by an odd mixture of adrenalin and sorrow to send you on your way, buzzing and forlorn. Mastered and cut at Dubplates & Mastering, Berlin.
REINHARDT, DJANGO: Are You In The Mood? LP (MK 104LP) 22.00
Recorded in Paris in 1936-37. “The Hot Club of France was a kind of jazz appreciation society based in Paris in the 1930s and Django Reinhardt–perhaps the greatest jazz guitarist of all time–and his quintet (featuring Stephane Grappelli on violin) swiftly became its main attraction. In an era when it was commonly believed that in order to play jazz you had to be African American and from somewhere like New Orleans, Reinhardt managed to single-handedly debunk this myth and in the process become the first international European jazz star.”
REINHARDT, DJANGO: Swingin’ With Django LP (MK 105LP) 22.00
Recorded in Paris in 1937. “Although Reinhardt played in the jazz idiom, he did not try to mimic his American counterparts, but developed his own distinct style of playing (on an instrument that was not even an accepted jazz solo instrument at the time and with two crippled fingers on his left hand)! His pre-war recordings for HMV and Swing became wildly popular; selling to audiences eager to hear what this new ‘European jazz’ was all about.”
MOUSE ON MARS: Parastrophics CD (MONKEY 022CD) 15.50
Over the course of ten albums — not to mention an avalanche of side projects, remixes and collaborations — Jan St. Werner and Andi Toma of Mouse On Mars established themselves as two of the most inventive and unpredictable artists in electronic music. But since they delivered the bracing, angular salvo that was Varcharz back in 2006 and their Von Südenfed collaboration with Mark E. Smith (The Fall) in 2007, there has been an uncharacteristic period of silence. In 2012, that silence is broken. Mouse On Mars’ triumphant return comes in the shape of Parastrophics, a life-affirming and constantly surprising album which is crammed with ideas, exuberance and sheer kinetic energy. It’s like listening to the entire history of pop music — distilled, refined and crystallized into a string of compulsive new shapes, full of glitter, intrigue and addictive detail. Atomized fragments from two lifetimes of listening flare and fade, tiny scraps of memory shrapnel hover, tantalizing and insubstantial, before being whisked away by the next impatient idea. But despite all that restless curiosity, Parastrophics also demonstrates a peerless command of pace. Whereas some previous Mouse On Mars releases have bordered on the frenetic, their latest displays a subtle but persuasive sense of control. Even when tempos climb, 303s squirm and kick/snare patterns snap to brisk attention, there’s an elegance to the way that each element slips in and out of the mix which speaks of maturity. Parastrophics is as a playful as ever, but it’s never throwaway. The closing track “Seaqz” is a gorgeous slice of space-age mood music, measured in tone despite all its microscopic activity, and it brings into focus the beguiling sense of confidence that suffuses the whole record. All of which is a roundabout way of saying that, after six years away, Mouse On Mars have come back with their best record yet.
HOUGHTON AND THE HOOVES OF DESTINY, BETH JEANS: Yours Truly, Cellophane Nose CD (MUTE 9509CD) 15.00
“With her honeyed vocals and whimsical sensibility, the Newcastle-born 21-year old Beth Jeans Houghton and her band The Hooves of Destiny quickly became ‘ones to watch’ in their native UK, particularly after a fabled stage appearance with Devendra Banhart, support slots for Bon Iver and an EP released in 2009. Dubbed as ‘a legend in the making’ by NME and hailed as ‘the new Jean Genie’ by The Independent (UK), Beth + the Hooves are often described as sparkly acid/psych-folk. Beth’s also become known for eccentric stage costumes, flamboyant wigs, striking photographs and an ever-changing appearance. Compared to Florence, Natasha Khan, Laura Marling and Vashti Bunyan, Beth is actually incomparably unique and stands to make a huge impression on the musical landscape with her debut album in 2012.”
HOUGHTON AND THE HOOVES OF DESTINY, BETH JEANS: Yours Truly, Cellophane Nose LP+CD (MUTE 9509LP) 18.00
Gatefold 180 gram LP version with CD.
BISCHOFF, JOHN: Audio Combine CD (NW 80727CD) 15.00
“John Bischoff (b. 1949) is an early pioneer of live computer music. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world’s first Computer Network Band. His long experience teaching music theory, harmony, and counterpoint is evident in his work: in the elegant balance of elements in his pieces can be heard an intuitive understanding of traditional musical forms expressed in sonic palettes far removed from the ones around which those forms were originally constructed. He describes his work as ‘a music built from the intrinsic features of the electronic medium at hand: high definition noise components, tonal edges, digital shading, and non-linear motion, all evolving in the variable context of live performance.’ While these features are all prominent, his work can also be considered fundamentally as a form of ‘expanded counterpoint,’ one in which the juxtaposition of sonic elements and their compositional development is a central concern. His work possesses a clear and intuitive sense of formal clarity combined with a nuanced deployment of audio events and textures. The title of this collection refers most literally to the methods of assembling the elements of Bischoff’s work. In one brief phrase it describes both a methodology that is used to build the pieces and the concrete results of that activity. By terming the process combine rather than combination, he focuses on the act and experience of juxtaposing sounds over their semantic results once they are combined. Though some of the processes heard here involve recycling timings or sounds, their deployment is always in the present and they are imbued with a clarity that only listening in the moment can provide. As new combinations and permutations of sonic materials emerge, the perceptual focus is always on the physical sound, whether acoustic or electronic in origin.”
PRINCE RAMA: Utopia=No Person 12″ (NNF 242LP) 14.00
Hare Krishna farmers/deep psych practitioners Prince Rama explore the link between music and utopia with music for exercise routines. This is a vinyl issue of “exercise rituals using music to explore the body as a vehicle for the utopian impulse…” originally released as a part of Impose Magazine’s cassette series and performed in an unshaved armpit of Brooklyn.
VA: Original Raw Soul III CD (NA 5088CD) 18.00
“The collective that includes the Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns present a series of rare funk, jazz, soul and world-psych singles compiled as an album. It’s been nearly fifteen years since the vinyl-only releases by the various ensembles helmed by Jay and Max Whitefield– also known as the Whitefield Brothers and the nucleus of the revered Poets of Rhythm — were collated onto an Original Raw Soul album. The last –1997’s More Original Raw Soul — largely contained the duo’s heavy funk and soul, well before the aughts’ Deep Funk revival that one could argue began with these two German siblings’ earliest recordings. Fitting, then, that this– Original Raw Soul III –looks back at recordings dating back over twenty years but never once sounds dated or dull. There’s the garage funk of the early Poets incarnation the Bus People Express; the deep jazz of vocalist Bajka gigging with a Max Whitefield ensemble; the pan-African psych-jazz of the Whitefield Brothers. And that’s just three of the ensembles contained within. Original Raw Soul III contains sixteen tracks that span the gamut of forty years of musical innovation, recorded over the past twenty years, and presented anew today. Contains two previously unreleased songs by The Transgressors.”
TRANSGRESSORS: Will Power/Money For Born, Money For Die 7″ (NA 7025EP) 8.00
“Previously unreleased psych-funk by Poets of Rhythm/Whitefield Brothers/Karl Hector & The Malcouns side-project; released as a limited edition 7″ in conjunction with Now-Again’s Original Raw Soul III album.”
YAGHMAEI, KOUROSH: Gole Yakh/Del Dareh Pir Misheh 7″ (NA 7026EP) 8.00
More exact reproductions from Now-Again Now-Again from Iranian psychedelic rock musician Kourosh Yaghmaei, also released on the Back From The Brink (NA 5066CD/LP) compilation. “The first single presented here, ‘Gole Yakh,’ was Kourosh’s biggest hit, a weeping ballad backed by insistent drums and embellished by his plaintive guitar. ‘Del Dareh Pir Misheh,’ the b-side, is Iranian garage rock taken to its greatest heights.”
YAGHMAEI, KOUROSH: Leila/Paiz 7″ (NA 7033EP) 8.00
“‘Leila’ is not so much a response to ‘Gole Yakh’ as it is a related conversation. Both this and ‘Paiz’ are restrained, folky ballads — and are contained one of Kourosh’s rarest 7″ singles.”
ROMBOY VS. KINK, MARC: Sampledelics EP Vol. 1 12″ (OVM 218EP) 12.50
Marc Romboy teams up with Ovum new-breed, Strahil Velchev aka KiNK. The Sampledelics Vol. 1 EP sees the pair turn in three choice cuts of, as the name suggests, sample-led house. A perfect selection of tools for the most discerning of DJs.
VA: Qat, Coffee & Qambus: Raw 45s From Yemen LP (PT 2003LP) 18.50
Qat, Coffee & Qambus: Raw 45s From Yemen is a compilation of rare Yemeni vinyl singles, showcasing the little-documented, evolving local music styles in the 1960s and 1970s. Vintage oud and vocal music inspired by the qat-chewing, coffee-sipping, qambus-playing culture of Yemen. Although part of the classical Arabic musical tradition, the music of Yemen takes its rhythmic lead as much from the East African coast (a mere 20 miles across the Red Sea) as the surrounding Arab Peninsula. Little has been written about the music and culture of one of the world’s oldest civilizations, and each 45rpm disc gives a small glimpse of the poetic tradition, the unique local oud styles as well as an insight into people’s day to day lives, or the highs and lows of human relationships. Overall, the compilation gives a flavor of the sights and sounds of Yemen, with detailed notes that tell the story of the hunt for music that has mostly lain forgotten in the antique markets of the capital, until now. Pressed on high quality vinyl with a full-color cover featuring 78rpm record sleeve graphics, and an insert of extensive liner notes and photos.
MOPS: Exit LP (ASH 3050LP) 22.00
One of the innumerable bands to emerge from the post-Beatles Japanese tour of 1966 with Fab Four pretentions. The Mops were a Tokyo quintet led by drummer Mikiharu Suzuki who had cut his musical teeth in a Ventures-style combo in the previous spring. The line-up was augmented by the arrival of Suzuki’s older brother, Hiromitu, a lead vocalist with an Eric Burdon obsession who added hugely to the band’s fuzzy garage soul sound. Not just a Merseyside homage turn, The Mops were a dedicated family whose love of garage rock and the nascent psychedelia would help them to create some of the most urgently deranged and musically disruptive music of the entire Group Sounds-era. Exit, a live recording, features in its entirety the band’s 1974 last concert at Nakano San Plaza. Features the original LP artwork and includes the original Japanese insert. This is the first 180 gram vinyl reissue.
KACIREK, SVEN: Scarlet Pitch Dreams LP (PING 032LP) 20.00
LP version. Sven Kacirek, the much-praised multi-instrumentalist from Hamburg, releases his third album with Pingipung. Scarlet Pitch Dreams presents intimate solo works, following his debut The Palmin Sessions (2007) and the international success The Kenya Sessions (PING 020CD), which was honored with a German Record Critic’s Award for the second quarter of 2011. While The Kenya Sessions revealed fruitful collaborations with Kenyan musicians, almost every single instrument on Scarlet Pitch Dreams has been played, recorded and produced by Sven Kacirek himself. Within these dreamy séances of percussive virtuosity, Kacirek has effortlessly found his original sound — from the first whirring of the prepared grand in the opener to the massively rolling drumset crescendo in the last track. Jazzbrush patterns define Sven Kacirek’s sonic identity. They create beat structures on wood, glass, and paper which sound like digital sampler tweakings — but they are not. “For the previous records I had been led by the production process in the first place, cutting loops, use of FX and so on. But here, everything has been written down in notation first, and has then been properly recorded,” Kacirek says. This handcraft — and the craftiness in Sven Kacirek’s handling of his recording and production technology — are two blessed aspects to this record. The 11 tracks burst with sonic details and never dwell on aimless repetition — they are tied together with wide melodic arcs, and at times they sound like a classical jazz recording, at other times they show their influences from dub techno and clicks & cuts. Featured guests on this record include Jana Plewa (Old Splendifolia, The Kat Cosm) on vocals, and Johannes Huth (Efim Jourist, Anthony Braxton) and John Eckhardt (Alvin Lucier, Evan Parker) on upright bass. Vinyl version contains 9 of the 11 tracks on the CD, plus an mp3 coupon for the entire album.
KUPPER, LEO: Digital Voices CD (POGUS 21060) 13.00
“Leo Kupper was born in Belgium in 1935. He worked with Henri Pousseur at the first electronic music studio in Belgium and is founder and director of the Studio de Recherches et de Structurations Electroniques Auditives in Brussels. This is his third release on Pogus and he remains a master at working with electronics and the human voice. Of the six works presented on this CD, five involve the human voice. Sung by Barbara Zanichelli, Anna Maria Kieffer, and Nicholas Isherwood, their microphone recordings were integrated into Kupper’s digital computer sessions, hence the title Digital Voices. The remaining work is for the santur. All the songs on this recording are abstract, which allows both composer and singer a certain artistic liberty. Kupper’s stated goal in this recording of digital songs is to encourage the internationalization of spirituality through a musical language that accepts both sung and instrumental world sonorities that can be mixed with electronic sounds derived from the voices of the singers.”
CRESHEVSKY, NOAH: Rounded With A Sleep CD (POGUS 21063) 13.00
“Active in electronic composition since 1971, Noah Creshevsky delights in presenting extreme and unpredictable juxtapositions in which the integration of electronic and acoustic sources and processes creates virtual ‘superperformers’ by using the sounds of traditional instruments pushed past human capacities. Creshevsky uses the term Hyperrealism to describe his electroacoustic language constructed from found sounds, handled in ways that are exaggerated or intense. Creshevsky’s first full length CD on Pogus (and hopefully not his last) works his sampling wizardry on performances by Sherman Friedland (clarinet); Lisa Barnard Kelley and Tomomi Adachi (voices); piano improvisations by Stuart Isacoff; Gary Heidt (voice and guitar); Rich Gross (lap steel/banjo); Orin Buck (bass); Juho Laitinen (cello). As always his music needs to be heard to be believed. A truly singular voice.”
LANDSKY, MARTIN: The Composer 12″ (PFR 125EP) 12.50
Martin Landsky’s outstanding form continues with this release on Poker Flat Recordings. “The Composer” is an atmospheric tech-house workout that kicks off with a tight and funky groove and then expands into an off-kilter dancefloor bomb. On the flip, Sasse adds a dubbier take on the track, pushing the drums up in the mix and teasing out the acidic riffs to full effect. Expertly building the tension, the track resolves itself in an epic breakdown.
TJ KONG & MODULAR K: End-Game 12″ (PFR 127EP) 12.50
Marking the release of their debut album Dream Cargoes, TJ Kong & Modular K present End-Game. Shuffling and sparkling with urgent, peak-time electronic disco vibes, “End-Game” is one of the calling cards from their album. Freaking and peaking over almost 10 minutes, the pair is not afraid of fully exploring and expanding a jam. The pumping Reference remix leads us into even bigger room zones as an old school techno vibe lifts us up and carries us into the late night.
SHINDIG: Shindig! No. 25 MAG (SHIN 025) 9.00
“On the cover: The Bee Gees: Rare, precious & beautiful: from brilliance to burnout in the 1960s. The first of an exclusive two-part insight into the all-conquering brothers Gibb’s ’60s success; Jason Falkner: Perfect pop wunderkind spills the beans; Jerry Yester: Farewell Aldebaran, Modern Folk Quartet and Lovin’ Spoonful; Mighty Baby/Chilli Willi: Out of the festivals and into the pubs; The Mind Garage: Psychedelia goes to church. Plus Jerry Shirley, the M-80s, the Leopards, Mary Epworth, Kaleidoscope and so much more…”
DINOSAUR L: Go Bang! #5/Clean On Your Bean #1 12″ (SLX 000EP) 11.00
Repro of this single from Arthur Russell, originally released in 1982.
LINDSTROM: Quiet Place To Live 12″ (STS 22512EP) 11.00
“Lindstrom remixed by (The) Todd Rundgren! This is the first remix that Todd Rundgren has ever done for another artist (at least what Rundgren nerds/experts have told us). Rundgren has been a big inspiration for Lindstrom, so this is a dream come through. Lindstrom has made an Extended Disco Version of ‘Quiet Place To Live’ exclusive for this 12″.”
DULCIMER: Room For Thought LP (SOMM 007LP) 25.50
Largely known for their fantastic album And I Turned As I Had Turned As A Boy from 1971, a true folk-rock delight, British group Dulcimer had also recorded a second album to be released that same year, but for some reason it went unreleased. So here, finally, is the first-ever vinyl release of this lost UK folk-rock album, and it’s taken from the original mastertapes. Limited to 500 copies in nice artwork and backflapped old-style covers. Pressed on 180 gram vinyl.
JAZZANOVA: Upside Down 2 12″ (SK 230EP) 10.00
12″ single from the Upside Down full-length, part 2. With remixes by Manuel Tur & DPlay and Motor City Drum Ensemble.
VA: Colombia! The Golden Age of Discos Fuentes CD (SNDW 008CD) 15.50
…The Powerhouse of Columbian Music 1960-76. 2012 repress, originally released 2007. Soundway Records presents the tropical sound of Colombia. From the salsas and descargas of Cali, Medellin and Bogota to the Afro sounds and raw cumbias of Cartagena and Barranquilla, this is the sound of Colombian dancehalls and clubs in the ’60s and ’70s, when the legendary Discos Fuentes record label led the way. The sounds emanating from the barrios and beaches of Colombia are a unique mixture of Latin sounds and Afro rhythms, drawing influences from the New York and Puerto Rican Latin scenes, the highlife and rumba of West Africa and the calypso of the Caribbean, as well as the tropical rhythms of the Colombian cumbia, gaita, fandango and porro. Driving percussion, swinging horns, hot pianos and jumping bass lines — this music was made for dancing.
VA: The Sound Of Siam CD (SNDW 027CD) 15.50
2012 repress. Subtitled: Leftfield Luk Thung, Jazz & Molam In Thailand 1964-1975. Thailand means different things to different people. Beyond the beaches and tourist spots lies a world of music still waiting to be discovered. Be it spaced-out jazz, raw funk or the meditative sounds of the North East, Soundway has dug deep into the country’s vinyl archives to present a broad range of vintage sounds that underlines Thailand’s status as one of South East Asia’s musical hot spots. As Soundway’s entry point into the Asian music world, The Sound of Siam offers a unique vantage point to the most experimental period in Thai musical history. The 19 tracks reflect the outcome of a 20th century journey from Thai classical to Luk Krung and Luk Thung — music that incorporated Western influences such as jazz, surf guitar, ballroom and even Latin and African. The music maps changing social demographics, the movement of people, culture and language from countryside to city and all during a period when the record labels were at their most experimental. Housed in a CD digipack including a 24-page booklet with rare artist photos and stories behind the music.
EDZAYAWA: Projection One LP (SNDW 035LP) 15.50
LP version. Digging deeper into the 1970s Nigerian rock scene, Soundway are excited to announce the release of Edzayawa’s first and only LP Projection One. Originally released in 1973 by EMI Nigeria, Projection One came out at a time when Osibisa and Fela’s influence was being felt across West Africa, and was the young Ghanaians’ band attempt at creating something unique and distinctly African. Re-issued here on LP for the first time outside of Nigeria, the album sounds as exciting and unrivaled today as it did 35 years ago. Writing songs with a heavy rock influence but also a distinctly African feel, Edzayawa wrote dark and deeply philosophical tracks with strong traditional themes far removed from the sweet love songs many of their contemporaries were writing. The majority of their songs were based around a 6/8 rhythm, influenced by the Ewe people originating in the South East of Ghana. With their new repertoire, they headed off to Lagos, Nigeria with hardly any money in their pockets and no instruments. They headed straight to Tommy Benson’s club, son of the legendary Nigerian entertainer and musician Bobby Benson, and got a gig playing at The Caban Bamboo in return for one hotel room between the four of them. Constantly searching for an adventure, they headed to Fela Kuti’s Kalakuta Republic. After waiting two hours for an audience with Fela, they were led through to meet him. There they had a long talk with Fela and eventually got asked to play at The Shrine. At the time Joni Haastrup’s MonoMono were playing at The Shrine, too, coming on after Edzayawa and before Fela’s Africa 70. It was during this time the band recorded Projection One in EMI Studio Lagos. Recorded over two days, the album was to be their only release. Projection One never got a release in their home country of Ghana — the only copies that made it into the country were the few that the band took back themselves. Soundway release Projection One here in its full original format on gatefold vinyl: remastered and accompanied by liner notes that contain the reminiscences of band leader Nana Danso (who subsequently founded and now runs the Accra-based Pan African Orchestra). On 180 gram vinyl with free download coupon.
BONAPARTE: My Horse Likes You 2LP (AKT 708LP) 21.00
Gatefold double LP version. After two years of ongoing tour-frenzy, tracking the traces of debut album Too Much and the accompanying remix CD Remuched, it’s finally here: the eagerly-anticipated new studio album My Horse Likes You from Bonaparte. An imperial carriage full of outrageous top hits, somewhere between trotting rock’n’roll, galloping electro, and vaulting indie-rock. Monsieur Bonaparte takes us on a sunny ride from Mexico to Russia: 11 new party stompers, a great deal of oats (along with overture, interlude, and a big finale) that supplies the party fodder for two more years of touring for this spectacular rock’n’roll circus, that won the infamous LEA-Awards in the category “Best Club Act.” My Horse Likes You leads even the most stubborn crock back on the race track — and makes the heart of any horsegirl and boy jump. By the way, the charade piece “Orangutang” — a psychedelic canter throughout the Berlin Rave Zoo — is ridden by all-time Monkeytown-sheriffs, Modeselektor. Includes one exclusive track not on the CD, plus a full-color poster (of the horse) and an mp3 download coupon.
BONAPARTE: Computer In Love 10″ (AKTSIE 017EP) 12.00
Bonaparte presents his first single from his album My Horse Likes You, including stunning remixes by Modeselektor and Siriusmo. Amongst the fantastic “Computer In Love” track the new single also includes an exclusive track “L’Etat C´est Moi,” which won’t be on the album. With their striking blend of electro, hip-hop, and rock’n’roll, Bonaparte celebrate a circus show of their own kind.
KELLERKIND: Backflash 12″ (SVT 072EP) 12.50
Marco Biagini aka Kellerkind’s “Backflash” works around a delicately-crafted, vintage Miami synth lead, a dangerously obese bassline and devilishly catchy hook. Niko Schwind’s remix subtly shifts the original’s elements around while extending its vocal sample. “Disco Light” features laser synths, bleeps and chugging basses that might just catapult you back to Paradise Garage in ’78, were it not for the track’s classicist house percussion. “Down To” features Kellerkind’s own deep vocal hums, replacing a traditional bassline.
DAPAYK & PADBERG: Fluffy Cloud 12″ (SVT 074EP) 12.50
In advance of the release of Dapayk & Padberg’s third full-length, Sweet Nothings, the experienced duo offer the Fluffy Cloud EP, which showcases three of the album’s many diverse highlights. “Sweet Nothings” is a deep and forceful groover, whose distorted high-hats and trancey synth-stabs create a vibe both euphoric and weirdly subdued. “Backyard” enchants thanks to mystical lyrics sung beautifully over a deep quasi-dubstep structure. “Fluffy Clouds” is big-room techno fodder à la Berghain. Machine-funk par excellence.
VA: The Minimal Wave Tapes Volume Two CD (STH 2281CD) 12.00
“Minimal Wave: underground DIY electronic music from North America and Europe in the late ’70s-80s. Characterized by ’70s synth and drum machine production and home recording, most of these tracks were privately released on limited-edition cassettes or vinyl and known only to a handful of people over the years. New Yorker Veronica Vasicka has spent the past five years painstakingly building the Minimal Wave catalog and a label of the same name that specializes in digging up and reissuing the music. Partnering here with Stones Throw, the recordings have been officially licensed, remastered from their analog source tapes and compiled here by Vasicka and Stones Throw’s Peanut Butter Wolf.” Artists include Felix Kubin, Philippe Laurent, Subject, Ohama, Geneva Jacuzzi, Ruins, Aural Indifference, Class Info and more.
KALKBRENNER, FRITZ: Suol Mates EP 12″ (SUOL 034EP) 12.00
The Suol mix compilation Suol Mates (SUOL 004CD) is born and Fritz Kalkbrenner starts this series in 2012 with the first edition. This 12″ includes the two exclusive tracks featured on the mix. Here you’ll find “Ruby Lee” by Fritz Kalkbrenner — a cover version of the classic from Bill Withers. Inspired by the original version, Fritz replayed the Rhodes, strings, bassline and re-recorded the vocals. On the flip is Chopstick & Johnjon with an exclusive edit of the Henrik Schwarz remix for “Right In The Dark.”
SMITH, DELANO: An Odyssey 3LP (SUSH 017LP) 32.00
Gatefold 3LP version. Delano Smith is one of the first artists who come to mind when speaking about Detroit house and techno. Born in Chicago and raised in Detroit, Delano’s career started in the late ’70s DJing together with the godfather of Detroit house, Ken Collier. Delano was one of Ken’s “students” and during the ’80s, started to spin a mixture of disco and funk. It was during those years that, like all legendary DJs, he started to develop his own sound to what we know today as “house” music and then later on, techno. During the early years, Delano would get to play records in front of now-legendary DJs such as Derrick May and Jeff Mills. Then, around 10 years ago, Delano decided to take all of his DJ experience and bring it to the studio. Shortly afterwards, he started his own label called Mixmode and started to release records that are still played by the leading DJs on the scene today from Ricardo Villalobos, Daniel Bell to Laurent Garnier and Derrick May. A few years ago, Delano joined forces and formed a deep relationship with Sushitech. The first release on the label and a now very sought-after limited release, was with long-term Detroit buddy Norm Talley. In addition to a string of releases and playing at all the main label parties, Delano has cemented himself as one of the leading artists on the label. It was then only natural that he should want to release his first album on the same label that he has become such a big part of. Contained within the album, Delano shows us the musical world he is living in today. Taking all of his experiences from the past years, all the various styles of records he has played and all of the inspiration that has soaked into his soul from playing in major clubs and cities around the globe, the album comes together as a single entity and represents the sound of Delano Smith and his work with Sushitech. The album sound is deep, lush and dry, just as you would expect from a true Detroit legend. Moving all the way from deep house to techno, Delano and Sushitech have collected his best works during the last 2 years and compiled an album of new tracks and unreleased rare mixes that should be a welcome addition to any collector or DJ. This is an album not to be missed.
DEL THE FUNKY HOMOSAPIEN: I Wish My Brother George Was Here CD (TEG 77502CD) 16.00
“One can’t talk about classic ’90s hip-hop without talking about Del the Funky Homosapien, one of the genre’s more eccentric figures. Though he’s primarily famous today for his guest appearances with Gorillaz and Handsome Boy Modeling School, Del has inspired new generations of alternative hip-hop artists with his humorous lyrics, and eclectically funky production values. It all began here with his 1991 album, I Wish My Brother George Was Here. Del’s debut has been heralded as a benchmark album for alternative hip-hop, bolstered by P-Funkinspired beats produced by Ice Cube, (Del’s cousin) and featuring the underground hits ‘Dr. Bombay’ and ‘Mistadobalina.’ (#9 on the 1992 Hot Rap Tracks chart.) Equal parts clever, thought-provoking, and goofy, I Wish My Brother George Was Here has been credited with injecting some humor and irreverence into the otherwise dour West Coast hip-hop culture of the 90s. Traffic Entertainment Group is proud to reissue this classic album from a classic era, so that new generations may be exposed to Del The Funky Homosapien’s witty and innovative rhymes.” Includes fold out poster of original artwork and a classic “parental advisory” sticker.
RADIOPHONIC WORKSHOP: The Seasons LP (JBH 043LP) 19.50
LP version. At long last the rarest and most peculiar of all Radiophonic Workshop albums is available. Originally issued in 1969, The Seasons has become almost mythical over the last few years. With its mix of unexpected electronics, percussion, tape manipulation and austere poetry, it sounds like no other. The Seasons has also become a major influence on bands such as Broadcast and a key reference in the development of Ghost Box and the whole “hauntology” soundscape. It is seen and heard very much now as an important and lost classic. And after over one year of detective work and rights investigation (which is a lot in this modern world of instant communication), this impressive, strange and wholly unique album is seeing the light of day once again. Originally made as part of the BBC’s Drama Workshop broadcasts, this album was meant for educational purposes. Coming in the later period of what is commonly known and remembered as “Music and Movement” or “Movement and Mime Classes,” the album was issued briefly as a teaching aid for the modern thinking 1960s classroom. The idea was to play the album and get the school children to dance, improvise, think and create to the sounds and words. The music was originated by one of the early pioneering Radiophonic musicians, David Cain. Very little of his music has ever been made available (except on the classic BBC “pink” album) but to some followers of early British electronics, he is the forgotten master. And for this release he has been interviewed by Julian House (The Focus Group) with a fascinating Q&A, which will appear in the new sleevenotes. As for the poet Ronald Duncan, he is now deceased, but had an interesting and inspired life. A born pacifist, he famously wrote the libretto for Britten’s opera The Rape Of Lucretia, wrote the script for Girl On A Motorcycle, and started the English Stage Company at the Royal Court Theatre. His poetry was published by Faber And Faber by T.S. Eliot, who became a friend. Duncan’s 16 featured poems were specially written in 1969 just for this project. The album sold in tiny quantities when it came out and was quickly deleted by the BBC. Even the BBC Archive doesn’t have a copy. In fact the album’s scarcity has only added to its mythical status. A handful of originals started appearing in bargain bins throughout the mid-1990s, and as interest in British electronics and the Radiophonic Workshop started to grow, the album’s reputation began to gain a little momentum. The album rarely surfaces, but Jonny Trunk and fellow collector Martin Green found three copies at back in about 1998, one of which was passed on to Jarvis Cocker. This limited edition LP comes with the original 1969 BBC sleeve and an insert of all the poetry. Also worth noting is that this album has been remastered from the original Radiophonic Workshop tapes.
MEINHARDT, MARCUS: Checkpot 12″ (UY 055EP) 12.50
Marcus Meinhardt presents a taster of his upcoming record with a whole rig of remixes. “Checkpot” has become a typical Meinhardt track that twirls with a cool funkiness and mysterious melodies through the dancer’s brain. The producer and DJ Okain takes the theme by the fuse and relights the dancefloor with his bass accelerator. Pele fuels the fire with Findling for their remix. They turn the wind towards the morning and let the flames turn into a trip-dub direction.
XAVIER & CAMEA, TIM: Brooklyn Sunset 1989 12″ (UY 056EP) 12.00
Tim Xavier, a passionate producer and co-owner of Manmade Mastering in Berlin, has teamed up with Camea, who is the owner of one of America’s most successful techno labels: Clink Recordings. “Brooklyn Sunset 1989” is an emotionally-charged piece stemming from vintage ’80s melodies and broken drum patterns. The B-side features “Man vs. Universe,” a dancefloor driver that uses Tim’s powerful percussive techniques to achieve an energetic crate essential. The duo takes things down for “Diamonds” hitting the groovy a.m. spot.
TEAGUE, RYAN: Field Drawings CD (VG 003CD) 14.50
Based in Bristol, UK, Ryan Teague is a composer, producer and guitarist working in the field of electro-acoustic and minimalist composition. His music combines contemporary instrumentation and arrangements with electronics and processing. He also produces music and sound design for various film and TV productions. Working with an array of instruments and sound sources, Ryan’s music often blurs the line between organic and processed sound, resulting in a unique range of soundscapes. The results are incorporated into a minimalist framework combining structured composition with improvised spontaneity, making for highly original contemporary works. Ryan has released music on labels such as Type Records, Sonic Pieces and Village Green, and has contributed to numerous compilations and other releases. He has subsequently worked with an array of musicians and ensembles and has toured internationally in support of these releases. As well as receiving extensive national radio play on BBC Radio 3, BBC 6 Music and Classic FM, Ryan’s film and TV credits include work for Coca-Cola©, Subaru, Universal Music Group and the BBC, amongst others. Mastered by Andreas Tilliander.
SOFT MACHINE: Live At Het Turfschip, Netherlands, 31 January 1970 2LP (VL 901240LP) 37.00
“Recorded live in Breda, Netherlands in January of 1970, this double LP represents the only existing recording of a very rare and short-lived quintet version of the band. Sax/flute player Lyn Dobson was the fifth member here, left over from the band’s days as a septet. Just three months later Dobson would move on, leaving the classic Ratledge-Dean-Hopper-Wyatt line-up in place. Dobson’s contributions to a 22-minute long version of Hopper’s ‘Facelift’ as well as ‘Backwards’ are of particular interest here, as is a tentative version of ‘Out-Bloody-Rageous’, which was still a work in progress at this stage. Includes liner notes by band member Brian Hopper.”
PERE UBU: Pennsylvania LP + 7″ (VL 901257LP) 31.00
“Originally released in 1998 in the UK, Pennsylvania was voted it #1 in that year’s Village Voice’s music critics poll by Greil Marcus, along with being voted one of Billboard’s and The Wire’s Best Albums Of The Year. Here, David Thomas and original guitarist Tom Herman, reunite for the first time in over 20 years to go frolicking once again in that place known as the great American Wasteland, and not only do they find that it is alive and well, but that it has metastasized. When asked to comment on the album, David Thomas said, ‘It’s the latest. It’s the greatest. It’s now! It’s pop! It’ll sell a million’. Includes a bonus 7″ featuring: ‘My Name Is?’ (with Jim Jones on organ and drum machine and David Thomas playing the vocals from a Mac). and ‘Fly’s Eye (alt. mix)’.”
VA: Brazilian Guitar Fuzz Bananas CD (WPFC 102CD) 16.00
Subtitled: Tropicalia Psychedelic Masterpieces 1967-1976. 2012 repress. “Following the success of the recently released Psych Funk 101, Brazilian Guitar Fuzz Bananas should serve as a master class for those entranced by the funky, heavy psychedelic wonders of the Tropicalia movement and all that it spawned. But as compiler Joel Stones writes in his liner notes: ‘You won’t find Os Mutantes or their maestro Rogerio Duprat on this compilation. There is a reason that the records contained here have never been reissued. Even though you will recognize some of the labels contained here… believe me when I write this: some of the rarest, and best, examples of fuzzy, funky Brazilian psychedelia came out as promo-only 7″ records on these labels.’ Each song contained on this album has never been reissued, and has been restored from the best source possible and remastered for near-perfect sound quality. The 48 page full color booklet contains a wealth of imagery and detailed annotation and liner notes in both English and Portuguese.” Artists: Celio Balona, Loyce E Os Gnomes, The Youngsters, Serguei, Fabio, Tony E Som Colorido, 14 Bis, Banda De 7 Legues, Ton E Sergio, Ely, Com Os Falcoes Reais, Marisa Rossi, The Pops, Loyce E Os Gnomes, Piry and Mac Rybell. Enhanced CD, features the documentary What Are Fuzz Bananas?.
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