Apr 102012
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4M 200LP CLARK, GENE: No Other LP (4M 200LP) 19.00
“No Other is an absolutely incredible record, and the album that Clark himself thought of as his masterpiece. Despite being a critical and commercial failure at the time of its release in 1974, the years have been kind to No Other and it is now thought of as a classic solo album from one of the founding members of the Byrds. Written in the quiet sobriety of his Mendocino family home, yet recorded in the cocaine excess of Hollywood, No Other is a perfect blending of those two poles. A stunning and important folk-rock record. Comes with a reproduction of the original poster insert.” On 180 gram vinyl.
4M 213LP TOUSSAINT, ALLEN: Life, Love And Faith LP (4M 213LP) 19.00
“1972’s Life, Love And Faith was Toussaint’s first album for Reprise. While a soul record through and through, this effort from the multi-talented New Orleans native shares some of the singer/songwriter vibe of his contemporary labelmates, such as Randy Newman, Joni Mitchell, Lowell George and Little Feat. Stand out tracks include ‘Soul Sister,’ ‘Victims Of The Darkness’ and ‘On Your Way Down.'” On 180 gram vinyl.
4M 215LP FACES: First Step LP (4M 215LP) 19.00
“First Step is the debut solo album from the legendary Faces, originally released in 1970. Featuring a post-Jeff-Beck-Group Rod Stewart, along with Ronnie Lane, Ronnie Wood, Ian McLagan, and Kenney Jones, First Step includes the now classic ‘Three Button Hand Me Down’ and ‘Flying.'” Gatefold sleeve; on 180 gram vinyl.
50 006CD ADDISON GROOVE: Transistor Rhythm CD (50 006CD) 15.50
Following several releases for the well-known Tempa label (as artist Headhunter), the debut album for the current new project by Antony Williams aka Addison Groove is now released on Modeselektor’s sub-label 50 Weapons! Addison Groove started life under a different pseudonym altogether. Recording as Headhunter, with an LP and 12″ releases on the influential Tempa label stretching back to 2007, he achieved legendary status within the dubstep scene. His work at the deeper end of the spectrum graced the label an impressive seven times, a figure matched only by Skream. This work looked set to continue until 2010 when, seemingly out of nowhere, he crafted one of the biggest bass music tracks of the decade, “Footcrab,” under the new name of Addison Groove. The response to “Footcrab” was phenomenal, receiving critical and commercial success in equal measure across the dance music scene. Getting plays not only from the dubstep DJs that Williams was used to reaching, it also found its way into the record boxes of techno and house heavyweights such as Aphex Twin, Surgeon, Ricardo Villalobos and Mr. Scruff, bringing an enormous new audience to his music in the process. Taking influences from the Chicago ghetto tek and juke scenes, Addison Groove’s impact on UK bass music has been colossal and unprecedented, sparking a huge interest in these styles from his peers and the listening public alike. Transistor Rhythm is a rare example of a release where the description “much-anticipated” is not just a fantasy of some PR agent. Features guest artists Spank Rock and Mark Pritchard.
AC 144CD HAMDANI, DORSAF: Princesses Of Arab Chant CD (AC 144CD) 22.00
“Oum Kalsoum, Fairouz and Asmahan — whether one calls them princesses, queens or empresses, these three hold court above all in the categories of glory, power, legend and splendor. What female Arabic singer has never contemplated measuring herself against these Himalayas of her culture? On this richly satisfying disc, Dorsaf Hamdani offers a fitting tribute to all three.” Hardcover disc-booklet style packaging; Oum Kalsoum alone is one of the most enigmatic voices in the history of Arabic music and anything that so much as references her is more than worthy.
BCOMP 001CD BORGORE: Borgore’s Misadventures In Dubstep 2CD (BCOMP 001CD) 19.50
Asaf Borger aka Borgore has unquestionably become a household name for those who follow the ever-growing dubstep sound. Distant from the main stages and social circles of dubstep in Europe, Borgore turned to creating a huge online presence using many social network platforms to great success. Now with over 440,000 fans on his Facebook page, a huge Twitter following and millions of views on YouTube, including 3.5 million views for his recent remix of Hollywood Undead’s “I Don’t Wanna Die,” Borgore is no doubt here to stay. This album brings together the very best of his Buygore label, including six exclusive, never-before-released tracks. Also includes a bonus 24-track mix by Borgore himself. Features artists such as X Kore, Document One, Tigerlight, MC Maksim, Mojo, Virus Syndicate, Tomba, Bare, Shay, Coven, The Unik, Niveau Zero and Habstrakt, Gael, High Rankin and Heist.
AACD 071CD ORCHESTRE SUPER BORGOU DE PARAKOU: The Bariba Sound 1970-1976 CD (AACD 071CD) 22.00
Lost sounds are the archives of a forgotten history. The raucously raw, Vodoun-inspired rhythms of Cotonou have confirmed Benin as a mecca of ’70s Afro sounds and revived the story of its people, but the unopened vaults housing the country’s catacombs of musical riches are endless. With this as a compass, Analog Africa charters its fifth expedition to Benin, traveling far north to delve deeper into the obscured repertoires and tales of the Bariba and Dendi people. Originating from the Kwara state of northwest Nigeria, the Bariba — a predominantly Islamic people — now dominate the Borgou department of Benin with the market city of Parakou at its heart. The rhythms of their culture constitute just one domain of the Islamic Funk Belt — a distinct musical swath of land encompassing northern Ghana, Togo and Benin. Once frequented by Muslim merchants and traders, the belt has yielded a rich harvest of talent. The most powerful band from Parakou is Orchestre Super Borgou, who were first introduced to the West via Analog Africa’s defining release, African Scream Contest (AACD 063CD/AALP 063LP). The birth of modern African music in Parakou is inextricably linked to Super Borgou. The progressive-minded father of the band’s founder, Moussa Mama, imported modern music — which he learned while working as a goldsmith in Accra, Ghana — to the region in the ’50s. His return to Borgou and subsequent teachings spawned countless bands from villages across the department. Super Borgou developed their own musical identity by reinventing traditional songs and rhythms. With Benin’s foremost drummer, Bori Borro, in their ranks, Bariba and Dendi linguistic folklore — alongside melodies of an Islamic ilk — fused with soul, pachanga, breakbeats, rumba and Afro-Beat, Orchestre Super Borgou de Parakou manufactured a sound of penetrating and unpolished directness, blurring the line between the erstwhile rhythms of the devout village and the modern grooves infecting the forward-thinking city. Their reinvention redefines what contemporary audiences classify as the “Afro” genre. Performing live at the bar Congolaise, the high-octane live performances of Parakou’s finest troupe also captured the imagination of Celestin Houenou Sezan, co-founder of Albarika Store (Benin’s most important music label), and Super Borgou were, in fact, the legendary label’s very first EP release. Apart from Albarika, Discadam — and its sub-labels Impressions Sonores du Nord and Echos Sonores du Borgou — were the band’s major backers who helped galvanize the sound of northern Benin. Armed with a keen sense of philosophical observation, multi-instrumentalist Moussa Mama and rhythm guitarist Menou Roch, through their lyrics, reported on the socio-economic ills of their time — the rampant inequalities they saw around them — which established the band as noteworthy commentators on top of their gift of unique rhythm. Analog Africa’s Orchestre Super Borgou anthology opens an entirely new chapter of lost and resurrected Afro sounds. Remastered to recreate the energy of their legendary live performances and accompanied by a stunning 28-page full-color booklet, the story of this remarkable ensemble and the traditions of the people of Northern Benin are set to be revealed and documented like never before.
ARPA 005EP DJ PI-GE: Candyland 12″ (ARPA 005EP) 12.00
This is DJ Pi-Ge’s first solo release from Arpa Records. “Candyland” (Original Mix) is a minimal track structured with profound bass, crunchy guitar samples and simple rhythms, peppered with minimalistic voice samples and a high-impact breakdown. Christian Burkhardt’s remix fuses the character of the original with a unique new school rhythm and groove. Arpa head-honcho DJ Sodeyama’s remix is an extended journey of over 10 minutes with a deep and dark introduction that’s combined with experimental sounds as the track builds.
AUM 071CD YAMAMOTO TRIO, ERI: The Next Page CD (AUM 071CD) 13.00
“It has been two full years since Eri Yamamoto’s last album of wonderfully melodious songs; she has been busy playing for rapt audiences across Europe and Japan, as well as the Eastern U.S. and Canada. Folks around the world get effusive when they hear her music, and that is an organically beautiful reality. Ms. Yamamoto has also been busy writing, and The Next Page presents a treasure trove of all new compositions. Swinging eloquence, luminous lyricism, a deep rapport with her long-standing trio, and refreshingly original material are the key factors to this music. She breathes new life into the jazz piano trio format every time she plays. Because there was so much new material when it came time to record, it was decided to format this album as two distinct sets, akin to hearing her live in a jazz club, with a short break in between. While it was recorded in highest fidelity sound at Systems Two Studio in Brooklyn, the presentation is based on her regular engagement at Arthur’s Tavern, NYC — every Thursday, Friday, and Saturday night — which is a supreme rarity for a jazz (or any genre!) group in the modern era, as well as her popular appearances at Cornelia Street Cafe, NYC.”
AUM 072CD JONES QUARTET, DARIUS: Book Of Mae’bul (Another Kind Of Sunrise) CD (AUM 072CD) 13.00
“AUM Fidelity kicks off its 15th anniversary year by releasing alto saxophonist/composer Darius Jones’ Book of Mae’bul (Another Kind of Sunrise), the third verse in his ongoing Man’ish Boy epic. This recording, featuring Jones’ quartet with pianist Matt Mitchell, bassist Trevor Dunn and drummer Ches Smith, introduces a new titular character, Mae’bul, to the universe he is creating in close collaboration with graphic artist Randal Wilcox. Book of Mae’bul (Another Kind of Sunrise) elevates Darius’ estimable work as composer and bandleader to another level of creative magnitude. It is his first Quartet release, and once again features a stunning new book of compositions written specifically for the project. The band consists of highly talented generational peers, each of whom give forth their finest in this group. Sublime melodies, purposefully juxtaposed meters, love, and beauty map the exquisitely detailed yet fluid movement of this music, which has been purposefully designed to embrace the listener.”
BAM 7003LP MIZUTANI, KIMIO: A Path Through Haze LP (BAM 7003LP) 22.00
180 gram vinyl reissue of this ultra-rare ’70s Japanese rock album. Kimio Mizutani was the guitarist in the excellent Japanese freak-out group, Love Live Life + 1 and this reissue is of his first solo album from 1971. Mizutani plays electric and “folk” guitar and leads a largish ensemble (bass, drums, organ, Moog and vocals) through what is widely-regarded as one of the true psychedelic masterpieces of the ’70s Japanese scene. Sensitive interludes (accompanied by the Toyama String Quartet and the Etoh Wood Quartet), tasteful nods to progressive/fusionist extension and a lovely, hovering psych guitar from Mizutani dominate proceedings. A nice merger of hard rock conceptualization and the complexities that would evolve from it — and, until now, almost impossible to hear within the confines of western society.
BEC 5161153 AMADOU & MARIAM: Folila LP+CD (BEC 5161153) 25.00
Amadou & Mariam have long cultivated a spirit of openness that they often put into practice with musicians from all backgrounds and styles. On trips into detours, their planetary journey have allowed the couple to forge lasting friendships M. and Vincent Segal were their guests, Keziah Jones and K’naan also interacted, the Lebanese trumpeter Ibrahim Maalouf and British guitarist Johnny Marr were invited to jam, Manu Chao and Damon Albarn produced them with skill — no doubt, the Malian couple’s history is written in the plural suggestive of their affinities. Their land, Mali, is currently one of the most attractive centers of globalized music. The couple still draws from their region’s inspiration, a living spring they draw from beyond their region. Such is the strength of Folila, reflecting a growing openness to the world of music. “The idea was to produce two albums: a crossover in New York, centered around meetings, and the other more roots in Bamako, with guests mainly African,” says Marc-Antoine Moreau, their loyal manager and artistic director, with sound engineer Antoine Halet. Stage one was recorded in three weeks at the Cooper Square Hotel, which accommodated multiple guests, including Santigold, who puts her voice on “Dougou Badia.” Tunde and Kyp, the two black poets of the combo TV On The Radio, slide naturally on “Wally Katasso,” a ballad mixed by Keni Takamoto, the sound engineer for Danger Mouse. As for Theophilus London, the young poet prints a subtle flow of soul-jazz onto “Nebe Meri,” perfectly fitting with Amadou’s blues accents. Other esthete of great black music, Amp Fiddler brings some Detroit soul on “Wari,” before lending his keyboard lines onto “Africa My Africa,” boosted by Antibalas’ section, the Afro-funk combo from Brooklyn, whose brass gleam here and there. As for Jake Shears, the soul of Scissor Sisters and a fan of the couple since a tour together in England, he served his high-pitched voice on the haunting disco blues of “Metemya.” Last but not least, Ebony Bones puts fire on “C’est Pas Facile,” a track that flirts with Congolese rumba and electro sounds. During stage two of the process, it was back to Bamako, for another three-week session, this time in the studios of Manjul, a prominent rastaman installed in Mali. He has a clear idea: to use the same basic track, the same tempo, the same tones, but putting it into perspective with long-time friends, like the percussionist Boubacar Dembelé and Yaho the totemic bassist, and guests. Judge for yourself: Bassekou Kouyaté and his ngoni, Idrissa Soumaoro on kamele ngoni, Toumani Diabaté on kora, Zu Tereta on monochord fiddle, Tuareg guitarist Abdallah Oumbadougou: all the best subtle strings of the universe are on this record. This album sounds at once organic and electronic, both roots and rock, both retro and futuristic, and totally unlike anything else.
BXS 1014CD WALDRON, MAL: The Complete Remastered Recordings 4CD BOX (BXS 1014CD) 32.00
“Mal Waldron’s set includes the albums The Git Go — Live at the Village Vanguard, The Seagulls of Kristiansund, Crowd Scene and Where Are You?.”
BXS 1016CD GIUFFRE, JIMMY: The Complete Remastered Recordings 4CD BOX (BXS 1016CD) 32.00
“Jimmy Giuffre’s set includes the albums Dragonfly, Quasar, Liquid Dancers and Conversations with a Goose.”
BXS 1017CD PULLEN, DON: The Complete Remastered Recordings 7CD BOX (BXS 1017CD) 36.00
“The Don Pullen box includes the albums Capricorn Rising, Healing Force, Warriors, Milano Strut, The Magic Triangle, Evidence of Things Unseen and The Sixth Sense.”
BNR 012CD BOYS NOIZE: The Remixes 2004-2011 2CD (BNR 012CD) 21.00
Alex Ridha aka Boys Noize has been a true pioneer and electro stalwart for over a decade. From DJing for the likes of DJ Hell and Felix Da Housecat at the age of 16, his career has seen him move to the top of the game. Constantly releasing forward-thinking electro and techno, this skyrocket career culminated in him setting up Boysnoize Records in 2005, giving him complete artistic freedom. His highly regarded albums Oi Oi Oi and Power showcased his genre-spanning talents and impressed fans and peers alike. Through the course of all this, Boys Noize has racked up an impressive number of remixes and he decided to compile the best of these into a generous 2CD package. Boys Noize: The Remixes 2004-2011 shows Ridha’s electro stylings applied to the best and brightest in the industry. Spanning over six years of work, this album showcases Boys Noize’s ability to rework source material into his own unique and inspiring compositions. From the stunning beauty of his remix of Feist’s “My Moon My Man” to the emotive synth-work on Daft Punk’s “End Of Line,” Alex’s touch never fails to impress. When we say “the best and the brightest,” we truly mean it; from critically-acclaimed legends like David Lynch to the cooler-than-cool N*E*R*D, this release truly has a lot for everyone. Be “Happy Up Here” with Röyksopp and curious on the remixes Boys Noize did for Depeche Mode, Snoop Dogg, Marilyn Manson, The Chemical Brothers, Editors, Justice and many more. Twenty-four tracks on 2CDs will “remix” your mind ’cause no one knows better than Boys Noize how to transform hits like “Everyday I Love You Less And Less” (Kaiser Chiefs) into a new style, presenting a massive range of electro styles over the last eight years. Other artists remixed include: Late Of The Pier, Cut Copy, Modeselektor (feat. Nazizi & Abbas), Sebastien Tellier, Teenage Bad Girl, Scissor Sisters, Gonzales, Charlotte Gainsbourg, Djedjotronic (feat. Spoek), Maurice, Para One and Apparat.
BNR 013CD VA: BNR TRAX 01-10 CD (BNR 013CD) 17.00
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. As always, it will be available for download, too. 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.
BMVI 004EP LAID BACK: Cosyland 12″ + CD (BMVI 004EP) 12.00
Five-track mini-album, including a free CD version. For a short period in 1981 and with brand-new equipment such as a Roland 808, SH 101 and GR 500, classic German dance duo Laid Back made some 8-track “just for fun” jam tapes, mainly just to experiment for their own pleasure. From those sessions, only the legendary “White Horse” made it to a final treatment. The rest of the material was left behind, as their record company at the time found it too “different.” After “White Horse” became a track that defined their sound, the duo thought it would be interesting to dig out leftovers to fulfill a documentation of that period — crucial for the artists at the time. They were still innocent newcomers, who didn’t actually know that they were creating a new sound. Recently, that leftover material was transferred from analog to digital, and, to stay as true as possible to original intentions, they only added vocals, bass and drum-beats ahead of a final mix.
BR 009EP SWINDLE & SILKIE: Unlimited/Pineapple 12″ (BR 009EP) 11.00
Highly-anticipated collaborative single between Swindle and Silkie, who have fused their love of retro-funk synthesizers with penetrating basslines. “Unlimited” injects soul and groove into a track that still holds its weight on the dancefloor. Swindle’s solo effort “Pineapple” (which featured first on Elijah & Skilliam’s Rinse: 17 [RINSE 022CD] collection) bolsters through with a frantic beat pattern and woozy synths, and is definitely a more psychedelic and extroverted trip. Support from Annie Mac, Mistajam, Seb Chew, Ben UFO and DJ Q.
CRP 115LP DEVIANTS, THE: Ptooff! LP (CRP 115LP) 31.00
“Classic LP by Ladbroke Grove counterculture proto-Punks the Deviants. Founded by legendary counter-culture figure Mick Farren and Russell Hunter and inspired by The Fugs, the Deviants were first of the anarchic groups to emerge from the Ladbroke Grove area of London. Two years before Hawkwind burst on to the underground scene, the Deviants were preaching revolution and creating their own form of musical anarchy. Ptooff! was the band’s classic debut album, originally released in 1967 and only available by mail order from the pages of International Times. Resplendent in a lavish fold out sleeve and with liner note by John Peel, the record caused a sensation, one of the first truly independent British rock albums to be released. This edition restores the original foldout poster artwork and has been re-mastered from the original master tapes.”
CCS 064EP ROGER, FRANCK: Take You Up 12″ (CCS 064EP) 12.00
Franck Roger has been an ambassador for the true meaning of French house music, from his own productions that stretch back more than 10 years, through to his record label Real Tone. This release finds him combining immediate club dynamics with rich, accomplished textures. The beats take center-stage to command you into movement, but really act as a distraction for the strange tones and dubby FX to take control of your head. These are three instantaneous remedies for dancefloor indifference.
CLR 056EP LUCY & XHIN: LX4/LX5 12″ (CLR 056EP) 12.50
Lucy & Xhin, the acclaimed Italian production duo, have steadily confirmed their reputation as two of the most cutting-edge newcomers in the world of electronic music. This EP features two original tracks that are both perfect examples of their trademark style. This is deep and atmospheric, slightly experimental but always danceable, intelligent, elegant techno with musically sophisticated roots and very tight sub-bass. There is a hypnotic and almost ceremonial quality to “LX5,” which slowly and subtly unfolds over 11 minutes.
COR 094EP BURKHARDT, CHRISTIAN: Heart & Mind 12″ (COR 094EP) 12.50
With his second EP for Cocoon, Christian Burkhardt again sets new standards. There’s nobody around who is able to alienate vocals from the collective memory of Afro-American culture into a hallucinogenic cocktail without harmful side effects in such a way than Burkhardt has. Nevertheless, and despite the massive, forward-pushing bass drum and hand claps, he never loses his soul focus. So, have fun with “Heart & Mind” and the acid-like “Waffles,” while the tropical, hypnotic atmosphere of “Twentysecondcenturydrama” whets your appetite for summer.
The itchy seventh year can obviously do no harm to Chris Tietjen. With his usual aplomb, the DJ from Frankfurt compiles the gems of the last twelve months of Cocoon Recordings into a fulminant tour de force, and once again, it’s not until this 77-minute-long overall picture that it becomes clear how many superb club moments have accumulated in the Cocoon record case in the past year. Of course, Maetrik’s dark and deep particle house “Crush On Me” plays a significant role here, but also Nick Curly’s analog bass-driven hi-energy attack “Sun City” was ranked quite high in 2011’s reader’s charts in Groove Magazine. Besides that, we find Pele’s dub tech monster out of Rosenheim (“Nothing Else”), the thrilling rework of Guy Gerber’s classic “Timing” by the two Athens-based DJs Kassey Voorn and Pete McCarthy, Dinky’s surprisingly dirty and song-like declaration of love from the K compilation (“Lovin”) and, of course, the Ibiza anthem 2011 by Boys Noize (“Adonis”) can’t be ignored here, too. Tietjen’s special DJ quality is once again obvious in his habitually unpretentious DJ mix that nevertheless always has the arc of suspense in focus and respectfully leaves the tracks the compositional air to breathe but gives you the final kick right through the combination of the tracks. And this is exactly the reason why Tietjen has turned from a promising newcomer from the Rhein-Main area to one of the most formative DJs in Europe. Other artists include: Ross Evana, Ilario Alicante, Santé & Frank Lorber, Christian Burkhardt & Einzelkind, youANDme, Junyamabe and David August.
CSR 131CD HELDENTOD: The Ghost Machine CD (CSR 131CD) 16.50
Heldentod began in 2005 as an outlet for research into the little-known corners of 20th-century history. While previous recordings whiplashed between the traditional and the experimental, Heldentod’s latest album leaves behind its neo-folk and martial-industrial roots to focus solely on electronics, but maintains the fundamental sense of composition found in earlier incarnations. Although now primarily influenced by death industrial and power electronics, Heldentod looks to create the most suitable expression of its key themes, including ghosts, ancestor worship, human sacrifice, Neolithic fertility rights, Iron Age religion, mediæval literature, unseen dimensions, inhuman intelligences, and all manner of Forteana.
CSR 139CD LULL/BETA CLOUD/ANDREW LILES: Circadian Rhythm Disturbance Reconfigured CD (CSR 139CD) 16.50
From England to the United States and back again. It all started as a simple drone project between Lull (aka Mick Harris of Scorn, ex-Napalm Death), and Beta Cloud (aka Carl Pace), based on the concept of how insomnia can affect your thought patterns. Billows of powerful bass drones set to indistinct flourishes of temporary insanity, it was released as a limited 3″ CD in 2008. Now proudly presented in a deluxe digipak edition on Cold Spring, the original track is there, but also included is a fierce remix track by none other than legendary sound artist Andrew Liles (Nurse With Wound), with stunning new packaging and artwork. Fans of Lull and Beta Cloud will really sink their teeth into this one; what Liles has created here is not a simple remix but a raging deconstruction as only he can do. A captivating listen for dark ambient and harsh noise fans alike.
CSR 141CD KREUZWEG OST: Gott Mit Uns CD (CSR 141CD) 16.50
Second monumental album from Kreuzweg Ost for Cold Spring, headed by Michael Gregor (Summoning/Amestigon). “We see a light through the dim and cloudy shadows of our existence. In the electric field between. Total faith and desperation, hope and doubt, eternal bliss and delusion, we walk an unsure path to an unknown end. When the clouds open, the light navigates. The loud music of the sky: pounding drums surrounded by trumpets and swirling voices echoing from a distance unknown.” Kreuzweg Ost rises again with God on their side. Gott Mit Uns combines a variety of different musical styles: from martial industrial to classical sounds, from deep ambient to cinematic pop music. These musical prayers are made for those seeking salvation.
COMP 390CD VA: Future Sounds Of Jazz Vol. 12 2CD (COMP 390CD) 20.00
Compost presents the 12th edition of their classic Future Sounds Of Jazz compilation. This edition explores some of the roots of FSOJ — the first volume of which was released all the way back in 1995. Most of the tracks on Vol. 12 are reminiscent of the vibe of the first two or three editions of this series, especially the slower tunes. As the people at Compost explain: “I can state: since 2007 until the end of 2010, I have had a bit of a lack (with regards to content), neither did I feel there was a need, nor did I feel the hedonic lust to compile another FSOJ. Well, there were a few good tunes out there that period, but not enough to carpenter and pre-package a whole compilation I would be proud of. Allowedly, between 2007 and 2010 I was, like many others, caught by the disco-, edit- and deep house fever. Well, I still have this temperature, but nowadays such music is going to fuse more with the vibes and ingredients which I was prospecting for FSOJ. My stronger forage for FSOJ tunes started in 2010 and was tightened up in 2011, while I got a déjà-vu: a lot of great future jazzy tunes, very interesting projects are around these days, which are close to the aesthetic of sound and feeling of the early and mid-’90s. Anyhow, since Vol. 1, there have been two totally new generations, now all grown up. I think, the younger projects here (for example: Lo Tide from Australia, Anchorsong and Ragout DeLapin, both acts from Japan, Scrimshire, Letherette, Laszlo, Sepalcure, Eden, Ensemble Du Verre) reflect this. I don’t mind if someone may denigrate or denuciate this as a lounge revival, it’s about music.” Contains: 24 tracks, close to 160 minutes, 5 exclusive (previously-unreleased) tunes. Other artists include: Der Dritte Raum, Acid Pauli, Rupert & Mennert, Lo Tide, Roberto Di Gioia, Holmby Hills, Andreas Saag, Filip Leyman, Basti Grub & Mike Trend, Wareika, The Glimmer Twins, The Disko Dru, Hypnolove, Mickey Moonlight, Dave Aju And The Sol Percussion Ensemble, Deep Space Orchestra, Jupiter Tuning Center, Santos, Bibi Tanga, Paper Tiger, Beg To Differ and Timo Garcia & Manu Delago.
DB 160LP SCHLACHTHOFBRONX: Dirty Dancing 2LP+CD (DB 160LP) 22.00
180 gram double LP with a free CD version of the album. Munich’s Schlachthofbronx present their second full-length album, Dirty Dancing. Since their debut album in 2009, Schlachthofbronx started touring almost non-stop: clubs & festivals all over Europe, supporting M.I.A. as well as solo tours in the U.S., Canada and Mexico. Be it between Melt, Roskilde, SXSW or Sónar, by now Schlachthofbronx could probably also run pro workshops in travel efficiency. However, all this travelling did not keep them from putting out new tracks on a regular basis. Alone in 2011, four new Schlachthofbronx EPs were released, plus plenty of remixes. Their tracks work as well in Ibiza as they do on the almighty BBC radio. No wonder top DJs can’t keep their hands off: Crookers, Toddla T, Rob Da Bank, Diplo, Radioclit/TheVeryBest, Laidback Luke, Mistajam, Mr. Oizo, Annie Mac, you name it. You may call Dirty Dancing booty bass or just “dirty dance music.” Influences are ghettotek, juke, UK bass, cumbia, dancehall/reggae, etc. Compared to the debut album, Schlachthofbronx opened up even more to different styles, sometimes even leaning towards techno — and most obviously got more versatile when it comes to the tempo. Forget about the cliché 128 bpm club tempo dogma — Dirty Dancing is dance music with heavy bass and the occasional explicit lyrics. In times in which everyone and their mothers put some cumbia in their tracks, pioneers like Schlachthofbronx are already seven steps ahead and experiment in their studio basement to see which other styles could work together — ukuele bass, ghettotek/booty bomb, dancehall, electro, drum n’ bass, surf bounce, moombahton and more. As expected, Schlachthofbronx present a lot of different vocal guests on this album: old friends like Doubla J and Gnucci Banana as well as two Jamaican female artists: to have Warrior Queen voicing “Dickie Riddim” was a great honor as well. Schlachthofbronx met Puppetmastaz and worked out the collaboration “One Hand,” and the icing on the cake is the appearance of The King Of Booty Bass, DJ Assault. More on one album is just not possible.
EMWM 1006CD SHANKAR, RAVI: The Living Room Sessions Part 1 CD (EMWM 1006CD) 20.00
“In October 2011, at the seasoned age of 91, Ravi Shankar invited his long-time tabla accompanist, Tanmoy Bose, to his home in Encinitas, California for an informal recording session. Over four days, they worked in Shankar’s living room, recording seven different ragas. The resulting music is pure Shankar–a pairing of deep musical experience and brilliant technique performed with the energy and passion he brings to his live concerts. The first of two releases, The Living Room Sessions, Part 1, holds four tracks that span a wide range of Indian classical styles. As with his live performances, the emotion in the sitar maestro’s playing as he and Bose exchange improvisational phrasings is powerful. Both intimate and masterly, The Living Room Sessions, Part 1 is an invitation into the home and musical genius of Ravi Shankar.”
EM 1101CD FAITED, THONGHUAD: Diew Sor Isan CD (EM 1101CD) 20.00
Subtitled: The North East Thai Violin Of Thonghuad Faited. Em Records returns to Thailand, this time back to 1970s Isan. For Em Records’ latest foray into unchartered musical territory, we are concentrating on the sor from Thailand, the traditional two-stringed violin that is a mainstay of Isan musical culture. Diew Sor Isan: The North East Thai Violin Of Thonghuad Faited focuses on the talents of one of the instrument’s greatest proponents and brings his key releases together onto one anthology for the first time. Thonghuad Faited comes from the “molam” tradition, the dominant rural music that hails from Isan, the northeast Thai province that borders with Laos and Cambodia. Underpinned by woozy basslines, drones and clattering percussion, his music is characterized by sprightly melodies through to haunting dirges that could come from as far a field as eastern China, or even the Celtic traditions of Ireland. Detailed notes trace his history from humble beginnings to playing up to five gigs a night in Bangkok at the peak of his fame. Whether it’s playing beautifully-crafted solo pieces, or providing a counterpoint for raw vocal work, Thonghuad Faited is a nationally-recognized master of his craft who has additionally cut sides with dozens of established singers over the years, such as Waipod Petchsupan and Angkanang Kunchai. Percussive, otherworldly and universal, Em Records is proud to present this unique music to the world, much of it released outside of Thailand for the first time. Housed in a gatefold cardboard sleeve jacket plus inserts with liner notes in English and Japanese.
ERATP 041CD BRITISH EXPEDITIONARY FORCE, THE: Chapter Two: Konstellation Neu CD (ERATP 041CD) 15.50
The British Expeditionary Force return with a shape-shifting prog-rock indietronica record. The B.E.F. was formed in 2007 by Aid Burrows, Justin Lockey and his brother James Lockey. While their trademark indie-electronica marriage Chapter One: A Long Way From Home (ERATP 006CD) was solely created via email, the long-awaited sequel Chapter Two: Konstellation Neu was recorded in one room, with two drummers and mad professors on synthesizers contributing to an even broader sonic palette. This is a sound that producer and ex-Yourcodenameis:milo mastermind Justin Lockey likes to describe as “prog-rock, innit.” “The tactic we’ve used is the ‘more’ method. More sounds, more layers, more people. More face-to-face, more angles, more songs. If we’ve done our sums right, it should total more than the individual pieces,” explains singer Aid Burrows.
EM 044CD SURIZEHI, ABDULRAHMAN: Folk Songs And Contemporary Songs From Balochistan CD (EM 044CD) 19.00
“This album is focusing on Abdulrahman Surizehi both as a performing artist on Benju and a composer and arranger of contemporary melodies. As the titles indicate, this album is a blend between contemporary songs and folk songs — about half of each. The Balochi music is related to the musical traditions of southern Afghanistan, western Pakistan and eastern Iran, and has its very distinctive scales and rhythms. In dialog with tradition, Surizehi creates vital and creative musical expressions and styles within the Balochi musical traditions. This album is topped by two prominent singers; Kaseim Hamin and Es Haq Balochnasab, both excellent performers within this tradition. Abdulrahman Surizehi is considered among connoisseurs as the world’s leading performer on the Balochi instrument Benju. He reveals vitality, creativity and exhibits extensive knowledge of Balochi tradition, as well as an outstanding mastering of comprehensive repertoires on the Benju, picked up through innumerable meetings and recordings with several great masters both in Iran and Pakistan. The Benju is a dulcimer like instrument, which appeared in Balochistan in the first part of last century, presumably by way of Japan. In Balochistan it was developed and improved; the Balochi Benju is approximately one meter in length and is about twice the size of its closest relatives. The main string is double with accompanied strings on each side. Abdulrahman benefited considerably through having a good teacher in his father, Joma Surizehi, who is considered central in improving the instrument, as well as consolidating the Benju in Balochi tradition.”
FIAKUN 001CD EL_TXEF_A: Slow Dancing In A Burning Room CD (FIAKUN 001CD) 17.00
Now is the time for Aitor Etxebarria, better known as El_Txef_A, to expose his innermost feelings, as he’s already begun to on releases for labels like Hypercolour, Suol and Wazi Wazi. This time, he is undoubtedly in his best form. Aitor, born and raised in Basque Country, is in that group of artists sparingly measuring their output, always searching for the new, aiming for high quality instead of constant, monotonous releases. After years of dedicated work, El_Txef_A announces his debut album Slow Dancing In A Burning Room. El_Txef_A stands for a specific and complex sound signature. His primary concern is to develop a sound that people can identify with as well as just simply enjoy freely. Continuing in the Bilbao tradition, he builds a base of pure sampled sounds with studio sessions, live musicians and vocals to complement his production. Collaborations with vocalist Bisconti and Hannot supply added depth to tracks like “Rise And Fall” and previous single “Lovely Minds” and “Save The World.” A true milestone in this young Basque artist’s career, Fiakun is proud to present the fruits of his labors, Slow Dancing In A Burning Room.
FIAKUN 001LP EL_TXEF_A: Slow Dancing In A Burning Room 2LP (FIAKUN 001LP) 20.00
Gatefold 2LP version.
FF 177LP GIANT SAND: Backyard Barbeque Broadcast LP (FF 177LP) 31.00
“Recorded and broadcast way back when…an actual back yard barbeque that an old buddy and WFMU radio host Nick Hill had set up to broadcast and record live on air at the radio station…watermelon and everything! This BBQ record nicely captures the sweetness of the season when Giant Sand were turning into something else. This collection of songs was recorded by WFMU over two live sessions for ‘The Music Faucet’ show in the summer of 1994 and 1995.” Includes download code.
FF 180LP GIANT SAND: Cover Magazine LP (FF 180LP) 31.00
“2002’s Cover Magazine is a much less cryptic, typically literal title for one of Giant Sand’s lighter alternative offerings. A collection of covers which says as much about Howe Gelb’s personal musical taste as it does the friends he has made on his musical journey. Being in the fortunate position of looking back on Giant Sand’s output with the 25th Anniversary reissue series, we are able to see the influences which have shaped the existence of the band at each turn and chapter. Neil Young, Johnny Cash, Nick Cave and of course Rainer Ptacek have all made an impression and the tables are turned as Giant Sand give thanks with renditions of Young’s ‘Out On The Weekend’, Cash’s ‘I’m Leaving Now’ and Rainer’s touching ‘The Inner Flame’. More contemporary takes on PJ Harvey and Goldfrapp show Giant Sand are forever keen and willing to listen. With Giant Sand’s clattering percussion and Howe’s meandering vocals, nothing should be assumed before listening. Each track is taken from a new (alternative, strange, weird, interesting, unexpected, intriguing) angle, so surprises are aplenty. A Black Sabbath lounge ballad anyone?” Includes download code.
FF 191LP GIANT SAND: Is All Over the Map LP (FF 191LP) 31.00
“In 2004 Giant Sand had changed beyond recognition. The revolving door of band members that so invaluably contributed to a prolific and gifted past was now, literally, all over the map, and so were Giant Sand. Bassist Joey Burns and drummer John Convertino had now moved to pastures new with Calexico, in their place were a new Scandinavian backline which would enable Howe and Giant Sand to release the first original material since 2000’s Chore of Enchantment. The reaction produced a record which at points harked back to the more rowdy and aggressive tones of Giant Sand of old, seemingly in search for the familiarity of earlier times, stretching in to new surroundings, distortion being the tool. The songs of course are great, Gelb’s often whispered and crackly in-ear vocals, pretty piano, acoustic guitar (and with peppering of that distortion) all play their part to continue the Giant Sand train moving, um, all over the map.” Includes download code.
FF 196LP ROCKET FROM THE TOMBS: The Day The Earth Met The… 2LP (FF 196LP) 45.00
Subtitled: Live From Punk Ground Zero, Cleveland 1975. “Fire Fidelity is thrilled to bring you this historic reissue by Ohio legends Rocket From The Tombs, The Day the Earth Met the Rocket From the Tombs. The Cleveland five piece (consisting of David Thomas and Peter Laughner, later with Pere Ubu, as well as Cheetah Chrome and Johnny Madanksy, later with the Dead Boys) formed in 1974, played only a handful of shows, never put out a record, and just 12 short months later called it quits, but in 2002 previously unheard demos, live recordings and bootlegs were unearthed culminating in enough material to make this album. These rare 1975 recordings come from three sources: the RFTT Rehearsal loft on Jul 18, the Picadilly Inn on July 24 and the Agora on May 5, and all serve to bear witness to the undeniable fact that Rocket From the Tombs’ brand of proto-punk represents ground zero, and remains unmatched even 37 years later. Essential!” Housed in a full-color gatefold sleeve; with download code.
FREUDE 055EP GREED, DOUGLAS: KRL Kumpelinterpretationen 12″ (FREUDE 055EP) 12.00
Douglas Greed’s debut album KRL (FREUDE 006CD/LP) maintains a hearty deepness and allows the club ethos to stand out to its greatest possible extent. This makes the flipped-out nocturnal swarms only that much hungrier for the preparation of the grade-A ingredients. Douglas just grabbed the earpiece and placed a call to diverse beat-crafters for said enrichment. In total there were seven remixes, four of which are here presented on vinyl. Remixers include: Marek Hemmann, Juno 6, Ruede Hagelstein and Mollono.Bass.
FRY 014EP THOMAS, BILL: Southern Fried Chicken 7″ (FRY 014EP) 8.00
Certainly one of the funkiest 45s on the venerable Savoy label, this 1966 offering finds the little-known Bill Thomas and his excellent band paying tribute to what sounds like a particularly tasty recipe. Featuring a booming, metronomic beat, a simple, propulsive horn riff, a distinctly casual rhythm guitar, flamboyant Hammond interjections, a tidy sax solo and a busy 30-second drum break (in part 2), “Southern Fried Chicken” has all the ingredients to satisfy the most discerning dancefloor.
GED 010EP AJ & THE JIGGAWATTS: Don’t Mess With Me 7″ (GED 010EP) 7.00
“AJ & The Jiggawatts make a bold statement on their debut 7″ for G.E.D. Soul Records. This platter features two raw funk dancefloor killers! ‘Don’t Mess With Me’ is a hard hitting slab of soul with some truly intriguing intonation. Front man/ entertainer AJ Eason’s gritty vocals cut through the rhythm section’s groove like a stone cold dagger! On the flip is ‘Pimp Decisions’, an uptempo burner that will no doubt become the mortal enemy of any soul music lover’s dancing shoes.”
GED 1001LP DEROBERT & THE HALF-TRUTHS: Soul In A Digital World LP (GED 1001LP) 18.00
“Finally available by popular demand, this soulful tour de force hits hard on wax with the most pleasing of results. Originally released on CD in May 2010, Soul In A Digital World showcases DeRobert & The Half-Truths signature brand of syncopated southern soul with DeRobert’s truly exceptional voice. Don’t sleep on this LP!”
GDR 003EP GALA DROP & BEN CHASNY: Broda 12″ (GDR 003EP) 15.00
“Working around their core unit of Afonso Simoes (drums), Guilherme Goncalves (electric guitar) and Nelson Gomes (synthesizers), here they find themselves cooperating for the first time with the wonderfully psychedelically vigorous bass playing of Rui Damaso (part of the legendary Loosers) and the topographically globetrotting ways of wayward adventurer conga orchestrator Jerry the Cat (formerly a part of Funkadelic/ Parliament and C.J. & Co touring bands; and later performed on records of Carl Craig, Recloose, Moodymann, Theo Parrish, and many others), both now members of the band. On Broda they’re joined by Ben Chasny (Six Organs of Admittance, Comets On Fire, ETC!), truly one of the most powerful forces in US guitar soul in recent decades, and as terrific a six-string player as one of likely to find on record and onstage in this day and age, wherever that might be. Broda careers through in three passages of positively organized jamming. The fruits of a week’s very intense work on freedom and democracy in the collective artistic gesture revealed in only the slightest of documentarian restraints, so as to excuse us into peeking into this cosmology of friendship and externalization of the luminous.”
GF 258CD BIG BOY PETE: Cold Turkey CD (GF 258CD) 13.00
“That darling of the UK is back again. Big Boy Pete (AKA Peter Miller) is emptying his archives to give us his final recordings of the 1960’s in his typical flower pop style. Featuring his 1968 hit ‘Cold Turkey,’ these psyched-out tracks will not disappoint.”
GZH 037CD A-SUN AMISSA: Desperate In Her Heavy Sleep CD (GZH 037CD) 17.00
A-Sun Amissa is a new project formed out of Leeds, UK by members of Glissando. Built on the foundations of the unknown, this is a project that encompasses minimalist drones, modern-classical movements and avant-garde tendencies. Richard Knox (Glissando, Of Thread & Mist, The Rustle Of The Stars) & Angela Chan (Glissando, Ten, The Rustle Of The Stars, Tomorrow We Sail) began forming the initial ideas in the Autumn of 2011, moving away from the piano-led ambience of previous outputs. Long-time friend Owen Pegg was soon invited to join the project as the pieces developed to enable the songs the depth and intensity they required. The trio produce a dense, drone-like atmosphere accompanying evocative, melodic string sections and intertwining guitars. The live show features sections of the recorded output combined with improvisation to unlock new movements and progressions in the music. The subtle, considered textures and the hypnotic interaction between players and instruments provide an absorbing and intense live performance. October 2011 saw the first recorded output in the form of a 3″ CD release as part of Hibernate Recordings’ acclaimed “postcard” series. The release Beneath The Heavy Tides featured two tracks and serves as a prelude to Desperate In Her Heavy Sleep.
GROO 035LP OS TARTAROS: The First Portuguese Surf-Garage Group 1964-1967 LP (GROO 035LP) 29.00
“In the early 1960s, when rock ‘n’ roll started dying in Portugal, a new trend was already here. Hailing from the UK and headed by Cliff Richard, fast upstaged by his supporting band The Shadows, this would be the first ‘British Invasion’. An entire generation quickly fell under its influence and all across the country dozens of bands were formed, playing rock-based guitar-driven instrumental songs with catchy tunes that were often adaptations of traditional songs. Like the killer surf garage tune ‘Tartaria,’ maybe one the wildest surf tune record in Europe in that era. Oblivious to what was happening abroad, the Portuguese press dubbed them ‘Shadows-influenced instrumental bands’. This was the context in which Os Tartaros were formed in an Oporto garage. Featuring Joaquim Gualter on lead guitar, Alberto Abreu on rhythm guitar and keyboards, Hernani de Melo on bass and harmonica, and Eduardo Alves on drums, the band began touring the country, performing in associations, fairs, and festivals. The early ’60s explosion of Shadows-influenced bands grew substantially stronger when The Beatles came on board and also benefited from the charitable actions of one man, Gouveia Machado, the owner of a musical instrument store who let young people pay for their guitars and drums by installments. From 1964 onwards, with the advent of new influences and instruments, hundreds of bands followed, not just in Lisbon and Oporto but all across Portugal. Some of the tracks were included in the fabulous compilations, Portuguese Nuggets, this LP is more than a anthology of all their material, it’s a historical document from a band that ran from their fate in a time that playing in a rock band, in the Portuguese dictatorship, was like a crime.”
HAPNA 046CD MUSETTE: Drape Me In Velvet CD (HAPNA 046CD) 15.50
This is the third album from Musette. The starting point of Drape Me In Velvet was a large collection of cassettes and reel-to-reel tapes from the 1950s and 1960s, many inherited from relatives. During the three years the album was recorded on these tapes, they were treated and mistreated with tools and violence. New sounds and instruments were recorded over the older recordings. The tapes were mistreated again, scratched, wrinkled. Layer upon layer of melodies and tape memories were brought together to a whole where music for silent films, exotic easy listening and French chanson are some of the strands in the braid. The result is a historical collage where the passing of time is heard in anachronistic piano melodies and disintegrating chords. Ghosts of former recordings whisper in the warm background noise. This is music for amusement parks with neglected maintenance. Drape Me In Velvet is an album so particular in nature, that one gets ecstatic. The melodies and production are instantly recognizable as Musette’s own. A new language is created. What’s perhaps the most unique is the marriage between the world of melodies and the lust to experiment. Seldom have we heard music with original ideas about sound and sound-making coming out this melodious, lovable and accessible. Joel Danell is Musette. Already with the last album Datum (2009, Tona Serenad), Musette showed that he had a unique musical character, but this is a work of an even greater magnitude. Participating on the album are Joel Danell, Andreas Tengblad, Christopher Cantillo, Lars Ekman, Johan Jonsson, Linus Hillborg, Anders af Klintberg, Oskar Moberg and Nick Clifford.
HAPNA 047CD APPELQVIST, HANS: Sjunga Slutet Nu CD (HAPNA 047CD) 15.50
Sjunga Slutet Nu (trans. “Sing The End Now”), the new long-awaited project by Hans Appelqvist, consists of both an album and a film. The work is about the angst and silencing of death and the meeting with the final end. The film and album have the atmosphere of a fairy-tale that feels both natural and original, a world where talking levitating spheres seem as ordinary as man. In it, we meet Theodora, an elderly woman that lives in a lonely house by a lake somewhere in Sweden. We also meet her friends: the six-years-old boy Vissen and the levitating sphere Sot that often stays close to Theodora’s house or rests in the pile of flour that lies prepared for him in the kitchen. Both the music on the album and the film originate from the same world. Part of the dialog, background sounds and musical scenes of the film are used to deepen the atmosphere of the album. The structure is complex — threads are picked up and woven together in a way similar to the free, nonlinear narrative of dreams. Once again, Hans Appelqvist invites us into one of his oddly-constructed worlds, where you don’t know what is dream and what is reality, and through this, he makes us face ourselves.
HAPNA 048CD TENNISCOATS: Papa’s Ear CD (HAPNA 048CD) 15.50
Japanese duo Tenniscoats have been running together for more than ten years, and their music is all about catching the moment. They are true improvisers inside their own musical world. The music on this record adds a new facet to their universe — deeper, more intense, but with still-visible signs of their trademark playfulness, despite the fact that the album was recorded during dark winter-time. This is the second time they went to Stockholm, Sweden, to record their music. Musicians around the group Tape and label Häpna gathered together with producer Johan Berthling during a week in the studio to record most of the music for Papa’s Ear. Compared to the recording of Tan-Tan Therapy (2007) which was very haphazard, everything started on a new level. There was already a plan on how to work, ideas around the sound that was aimed for. In typical Tenniscoats fashion, Saya completed some of the lyrics in the last minute. There is always a new song to record, the flow of new material seems inexhaustible. Welcome to Tenniscoats’ magical, mystery world. Participating on the album are Saya, Ueno, Johan Berthling, Tomas Hallonsten, Fredrik Ljungkvist, Lars Skoglund, Andreas Söderström and Andreas Werliin.
HFN 014CD BJORKE, KASPER: Fool CD (HFN 014CD) 17.00
The third album from Kasper Bjørke, Fool, is another tour de force in his signature production style. The versatile Copenhagen producer and DJ follows up on his successful sophomore solo album from 2010 Standing On Top Of Utopia (HFN 004CD/LP) that reached high acclaim from the international press and indie blogosphere. Like a vinyl record, the track list has been split into two sides: the pop-infused, vocal-based bittersweet love songs of the “Hungry Side” is halfway through taken over by an overture that leads into the darker and mainly instrumental “Foolish Side,” containing spaced-out, psychedelic trips and no-wave disco voyages. Both moods however, fluently melt together as one coherent piece — playful, yet clever — and definitely Kasper’s most ambitious album to date. Features vocals from Jacob Bellens (Murder and I Got You On Tape), Emma Acs (The Inbred Family) and Laidback.
Just four years after their debut album Carbeth (HJR 043CD/LP), Trembling Bells are amassing a formidable body of work at a startling velocity. Just 12 months after the release of their critically-acclaimed third album The Constant Pageant (HJR 055CD/LP), the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells’ drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts’ No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie “Prince” Billy band. Neilson recalls a conversation about a “collaboration” in the summer of 2010, though stresses that it “was nothing too formal at first.” By the end of that year, a limited-edition 7″ New Year’s Eve Is The Loneliest Night Of The Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren’t terribly helpful this time around. Yes, Trembling Bells’ love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, “My Husband’s Got No Courage In Him.” Then there is Blackwall’s musical setting of Dorothy Parker’s poem “Excursion Into Assonance” — and the thorough-going new-found classicism of Neilson’s increasingly-assured songwriting. Albeit delivered with Trembling Bells’ rain-lashed sense of abandon, “Love Is A Velvet Noose” sounds like a standard of sorts — a warped consequence of Neilson’s increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. “I Can Tell You’re Leaving” finds both vocalists in irresistible form. On the slow-reveal sonic establishing-shot of “I Made A Date (With An Open Vein),” two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. On “Ain’t Nothing Wrong With A Little Longing,” Neilson slams down a four-to-the-floor beat over a synergy of demonic Krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue. The album’s sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb’s 1970 solo masterpiece Robin’s Reign, “Lord Bless All” sees Trembling Bells tease out the hymnal qualities of Gibb’s original with a slow, volcanic upswell which explodes into heavy psychedelic technicolor. There isn’t another band on the planet that quite sounds like Trembling Bells. The CD is housed in a gatefold mini-LP sleeve with a 20-page booklet of lyrics and illustrations.
JMAN 047CD AZANYAH: The One CD (JMAN 047CD) 17.00
Suffused with spiritual uplift but lacking any saccharine in either content or production values, Azanyah communicates in a language that harks back to the great message bearers of an earlier time: the musical language of Coltrane, Pharaoh and their fellow travelers, musicians who had journeyed deep into the wellsprings of the African-American and African traditions, and returned with complex, burnished artifacts that spoke of the highest truths with incandescent urgency. Its musical message underpinned by the deep pulse of the eponymous Mamaniji Azanyah’s bass, The One is a document that seems somehow out of time: it comes as a surprise that this album was recorded in the ’80s, although The One is not a nostalgic throwback to the revolutionary period a couple of decades earlier. Rather, it is part of a long continuum of committed visionary sound, drawing strength from the same sources that inspired its forebears, and walking on the same paths toward enlightenment. Raw, earthy, deep, spiritual jazz at its finest. All tracks fully licensed and digitally restored from the original master tapes. Includes comprehensive background and liner notes with the blessing of Mamaniji Azanyah himself. Also features loads of amazing, previously-unpublished photographs.
JMAN 047LP AZANYAH: The One LP (JMAN 047LP) 25.50
LP version. Limited, numbered edition of 1000 copies.
SOUL7 027EP FREEMAN/SAMMY AMBROSE, AUDREY: Three Rooms/Welcome To Dreamsville 7″ (SOUL7 027EP) 11.00
Two Musicor rarities presented here by Jazzman Records. The Audrey Freeman track is a Radcliffe/Halley-produced mid-tempo banger, perfect for Northern or popcorn dancefloors. Staying firmly in the mid ’60s, we then have the mighty Sammy Ambrose. This track is a Northern soul anthem that’s straight out of a David Lynch soundtrack. This 45 was actually issued in the UK in the late 60s on Stateside but even this issue would set you back £200+, such is the demand.
KEM 139LP EYE: Center Of The Sun LP (KEM 139LP) 16.50
“Eye, which features members of Teeth of the Hydra and Deadsea, cracks open their vault and welcomes everyone to experience their debut opus, Center of the Sun. Conceived, crafted and recorded by the band in Columbus OH, these are classic vintage sounds filtered through new blood. While their inspiration of sound reaches back into the psychedelic grooves and tones of the ’60s and ’70s, their music projects a refreshing new sound and vision. Kick back, crank the hi-fi high and lift off.” Limited edition of 500 copies; includes download code.
LPH 004EP NAUM GABO: It’s On EP 12″ (LPH 004EP) 12.00
The fourth release for Let’s Play House comes from Glaswegian techno heroes Naum Gabo (Jonnie Wilkes of Optimo and James Savage) who inject a bit of Motorik stomp to LPH’s generally house-y identity. “Ah & Oh” is a creepy, frantic boogie that quickly hypnotizes with its loopy synth progressions and chopped-up vocal samples. “It’s On” boldly conveys a sense of lunacy and impending (dancefloor) doom. Also features a remix of “It’s On” by Chicago’s drum machine man, the legendary Tevo Howard.
LDS 017EP DJ KAOS (FEAT. ANGE DA COSTA): Keep On Movin’ 12″ (LDS 017EP) 12.50
DJ Kaos and a mysterious member of the Chi-town crew present a majestic and uplifting house future-anthem. They’ve teamed up with Ange Da Costa to create a soaring peak-time moment, underpinned by tight analog beats, smooth, warm pianos and heartbreaking strings. Gliding through the urgent arrangement are Da Costa’s dulcet vocals. There’s a full vocal mix and an instrumental version as well as Arttu (aka Lump) reworking “Keep On Movin'” into two ruff and raw deep house cuts.
LITA 040LP GAINSBOURG, SERGE: Histoire De Melody Nelson LP (LITA 040LP) 21.00
2012 repress. Limited edition vinyl LP featuring 180 gram wax, gatefold old school tip-on jacket and extensive liner notes. “Sex has always sold, but presented with a landmark musical backdrop, the combination is rare as finding the elusive ‘G-Spot.’ Quite often, attempts fall flaccid, missing the titillating mark by a mile. But French icon and national treasure Serge Gainsbourg is no stranger to sexual proclivities, and with his 1971 release Histoire De Melody Nelson he shared an erotic tale as seductive today as the day it was released. With help from actress, amour, and inspiration Jane Birkin, arranger/conductor and co-conspirator Jean-Claude Vannier (L’Enfant Assassins Des Mouches), not to mention a tight, hand-picked crew of top-shelf UK session musicians, Nelson is often cited as Gainsbourg’s master work, an essential album for the discerning music lover. Light In The Attic’s reissue of Histoire De Melody Nelson finally gives this still radical record the respect and attention to detail it so rightfully deserves.”
LR 331LP GURU GURU: Live In Bremen, 12 September 1971 LP+CD (LR 331LP) 28.00
“Playing on the same scene as bands like Amon Duul and Can, krautrock band Guru Guru was formed in 1968 by one of contemporary music’s most talented drummers, Mani Neumeier who, in addition to playing drums, was also the band’s vocalist/frontman. This album, recorded live at Radio Bremen in 1971 features the 23-minute ‘Der LSD Marsch’ (‘The LSD March’) from their debut album, UFO. Here Neumeier’s superlative drumming is given center stage and one can hear why Mani has consistently earned such high praise. The remaining two songs come from their second album (1971’s Hinten): the 22-minute extended prog tribute to ‘Bo Diddley’ (who knows what the inventor of the ‘Bo Diddley Beat’ would have thought of this), and the aptly titled ‘Space Ship’ – an extensive sonic trip of 15+ minutes (!) only found on the bonus CD.”
LH 002LP MOONRISES: Moonrises LP (LH 002LP) 15.00
“Organ-spiked psychedelic freak-outs from Plastic Crimewave aka Steve Krakow’s new project, Moonrises. Limited to 300 copies, screened covers.”
LN 001LP BRIDGES: Fakkeltog LP (LN 001LP) 29.00
“Luna Nera’s first release offers us a truly elusive pearl for psych/prog vinyl lovers worldwide: Bridges’ Fakkeltog. Heavily Doors-influenced psychedelic album full of acid-rock leads and a vocalist that sounds very much like Jim Morrison. Released in 1980, and having no proper distribution, the band managed to sell just a handful of copies to local record stores and the album was swept under the carpet of oblivion, making it one of the top rarities of Scandinavia. This quality release is limited to only 300 copies.”
MIG 162CD SCHULZE, KLAUS: La Vie Electronique 7 3CD (MIG 162CD) 20.00
“‘Re: People I Know’ is the first of the two long pieces that Klaus played during his Dusseldorf concert in 1977. It’s similar to the highly valued piece that KS played around the same time in Brussels’ St. Michaels cathedral. ‘Avec Arthur’: During the lengthy 1979 tour, Klaus played a long solo piece that filled the first half of the concerts as usual. After the intermission, the singer Arthur Brown joined him for the second piece. This is one of those energetic second halves. Arthur could be, and was often, very high-spirited, very good, I dare say even excellent. As here, on the 25th of October 1979 in a youth club of the Belgian town of Liege. During the peaceful part after the break (and his famous roar). Arthur sings partly in French. Merveilleux! My diary reports: ‘Small youth club, jam packed. Good concert.’ ‘Crazy Nietzsche’ is loosely based on Klaus’ well-known ‘Friedrich Nietzsche’ title from the X recording session. As on the X tracks, the drumming is by the great rhythm man Harald Grosskopf. First, Klaus recorded Harald’s familiar solid pulse, and for the middle part – ‘Asketische Ideale’ – he was asked to add some floor toms’ playing. As usual during that blooming Schulze era, also this track was recorded at the Panne-Paulen studio in Frankfurt. After listening to the music for the first time after many years, Klaus told me it must be a live recording because of the sound of the Korg PS 3300 that he only played in concerts not in a studio. Judge for yourself.”
MIG 172CD SCHULZE, KLAUS: La Vie Electronique 8 3CD (MIG 172CD) 20.00
“Klaus Schulze recorded some of his more introspective works. Albums like Mirage, Dune, and Dig It saw a significant change in his style of playing and his way of composing. While Schulze was quickly expanding his collection of synthesizers, that ultimately had its effect on the outlook of the music and the possibilities of performing that in a more exquisite way. Play a track like ‘Synthasy’ and notice that Schulze has come a long way since Timewind and Moondawn. On this 8th part of La Vie Electronique there’s a selection of stuff that was archived beside his official albums in those years. A large part of this 3CD-set forms the appearance of concert recordings (made on a cheap, but stereo radio cassette recorder) from Klaus’ 1979 tour with singer Arthur Brown. Besides the recordings that made up three sides of his monumental Live album that was released in 1980, there were plenty of other versions available of the material that Schulze played during the fall of 1979. The late seventies/early eighties’ work of Klaus Schulze is often overlooked and underrated by many. Hearing the material featured on this 3CD-set, one can discover the ‘other side’ of that particular period when analogue was still there, but digital was about to become the power to be.”
MIG 182CD SCHULZE, KLAUS: La Vie Electronique 9 3CD (MIG 182CD) 20.00
“The three tracks on the first CD are a complete Schulze concert in Budapest: Budapest on the 21st of October 1982 in a huge sports arena, with Rainer Bloss on additional keyboards, but mainly he plays the electric piano. This was the only concert that was actually done from a scheduled tour through south-east Europe, together with Tangerine Dream, Rick Wakeman, KS, and Classix Noveaux with Thomas Dolby. The first title played in the Hungarian capital is based on Klaus’ famous ‘Ludwig’ title from the album X. “Die spirituelle Kraft des Augenblicks” (The spiritual power of the moment) is still the Budapest concert. The encore. The announcement is made by Klaus Schulze.”
“Rare French private release from 1978 on the Kiosk d’Orphee label, same as Dandelion. Despite being recorded out of time, this is a very nice psychedelic progressive album, with some parts in West Coast psychedelic jam session style. English lyrics, with repro of the original insert as well.”
MOBILEE 014CD PAN-POT: Back To Back Vol. Six 2CD/DVD (MOBILEE 014CD) 21.00
The sixth edition of the successful Back To Back compilation series from Anja Schneider’s Berlin club label Mobilee is solely ruled by Pan-Pot this time around. The beefy package includes two CDs plus a DVD. Pan-Pot handpicks their favorite 2011 Mobilee releases on the first CD while a condensed version of their own creations can be found in an arousing master mix on the second CD. And for the first time ever, the personalities behind the music can be seen and heard in a bonus DVD tour document. This release provides a visual and audible insight into their creative work in the most compact form possible. MTV director Sebastian Radlmeier follows the duo on a 12-month tour through Europe’s most crucial clubs and festivals, inviting viewers behind the scenes through a magical experience. The DVD experience introduces Thomas Benedix, the quirky jokester from Brandenberg and his counterpart, the more aloof and rational Tassilo Ippenberger from Bavaria. Diligently selected snapshots depict stories from the guys’ innocent years in Templin and Chiemsee to their first rendezvous with Mobilee founders Anja Schneider and Ralf Kollmann. Photos and footage are worked in congenially with original music and commentary from key scene figures from the likes of MTV’s Markus Kavka, producer Dubfire, fellow Mobilee artist, Sebo K and Mobilee booker, Diego Moreno Gibbs, binding everything together. In the material, the guys give commentary from tour cities such as San Francisco, Detroit, Warsaw, Barcelona, and Buenos Aires, yet never lose sight of their home base, family and friends in Berlin. The absolute highlight of the film is the live appearance with Sven Väth in Ibiza. Snippets of Pan-Pot’s music can be heard on the DVD but on the second CD, it’s fired from all barrels. A melody of past releases is taken apart and re-imagined through exclusive tracks, loops and sound splinters, creating a compelling music piece. Three further rare pieces such as the fascinating remix from Slam’s techno classic “Lifetimes” successfully complete the flip side. The first CD celebrates the “Best Of Mobilee 2011.” The signature of unique personality-filled producers is noticeable in each of the 11 club tracks, featuring artists such as Maya Jane Coles, Anja Schneider, Martin Landsky, Rodiguez Jr., Miss Jools, Hector and And.Id. Back To Back Vol. Six draws a spot-on portrait of Pan-Pot situated in their environment. DVD is PAL format, region free, German language with English subtitles.
MORR 110CD IT’S A MUSICAL: For Years And Years CD (MORR 110CD) 15.50
This is the second full-length release from the Berlin-based duo of It’s A Musical aka Ella Blixt aka Bobby Blumm and Robert Kretzschmar. For Years And Years stands for a dozen gorgeous (indie) pop gems; tracks that, even though somewhat laconic, nevertheless manage to uplift the listener; songs so euphoric and stirring, in fact, that last time around, the choosy people at All Music Guide concluded that one “would have to look hard to find a better indie pop album than The Music Makes Me Sick in 2008.” Apart from the euphoric choruses, a hidden sense of humor remains another trademark of this band — and this sense of humor is in large part owed to sharing the microphone. Here’s an example: when Robert and Ella deal with the complexities an endlessly extended adolescence entails, especially when it comes to sexual desires and such, the simultaneous delivery of the female and male perspective allows them to circumnavigate even the slightest sense of self-pity or cheap emotionalism. This is one of many things to love about It’s A Musical. Even the only cover song, Eleventh Hour’s “The Team That Never Wins” (originally from 1997) is presented with a humorous twist, thanks to the mood and vibe It’s A Musical chose for the cover: a vibe reminiscent of “Bowie in Berlin,” as in: we can’t be heroes. Throughout, the album picks up the pace and gains more and more momentum: “Cleverness” is built from vibraphone sounds, organs and drum rolls, and “One Million People” is a catchy piano pop gem that owes as much to Carole King as it does to label mate Masha Qrella. And of course, all these tracks have that certain DIY feel to them, a vibe that makes the listener forget that both Ella and Robert are actually trained multi-instrumentalists, and busy with lots of other projects. Mixed by Norman Nitzsche.
MVD 5294CD RESIDENTS, THE: Present Sonidos De La Noche: Coochie Brake CD (MVD 5294CD) 12.00
“A million years ago, a big rock fell out of the sky and landed right in the middle of Louisiana. Well, it wasn’t Louisiana at that time. But that rock fell, and it hit hard making a giant dent. It gradually filled in but no matter what, it still left a dent. And that dent held just enough water that it became a primeval swamp known as Coochie Brake. Some young guys used to camp in Coochie Brake. They climbed the massive granite boulders that common sense said should not be there. They explored the caves. They sat still and let the Brake speak to them as only the Brake can. Those teens grew up to become the Residents.”
MVD 5294LP RESIDENTS, THE: Present Sonidos De La Noche: Coochie Brake LP (MVD 5294LP) 20.00
LP version with free download code.
MVD 5289DVD PERRY, LEE ‘SCRATCH’: The Upsetter: The Life & Music Of Lee Scratch Perry DVD (MVD 5289DVD) 16.00
“Seven years in the making, the ultimate documentary on the legend, Lee ‘Scratch’ Perry. Directed and produced by celebrated independent filmmakers Ethan Higbee (Red Apples Falling, The Anti-Fascist, Basedworld) and Adam Bhala Lough (Bomb The System, Weapons, The Carter) and narrated by Academy Award-winning actor Benicio Del Toro, The Upsetter is a captivating, unparalleled exploration charting 70 years in the life of the Godfather of Reggae and the man behind Bob Marley – Lee ‘Scratch’ Perry. The film features musical tracks and iconic archival footage selected from throughout Perry’s extensive career.” NTSC all-region format; 90 minutes.
NW 80725CD BRUCKMANN, KYLE: On Procedural Grounds CD (NW 80725CD) 15.00
“In his compositions, composer/performer Kyle Bruckmann (b. 1971) seeks to integrate rigor and internal logic with raw immediacy while fully engaging his fellow performers as not simply dutiful interpreters, but creatively invested collaborators. Aesthetically, the results evoke much from European modernism, but realized via idiosyncratic modular forms and process-oriented strategies equally indebted to the New York School and the jazz avant-garde. On Procedural Grounds (2010) is a half-hour work conceived as the framework for a summit between his current Bay Area community and that of Chicago, his former home. The eleven-piece ensemble features his long-standing project Wrack together with boundary-defying West Coast pioneers Rova, Tim Perkis (of the League of Automatic Music Composers and the Hub) and Gino Robair. Orgone Accelerator (2010) was composed for eight-channel sound diffusion, and premiered at the 2011 San Francisco Tape Music Festival. The other two pieces are products of the unique creative environment of sfSound (the collective with which Bruckmann has performed the works of such composers as Braxton, Cardew, Feldman, Ferneyhough, Ligeti, Subotnick and Xenakis) and feature members of that ensemble. Cell Structure (2009) is a duet written for the composer on oboe and Matt Ingalls on clarinet, with an electronic accompaniment realized through modular analog synthesis. Tarpit (2009) is scored for an octet of winds, strings, and percussion with similarly pre-recorded electronics.”
NA 005EP MILYOO: Classic 12″ (NA 005EP) 11.00
Starting off with an industrial-sized slap in the face from “Classic,” this EP takes you on a dystopian journey that only Milyoo could envisage. VVV’s take on it retains the mystical aura of the original while creating a much more spacious and altogether deeper vibe. “Hides In You” leans towards the deep house, with a haunting vocal gliding between the arpeggiated chords. “Down To Love” features a quirky intro leading into an extra-heavy half-step beat and some thudding sub-work.
NOSMOKE 013LP VA: Java-Java: Indonesia Screaming Fuzz Vol. 2 LP (NOSMOKE 013LP) 29.00
“Here’s the second batch of crazy fuzz, screaming and rock’n’roll from the land of the big dragon. This second volume brings a more raw, crazy garage and killer tracks than the first volume. The Rollies, Trio Visca, Peels, White Waves or Djah Iskandar are some of the names for this volume. Loved the first one? So this is even better, even wilder. The tracks in this compilation are remastered from the original vinyl records supplied by hard collectors.”
NA 5046LP VA: Forge Your Own Chains 2LP (NA 5046LP) 19.00
Subtitled: Heavy Psychedelic Ballads And Dirges 1968-1974. 2012 repress, originally released 2009. 2LP version. “Deluxe gatefold jacket containing extensive and detailed liner notes and annotation by Egon, rare photos and other ephemera.” Artists: Top Drawer, Sensational Saints, East Of Underground, D. R. Hooker, Shin Jung Hyun & The Men feat. Jang Hyun, T. Zchiew & The Johnny, The Strangers, Damon, Ellison, Morly Grey, Shadrack Chameleon, Ofege, Ana Y Jaime, Kourosh Yaghmaei, Baby Grandmothers.
NA 5084CD VA: Soul Cal: Funky Disco & Modern Soul 1971-1982 CD/BOOK (NA 5084CD) 21.00
A CD of 15 rare & unreleased tracks with an 80-page softcover book. “A decade in the making, Soul Cal is the definitive survey of America’s best, independent, ’70s soul-ensembles. Profiled within this album and book are the bands that transitioned from funk to disco; the bands that kept up the backbeat as rhythm moved to the backseat. Against the odds, they left recorded artifacts for we at Now-Again to dig out, dust off and restore. Collected here for the first time are the musical dreams of dozens, dreams that were deferred but were never discarded. Soul Cal features some well-known figures from the various ‘soul’ scenes that paved the way for their resurgence. The Northern Soul, Modern Soul and Deep Disco and Funk circles have all obsessed over the likes of Luther Davis, Rhythm Machine, Mixed Sugar and Record Player. But these and Soul Cal’s other bands — many of whom managed only to release a solitary 7′ single in their heyday – will be unknown to most. Their obscurity notwithstanding, the music made by these bands is sure to strike a chord within the soul of any person taken by black American music from the latter half of the 20th century. In his long-running investigation into this flux-period in black American music, compiler and key researcher Eothen ‘Egon’ Alapatt sought not only licenses, records and master tapes – but the stories and backdrops of these majestic soul songs and the ensembles that created them. It is due to the immense research that his investigation demanded — and the trove of information and music he unearthed — that we at Now-Again decided to present Soul Cal as an album and a book at the same time. Soul Cal’s music is too good to be anonymously relaunched and a CD or LP booklet can only hold so much information. Simply telling the stories of these bands without unleashing their largely unheard music just seemed unfair. Thus, Soul Cal offers the enthused a chance to listen to, read about and reflect on this great burst of black American creativity in the decade after funk, the decade before hip-hop.”
NA 5084LP VA: Soul Cal: Funky Disco & Modern Soul 1971-1982 2LP/BOOK (NA 5084LP) 31.00
“The double gatefold LP is presented with a perfect bound 80-page book filled with rare photos and each band’s story.”
OKTAF 004CD VA: Lost In The Humming Air: Music Inspired By Harold Budd CD (OKTAF 004CD) 17.00
There are not many artists who have had such an important influence on today’s ambient music as the outstanding piano player and composer, Harold Budd. Albums like his classical Pavilion Of Dreams or his collaborations with Brian Eno like The Pearl are well-known to many electronic and ambient musicians of the last several decades. Martin Juhls (aka Marsen Jules) and Rafael Anton Irisarri (aka The Sight Below) have often talked about the influence that Harold Budd’s music has had on them, and how much respect and admiration they have for him and his work. Out of this came the idea of paying respect to Budd in some way, to give something back to him. Lost In The Humming Air is the result of this thought in the form of a musical tribute, and it is Oktaf’s honor to release this in the 50th year of Mr. Budd’s career as a composer. The label invited some of their favorite artists to contribute a song that, in some way, resembled the music of Harold Budd or channeled the influence he has had on them as musicians. Hence, Lost In The Humming Air is a special selection of 13 modern ambient pieces from illustrious contributors such as Mokira, Taylor Deupree, Deaf Center, Christopher Willits, Biosphere, Porn Sword Tobacco and Bvdub. While all of the tracks offer a unique perspective on how the now-classical sounds of Harold’s music have been an influence in one way or the other, they still manage to maintain a sound that is closely connected to each individual musician. Deaf Center contributed the dark and moody “Plateau,” which was originally the opening track of a rare live performance from the duo in 2009. Xela made an exception of not participating in compilation projects anymore with his sublime home-listening piece “The Only Rose,” which resembles his earlier work for labels such as Neo Ouija and City Centre Offices. For the first time ever, Brock Van Wey has collaborated with his mother Criss Van Wey, who played the piano for their heartbreaking elegy “My Father, My Friend.” We hope that, by releasing this record, we can give something back to Harold Budd and maybe also help a younger generation of ambient aficionados to discover the beauty of his timeless music. Liner notes included. All artists who contributed in this release donated their tracks. The profit of this CD will go to a charity project chosen by Harold Budd. Other artists include: Loscil, Martin Fuhs and Andrew Thomas.
OW 042EP DEPULSE, MARC: Lessons In Dub Part 2 12″ (OW 042EP) 12.00
Marc DePulse has already convinced most with the first part of his album Lessons In Dub and thereby thrilled many listeners. Now, the young thoroughbred musician from Leipzig steps it up a notch, presenting his second release, which is a sophisticated mesh of melodies, harmonies, emotions and cleverly worked-out sound structures, rendering a special touch to the dub techno.
PAN 020CD VIDA, ANDRE: Brud: Volumes I-III 3CD (PAN 020CD) 23.00
Brud is a three volume compilation of recordings from 1995 to 2011 by André Vida, morphing seamlessly between a sense of total irreverence and the sublime. His spontaneous compositions and notated works are the angled mirrored counterparts of a transient saxophone-driven performance language, drawing on elements of 1970s performance art, new music, improvisation cult, folk and pop hybrids, channeling them into asymmetrical tunes of feral beauty. Brud traces the development of Vida’s wayward language through 16 years of copious ruminations. The three delightfully polymorphic, perverse discs unite sparkling solo sax, pieces for cello and woodwind sextet, synth/concrète electronic music, nocturnal improvisations, rare ’90s New York free jazz compositions, and the Kreuzberg suite — a distilled culmination of a hundred nights of Berlin mayhem into ecstatic, swinging lyricism — both solo works and as well as various collaborations with Anthony Braxton, Rashad Becker, Axel Dörner, Matt “MV” Valentine, Tim Barnes, Helen Rush, Olaf Rupp, Clare Cooper, Clayton Thomas, Brandon Evans, Elisabeth King, Steve Heather and many more. André Vida is a Hungarian American saxophonist, composer and lyricist living in Berlin. More downtown cheeky grin than mere caveman smile, he is cosmically notorious for continuing the Rahsaan Roland Kirk one-man horn section legacy with hydra-headed style. He has been at the forefront of several major developments in experimental music, being mainly in Anthony Braxton’s original Ghost Trance Ensemble, as founding member of New York collective the CTIA, subsequent “freak folk” groups such as The Tower Recordings, and his extensive collaborations with electronic music visionaries Jamie Lidell, Tim Exile and Kevin Blechdom, Elton John, Gonzales, Cecil Taylor, Ornette Coleman, to name but a few, sewing up some heavy threads in downtown sax patchwork refracted through a Borgesian lens. Limited edition of 1,000 copies. Packaged in a pro-press digisleeve jacket in a one-tone silk-screened PVC sleeve.
PAN 022CD WIESE, JOHN: Seven Of Wands CD (PAN 022CD) 16.50
As a composer, John Wiese is an elusive one. Employing a very healthy range of conceptual framework throughout his oevure, he’s unmistakably recognizable, but rarely easy to predict. No matter what the sound, we find it always sounds like Wiese. Seven Of Wands contains a romanticism only hinted at previously. Comprised of pieces from a range of eras and sequenced into a narrative arc, this very unique album has a quality of being beautiful, listenable, immersive, and transportive all at once. On this latest, we find more emphasis on beauty and musical qualities, employing strategies and techniques of musique concrète and electroacoustic music throughout, all the while further emphasizing the mixing desk as a true instrument. Two of the album’s central pieces were developed while touring the U.S., UK and Europe with Liars, No Age, and (in quadraphonic) Matmos, and feature source material contributed by Angus Andrew (voice, field recording) and Julian Gross (percussion) of Liars. CD is a limited edition of 1,000 copies, packaged in a pro-press digisleeve jacket which is housed in a one-tone silk-screened PVC sleeve.
ASH 3050CD MOPS: Exit CD (ASH 3050CD) 17.00
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. Digitally remastered.
ASH 3051CD YONIN BAYASHI: Ishoku-Sokuhatsu CD (ASH 3051CD) 17.00
Originally released in 1974. “Somewhere between The Doors and Santana, the fuzzy soul of 3 + 3 period Isley Brothers and the poppy English prog rock of Pete Banks-period early Yes and The Least We Can Do Is Wave To Each Other-period Van Der Graaf Generator, is this romantic, soul-influenced album Ishoku-Sokuhatsu (trans. “Dangerous Situation”). This album is progressive pop music similar to that of solo Todd Rundgren or even The Zombies’ experimental LP Odessey & Oracle.” –Julian Cope, Japrocksampler; “Yonin Bayashi was originally formed in 1970 with Kasutoshi Morizono (guitar and vocals), Kazuo Nakamura (bass) and Daiji Okai (drums). They introduced themselves as ‘The San-Nin’ (three-piece band) at that time. In early 1971, keyboard player Hidemi Sakashita joined and they became ‘Yonin-Bayashi’ meaning ‘four-piece band’ in Japanese. Ishoku-Sokuhatsu is their legendary first album and is a true Japanese hard psychedelic/progressive masterpiece.” –Wayside Music; Features the original LP artwork, including the original Japanese insert.
Although post-Group Scene band Flowers were gaining increasing popularity in late ’60s Tokyo, founder and guiding light Yuya Uchida was becoming increasingly frustrated that cult status was not translating into commercial success. Watching a rehearsal for the Tokyo version of the hit U.S. musical Hair, Uchida’s wily gaze fell upon the Afro-sporting cast member Yamanaka Akira aka Joe. Uchida liked what he saw and heard so much, that he invited Joe to sing guest lead vocals at the next Flowers gig, and so impressed was he with the audience’s response to the singer’s opening number, that he knew a direction-changing discovery had been made. Gone was Flowers and in its place, Flower Travellin’ Band emerged with a whole new sound and a charismatic and talented front man leading the charge, a relentless process that would see the singer become the sound of FTB with his career ascending as the fortunes of the band decreased. Eventually, the inevitable happened and Uchida disbanded FTB in 1975, after which the band’s record label, Atlantic, offered the world one final, posthumous release in a greatest hits package, The Times, with the artist as “Joe With The Flower Travellin’ Band” becoming the band’s epitaph. Sadly, Joe died of cancer in August 2011, but he will long be remembered as the voice of Japan’s most successful and enduring musical ensembles, Flower Travellin’ Band. Features the original LP artwork and includes the original Japanese insert. Digitally remastered.
PLAIN 176LP SPARKLEHORSE: It’s A Wonderful Life LP (PLAIN 176LP) 19.00
“The third album from the late Mark Linkous’ Sparklehorse, It’s A Wonderful Life, was the first to be recorded in a commercial studio with a full band. Recorded and released in 2001, after Linkous’ near-fatal overdose in a London hotel room, the album is a beautiful and fragile exploration of somber themes. Featuring guest appearances from PJ Harvey, Tom Waits, and Vic Chesnutt, It’s A Wonderful Life is a singer-songwriter classic. Includes download card of the entire album.”
PLAIN 177LP SPARKLEHORSE: Dreamt For Light Years In The Belly Of A Mountain LP (PLAIN 177LP) 19.00
“Dreamt For Light Years In The Belly Of A Mountain is the fourth and final album from Mark Linkous’ Sparklehorse. Recorded over a span of five years, and produced by Danger Mouse, the album is probably Linkous’ least cohesive efforts but, at the same time, contains some of his finest songs ever. A fitting swan song for a brilliant but troubled songwriter. Includes download card of the entire album.” 180 gram vinyl.
PLK 024EP OPUSWERK: Wired Connections 12″ (PLK 024EP) 12.00
Opuswerk is a new talented artist in love with hardware equipment and he’s already got some strong producing skills. The A-side features “Futurewerk,” the first in a collaboration with techno outfit Fundamental Interaction — a raw, dub-influenced track where chords and rhythm clearly aim for the dancefloor. “TH13-13” is a flashback to the mid-’90s, featuring a squirting bassline with bleeps and blops. Comes in 180 grams of black wax, carefully mastered at Dubplates & Mastering, Berlin. Full printed sleeve designed by Frederic Laborde.
PIC 006CD WATANABE, HIROSHI: Century Groove Innovation Vol. 1 CD (PIC 006CD) 17.00
This is a new mix CD series entitled Century Groove Innovation. The first volume is a mix of tracks only from the Fountain Music label and their sister label, Plaza In Crowd. The series’ concept is huge — to become fully responsible for innovating groove in the 21st century. DJ Hiroshi Watanabe is a graduate of the Berklee College Of Music. His work has been rated #1 on the Billboard dance charts and he composed music for dance/video game Beatmania. He has remixed many popular Japanese singers and has released albums on Kompakt under his Kaito alias. He has also released music on Greece’s Klik Records and he has gigged and toured all over the world. The featured tracks on this mix include Ken Ishii & Dave Angel’s collaboration, Hiroshi Watanabe & Popnoname’s collaboration (DJ Sodeyama Remix), DJ Yellow, Foog & Temma-Teje and DJ Wada’s remix, Sans Soleil, Synethesys and younger artists Tsuguharu Hayashi and Alveol. Century Groove Innovation will take on this century in groove like Coco Chanel took on the 20th century in fashion. Other artists include: Martin Schulte, P. Laoss, No’mad, Ney Faustini, Luis Gaviria, Low Orbit Satellite, Life Recorder, Louis Haiman, Peter Clamat, Annette Sihler, Catekk, Gonzalo MD, Little Nobody, Peter CWB Mooka, Yousuke Kaga, Dublee and Dsitb.
POGUS 21062 IF, BWANA: With/And/By Trio Scordatura: E (And Sometimes Why) 2CD (POGUS 21062) 20.00
“The new 2CD magnum opus by If, Bwana (Al Margolis) has been almost three years in the making. It is the first time he has composed works (usually with prerecorded sounds) specifically for another ensemble. ‘Gilmore’s Girls,’ ‘Ringing (Ano)the(r) Bell,’ and ‘Diapason,’ maybe were specifically written for Trio Scordatura. ‘Cicada 4AA’ was the first piece of If, Bwana’s they played (though not written for them in particular). ‘E (and sometimes why)’ and ‘All for Alf(run)’ were both composed after the initial recordings and used materials from those sessions. ‘The Tempest,’ Fuggit,’ used some of Trio Scordatura’s sounds and combined them with an absolutely awesome, over-the-top performance/reading of a section of Shakespeare’s The Tempest by Michael Peters (of Poemrocket). We hope that answers the burning question why If, Bwana with/and/by Trio Scordatura? There may not be a better way to describe their involvement with this recording — they played with If, Bwana and they played If, Bwana and they were played with and by If, Bwana.”
POGUS 21064 WHITE, FRANCES: In The Library Of Dreams CD (POGUS 21064) 13.00
“I was going to write about how this is an absolutely beautiful and disturbing record, but I think quoting from the liner notes of James Pritchett really does sum it up. Frances White invites us to take a walk through her Resonant Landscape. Where are we going? We are walking through the woods, marshes, and streams of New Jersey. She points out the birds and frogs that make their home there, the water that flows through it and the wind that shakes the trees. But then we turn and there is that other sound world, the one in which these woodland sounds are transformed, or in which we find sounds altogether new: spectral birds singing to us through a sparkly haze; distant colored winds, like the breath of giants; the air around us, alive, charged with long, low drones and sudden electric crashes. There is something magical about this other world, and (like most magic) there is something disturbing here as well. We move between the two worlds almost at random, bumping into one sound after another. We find ourselves rising off the path and floating, then falling abruptly into silence, reappearing in a marsh full of geese and blackbirds. This is more than a sonic postcard from Princeton: it is a journey into the inner world of Frances White. We could call it an electroacoustic dream drawn from her memories of hikes in the woods.”
PFR 029CD VA: Gunslingers and Greenhorns – Poker Flat Volume 9 2CD (PFR 029CD) 17.00
Poker Flat return with their ninth label compilation featuring no less than 10 new exclusive tracks, uniting some of the brightest talents from their label roster, and also inviting some new names to join their mischievous posse. They’ll take you on a whistlestop tour deep into the Wild West of modern house and techno, with producers like Adultnapper, James What, Alland Byallo, Roland Appel, Steve Bug & Clé, Nick Harris, Sebastien San, Ribn, Ian Pooley, Alex Niggemann, Alex Flatner & Lopazz, and many more besides. Released on 2CD (and 2LP) with over 20 tracks to choose from, 10 exclusive new productions, and a mix from the Poker Flat sheriff himself, Steve Bug, there’s more than enough quality to choose from. Other artists include: Black Light Smoke, H.O.S.H. And The Deer, Lee Curtiss, Daniel Dexter, Tom Taylor & Gareth Whitehead, Alessio Mereu, Aeromaschine, DJ F.E.X. & Ron Costa, Stuart Geddes, SHOW-B and Nico Lahs.
POPC 111EP PERRY, MAMIE: My Baby Waited Too Long 7″ (POPC 111EP) 8.00
Two beautifully down-trodden, bluesy popcorn sides here, with strong vocals from the criminally under-recorded Mamie Perry. There is so much character on show on these two melancholic sides — both recorded at the turn of the ’60s — spinning out of the R&B that had ruled the ’50s and clearly anticipating the arrival of the newly-refined “soul” music genre that was about to take over. There are also strong traces of jazz, blues and more within them.
QA 001CD GIANA FACTORY: Save The Youth 2CD (QA 001CD) 21.00
Giana Factory is a trio that consists of Loui Foo (vocals, drum pads), Sofie Johanne (bass, synth) and Lisbet Fritze (guitar), and since the release of their debut EP, Bloody Game in 2009, they’ve been picked up on the international blogosphere, as well as in Pitchfork and Nylon Magazine, who fell for their unique noir-pop. The single “Rainbow Girl” has been in rotation on national radio, and both Danish newspaper Politiken and the esteemed music magazine Soundvenue have featured covers of the trio. With the band’s distinct sense of creating tense, yet subtle pop gems, Bloody Game became the promising head-start for Giana Factory. In 2008, Lisbet and Loui were touring Europe with fellow Danes, The Raveonettes, while Loui’s big sister, Sharin Foo was on maternity leave. In London they accidentally bumped into James Allan of Glasvegas, who asked them if they had their own band, and if they were perhaps interested in supporting the Scots on their first show in Copenhagen. Finding it hard to refuse an offer like this, Giana Factory faced the crowd for the first time as a group two weeks later. They hadn’t even released any music yet, but followed Glasvegas in Scandinavia and Germany. Subsequently, they have also supported bands such as Autolux, The Raveonettes and The Asteroid’s Galaxy Tour. In 2011, Giana Factory finally release their first full-length album, Save The Youth, in Denmark. The album was very well-received, and their talents for combining gloomy synths and crisp drum pads with atmospheric guitars and sparklingly fresh melodies mark that Giana Factory have found a sound that is entirely theirs. They started a monthly 7” vinyl series containing a track from the album plus a remake made by friends from the road; Anders Trentemøller, Glasvegas, Autolux and VETO, with each artist interpreting their own favorite song from Save The Youth. Here is the worldwide release of their debut album in a limited bonus CD edition including Save The Youth, the Bloody Game EP, and all of the 7″ remixes and unreleased studio outtakes.
QA 001LP GIANA FACTORY: Save The Youth LP (QA 001LP) 20.00
LP version.
RT 1007LP VA: Mary Jane: Original Soundtrack LP (RT 1007LP) 22.00
180 gram vinyl reissue. Released in January 1968, this cult exploito movie concerns the efforts of an art teacher to discover who has framed him for pot possession, with plenty of warnings about the dangers of drug abuse along the way. Its soundtrack is a quintessential ’60s period piece, with fuzz guitar, bongos, flute, vibes, and more.
MR 022EP VA: RKS Allstars Volume 3 12″ (MR 022EP) 11.00
The third volume in Roska Kicks & Snares RKS Allstars series features “Selecta,” by Champion, peppered with bad-boy vocals and rude wheelbacks that serve the dancefloor vibe generously. MA1’s “Bassbox” continues the ecstatic vibe with an increasingly hyperactive and modulating synth which swaps and chops throughout the track to dizzying degrees. Finally, funky hardleader DJ Naughty applies the polish on “Unstoppable,” an equally rude workout. All three contributions represent the many sides to the label and cap a crucial hat-trick of unsurpassable rhythms.
RB 032EP LAUER: Trainman (Tensnake Remixes) 12″ (RB 032EP) 12.50
Tensnake is the host of Phillip Lauer’s debut album inauguration party. Delivering not one but two remixes and a barrel of laughs, Hamburg’s happy man smears thick red lipstick on Lauer’s bittersweet “Trainman” symphony. His “Franceman Mix” does exactly what it says — a long intro gets rouléd up into a fierce dancing school contest. The “Tranceman Mix” goes the whole nine yards: marimba magic, hard-trance breaks, drum rolls and early-morning glory moments. It’s impossible to defang that snake.
FOCUS 010EP SENSATE FOCUS: Sensate Focus 10 12″ (FOCUS 010EP) 14.00
Introducing Sensate Focus. New label for neat house tracks. Released in association with Editions Mego.
SILENCE 010CD MARIO & VIDIS: Changed 2CD (SILENCE 010CD) 21.00
Lithuanian producers Mario & Vidis give house music a new accessible heartbeat with their debut artist album, Changed. Mario & Vidis titled the album after their Future Classic anthem, “Changed,” an apt advocate to the new age slow-house sound they have mastered. Spanning two discs and 20 tracks, they cover much musical terrain, striding through epic soundscapes, hypnotic pop melodies, wandering into pure soul and running away with the finesse of raw house music on the second disc. Changed opens with the atmosphere-heavy “Introducing To You,” lightly tickling the senses, before delving into the vocal delights of Kathy Diamond for “In My System,” a collaboration that came about after Vidis brought England’s disco queen to play in Lithuania. The record for which Mario & Vidis made their name, “Changed,” was co-written by Ernesto after the duo admired his earlier inspiring releases. Two cuts feature number one Lithuanian female act, singer-songwriter Jazzu, who creates apparitions within her ethereal and buoyant vocal in “I’ll Be Gone” and the ensuing “Who’s Shot The Silence?” Jazzu is Lithuania’s embodiment of Goldfrapp or Róisín Murphy and a true cult figure in the region. Other contributions from Lithuanian homegrown artists Vytautas Sondeckis and Giedr? illustrate a diverse spectrum and heavy collection of local talent. Disc two treks into their electronic heart, showcasing a collection of deep, dubby dancefloor cuts. The rolling grooves of “You Are Here” and epic synths of “Test” appear amidst re-edits of the prior material. The result is an engulfing journey that personifies a broody older sibling from the first disc.
SOMM 008LP PLASTIC PENNY: Two Sides Of A Penny LP (SOMM 008LP) 25.50
First-ever vinyl reissue of the debut album by this UK psych-pop group, combining soft-pop with heavier mod-psych-pop tracks. Originally released in 1968 on Page One, now available again in a limited vinyl pressing, with a high-quality carton cover. Pressed on 180 gram vinyl. Includes an insert with extensive liner-notes by British pop connoisseur Andy Morten.
SOMM 009LP PLASTIC PENNY: Currency LP (SOMM 009LP) 25.50
Never reissued on vinyl before, the 1969 album by Plastic Penny was their last effort and included some previously 45-released tracks plus some new ones. From psych-pop to hard-rock, this is their most powerful work. This limited reissue includes the bonus track “She Does,” which is arguably the best track they ever recorded. Housed in a high-quality carton cover and pressed on 180 gram vinyl. Insert includes extensive liner-notes by British pop connoisseur Andy Morten.
SLSP 006EP ALLSPICE: Slipped Away/Hungry For Your Love 7″ (SLSP 006EP) 8.00
Two big spins from the self-titled LP Allspice from 1977. Twinspin 45 “Hungry For Your Love” and “Slipped Away” are both included here, each a sublime ’70s dancer. “Slipped Away” was first played on the rare groove scene in the early ’80s and you could be forgiven for thinking Deborah Shotlow was Minnie Riperton. “Hungry…” is an L.A. Boppers-style dancer with Doug Thomas on vocal duties, edited here to include the full piano breakdown and resolution.
SOS 114CD KAMIKAZE QUEENS: Automatic Life CD (SOS 114CD) 15.50
The Kamikaze Queens are a saucy, tough and tantalizing female-fronted rock’n’roll performance band from Berlin, self-defined as “Berlin Punk Cabaret.” With their second full-length record Automatic Life, the Queens take their original one-of-a-kind show on the road with 14 new tracks — once again showing their many colors and musical influences in an explosive package of punk, garage, swing, burlesque, tales of night life, sea creatures, and good times gone bad. Don’t let the upright-bass fool you, ’cause this ain’t no rockabilly. Kamikaze Queens are a wild, mis-behavin’ mix; kickin’, screamin’ and rockin’ out of this world. Automatic Life embodies the breadth of style that the Kamikaze Queens deliver, from a 24-hour Southern stomper at the “Tastee 29” to the dark and mysterious call of “Night Life.” “Snagged On My Stiletto” is a cocktail of switchblade cool and punk attitude. Strap in for a night of breaking hearts and raging. “Good Times” is the hit that’s engine don’t run on gasoline. It’s got all the lust, glamour, broken glass, bloody knees, booze and heartache that leaves you torn and frayed — but comin’ back for more. The story twists and dives deep into the sea with “Sweet Geraldine” and “I Was A Teenage Mermaid.” They tell the tale of the mermaid Geraldine who has to leave everything she knows to follow her nagging curiosity and her rebellious spirit. Though her family might kill her, she’s drawn to the rough and tumble, whores and trannies, punks and freaks that await her on land. Add to that a little John Waters-esque absurdity with a ’60s dance-craze number, “Do The Crab” — which is actually the first song Tex Morton ever wrote the music AND lyrics to — and you’re hooked, line and sinker. Joined by special guests on horns, singing saw and cello, as well as guest vocals, kazoos and whistles, Kamikaze Queens take a whole new approach to rock’n’roll.
SNDW 040LP ROB: Make It Fast, Make It Slow LP (SNDW 040LP) 15.50
LP version with download code. Soundway re-issue Rob’s second album for the first time outside Ghana. Rob was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz, and over the years, the label has been asked many times to re-issue the LP in its entirety. A stranger, slower offering than his more dancefloor funk-laden and spartan first LP, this record sees Rob in similar territory but with the tempo switched down and the introspection turned up. Rob’s trademark horns dominate and are supplied by the Mag-2, an army band founded by leader Amponsah Rockson, who named it after the army unit the band played for — the “magnificent” second battalion. In 1977, Rob traveled to the coastal town of Takoradi in search of Mag-2, which had an entire section of its line-up dedicated to horns, with the intention of laying out his proposal to them. Luckily for Rob, the band took him up on it. With religious overtones and a broody, slightly off-key atmosphere at points, it’s certainly one of the stranger Afro-funk records to come out of West Africa but with tracks like “Loose Up Yourself” and “Make It Fast, Make It Slow,” he nails it for sure.
AKT 701CD BONAPARTE: Too Much (6 Video Enhanced Edition) CD (AKT 701CD) 15.50
This is Bonaparte’s debut album from 2008, including the massive club-hits “Anti Anti” and “Too Much” — for the first time domestically available in North America. Also included are video clips for six tracks.
AKT 708CD BONAPARTE: My Horse Likes You CD (AKT 708CD) 15.50
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. Housed in a digipak with a 16-page Leporello booklet.
AS 512EP STEPPA & JAHYU, ALPHA: Alpha Steppa Meets JahYu 12″ (AS 512EP) 11.00
This EP from Alpha Steppas brings together the very best of East and West roots and dubstep. Asian flute and string melodies slide effortlessly amongst some powerful roots-based dubstep, creating a sound that is unique. German/Korean producer JahYu has been heavily influenced by UK dub artists such as Iration Steppas, Jah Shaka, Lee “Scratch” Perry and Alpha & Omega, which makes this collaboration a perfect fit. Check out “Wangbi” and its Alpha Steppa remix to see how well these cultures complement each other.
SVT 073CD DAPAYK & PADBERG: Sweet Nothings CD (SVT 073CD) 17.00
Niklas Worgt and Eva Padberg aka Dapayk & Padberg join the Stil vor Talent family for their third full-length effort. Similar to their previous LP oeuvre, as well as Dapayk’s solo work, one is simply astonished by the diversity, intertextuality, coherence and playfulness of the end result, something that must be attributed to the experienced duo’s wide-ranging set of influences. Work on the LP stretched across several continents. From the beach on Bali, via Miami, Los Angeles, Berlin and a ski chalet in the Austrian Alps, stunning and remote locations were to be the spectacular backdrop for Dapayk & Padberg’s creative process. Thus, one encounters soft and harsh sound textures, dark and light images, sonic euphoria and sadness as well as lyrics of love and loss throughout the tour de force that is Sweet Nothings. Things kick off with the trippy “Too Lazy,” a brooding afterhours number, which is equal parts paranoid and mesmerizing as a wonky bass vibrates under dubbed-out pads, eerie synths and vocal whispers. Next, “Play” immediately delivers the antidote, reversing the evening’s proceedings back to the peak-time. On the title track, Dapayk & Padberg’s sound takes another turn, presenting us with a deep but forceful groover, whose distorted high-hats and trancey synth-stabs create a vibe both euphoric and weirdly subdued. The lyrics, moreover, emphasize the duality at the core of the album. “Fluffy Clouds” does quite the opposite to what its title suggests — rather than being a soft little piece, we are treated to big-room techno fodder à la Berghain. A skeletal framework of heavy kicks, dark pads, white noise and dense metallics works relentlessly underneath a cold spoken word. Machine funk par excellence. “Endless Game” leaves the four-by-four rhythm behind in favor of a broken beat structure. A shuddering bass and affectless vocal reminds of The Knife’s wonderfully weird moments. “The Sun Came Up” rounds off the mechanical triplet with a pumping beat and robotic vocals, while a progressive synth lead helps along the track’s love lyrics, turning this into a truly stunning moment at the album’s heart. With the sharp glockenspiel and old-school hip-hop beat of “Razorskit,” Dapayk & Padberg crafted a short interlude to cleanse the palate, before the gear is shifted once more on “Berlin Summer Nights.” Anthem alert: classic rave sounds of epic proportions glide through an arrangement of bouncy beats, crisp percussive work and hopeful vocals until a powerful breakdown delivers the hands-in-the-air moment. Continuing seamlessly, the vocals on “Take These Scissors” nod to Karin Dreijer Andersson, which is further underpinned by the playful and airy arrangement of weird sounds. “Backyard” enchants thanks to mystical lyrics sung over a deep quasi-dubstep structure. “Continental Drift” is similarly confident as Padberg’s sexy vocals compliment a slow, fat beat and progressive pads. “Driveby Beauty” offers a final surprise by speeding things up once more: ambient soundscapes float over organic beats, while classic vocal house motifs are left to work their magic effortlessly. All that is left once the last notes play out, is an intense longing for more.
OME 013DVD HINANT AND DOMINIQUE LOHLE, GUY-MARC: Fuck You: Fucking Noise In China Now DVD (OME 013DVD) 18.00
Fuck You: Fucking Noise In China Now is a film made by Dominique Lohlé and Guy-Marc Hinant from Sub Rosa — 100 minutes of electronic noise music and harsh speeches — a road movie between Beijing and Shanghai. Featuring artists Torturing Nurse, Wang Changcun, Wang Fan, Li Jian Hung/Dickson Dee, the poet Sun Meng Jin and Zbigniew Karkowski. 100 minutes. In English with French subtitles. Double-sided DVD in both NTSC & PAL formats, region free.”We went on a trip, with a vision that may have confused feelings of revolt with revolt itself, expecting to shoot a monument to the glory of Noise “as a subversive action” in the People’s Republic of China. After spending a few hours on site, we had to admit that nothing political was being expressed in this place and at this time. In two weeks, we still shot about a hundred hours of rushes, in a totally chaotic fashion, as if in the throes of panic.”
OME 015DVD HINANT AND DOMINIQUE LOHLE, GUY-MARC: Ecce Homo: A Portrait Of Célestin Deliège DVD (OME 015DVD) 18.00
Ecce Homo: A Portrait Of Célestin Deliège is a deep, strong and raw portrait of one of the greatest musical thinkers in Europe, who passed away in 2010. Célestin Deliège was the last representative (with Pierre Boulez) of post-War modernism. Prestigious musicologist (passing his encyclopedic knowledge through violent polemic), teacher at the Conservatory of Liege, Brussels and La Sorbonne, he impressed many students — students who have since become important composers today, not the least Hugues Dufourt, a founder of spectral music. This film is made from ten interviews with Deliège, either introspective face-to-face meetings, or with artists such as Pascal Decroupet, François Nicolas, Fred Lerdahl, Hugues Dufourt, Antoine Bonnet and Ensemble Ictus. Ecco Homo shows a man in his illness, certainly, but who fights until his last breath, looking for a lost transcendence, a re-enchantment, calling for Artaud’s madness. Rooted in the supreme art of music, this film addresses both the pain of departure and the beauty of existence. 90 minutes. In French with English subtitles. Double-sided DVD in both NTSC & PAL formats, region free.
SR 313CD FAFCHAMPS, JEAN-LUC: KDGhZ2SA, A Six-Letter Sufi Word CD (SR 313CD) 15.50
Belgian composer and pianist Jean-Luc Fafchamps initially devoted himself to writing for small groups in which the piano plays a central role (Dynamiques, for two pianos; Melancholia Si…, for two pianos and two percussionists; Neurosuite, for a keyboard trio), before his interest in non-tempered harmonies and polyphonies of timbres led him towards other sound combinations (a garden, for wind quintet; Bryce, for clarinet quintet, etc.). He is currently moving towards working for larger formations in which his taste for paradoxical constructions and his sense of synthesis are blossoming into mutually-referential pieces. He is working on the development of a vast network of cycles — the Lettres Soufies — a manifesto for writing, stylistic openness as rhetoric and the use of analog correspondences as the basis for a system: “T” for ensemble and electronics, “K” for orchestra, “A” for ensemble and orchestra, “Z3” for trombone and electronics, and so on. “In total darkness, or in a very large room, very quietly since 2000, I have been spending much time writing Sufi letters, despite the fact that I am not a Sufi, or even Muslim, and I do not speak Arabic. They are based on a Sufi chart connecting a vast system of symbolic interrelations to the 28 letters in the Arabic alphabet — a sort of methodical summary of metaphorical and mystical thinking, as it has been drawn once by Sheikh Abul-Muwwayid of Gujarat (India) for incantations. So Sufi Letters is a common work process, not a cycle in the classical sense of the word. The pieces are written for different instrumentations, according to the needs of the selected letter and the vagaries of life, and the global project is not a priori-unified. Each letter is both unique — and so could be performed on its own — and deeply connected to all the other letters — and as such designed to be combined and form words. Meanwhile, I am moving and changing, possibly maturing, certainly aging, and so this project also comes as a tale of initiation, to music and things. It took me ten years to write the first 13 letters and it is safe to say that I will probably need that much time to write the other 15.” –Jean-Luc Fafchamps
SR 323CD HELVACIOGLU, ERDEM: Timeless Waves CD (SR 323CD) 15.50
This is #9 in Sub Rosa’s limited edition Framework series — an extension of their Concrete Electronics Noise series. Erdem Helvac?o?lu was born in Bursa, Turkey in 1975. He is one of the most renowned “contemporary electronic music” composers of his generation in Turkey. His music has been broadcast on national radios such as BBC, ABC, WDR and Radio France, among others. He has received commissions from the 2006 World Soccer Championship, T-B A21 The Morning Line, Borusan Center For Culture & Arts, Arter “Space For Art,” The Association For The Art Of The Harp, Novelum Contemporary Music Festival, International Istanbul Biennial (IKSV) and the world-famous new music ensemble Bang On A Can-All Stars. His sound installations have been included at museums and galleries such as the 10th International Istanbul Biennial, Los Angeles Track 16, Indonesia Soemardja, Köln Museum Für Angewandte Kunst and London’s Menier Gallery. His film music has been heard at Cannes, Sarajevo, Locarno, Seoul, São Paulo, and Sydney film festivals and he received the “Best Original Soundtrack” award in the 2006 Mostramundo Film Festival. He has received prizes for his electroacoustic compositions from the Luigi Russolo, MUSICA NOVA and Insulae Electronicae Electroacoustic Music Competitions. Timeless Waves, originally composed for a 47 channel/53 speaker diffusion system running on The Morning Line, is a sonic work based on six basic human emotions. The CD is a stereo version of this multichannel work. The piece was inspired by W. Gerrod Parrott’s book Emotions In Social Psychology and has been commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21) for The Morning Line — an interdisciplinary art project by Matthew Ritchie, Aranda/Lasch and Arup AGU — and premiered in May 2010, when the project was exhibited at Eminonu Square in Istanbul. Sonically, Timeless Waves is based on the timbres of Togaman GuitarViol, Gibson Les Paul electric guitar, sine waves, various analog pedals and hardware fx processors. The music combines elements from genres such as electroacoustic, drone, noise and contemporary music blended with minimal melodies. Cover photo by Jakob Polacsek.
SR 337CD MAXIMIN, BERANGERE: No One Is An Island CD (SR 337CD) 15.50
This is #10 in Sub Rosa’s limited edition Framework series — an extension of their Concrete Electronics Noise series. Featuring Rhys Chatham, Christian Fennesz, Frédéric D. Oberland and Richard Pinhas. Bérangère Maximin was born on the remote French colonial island of Reunion in the Indian Ocean and moved to France at the age of fifteen. Performing first as a singer, she later studied electroacoustic music with the composer Denis Dufour at the Perpignan Conservatoire. Her first professional experiences occurred in Paris, and in 2002, she moved there permanently. From 2002 to 2007, while running the organizations Motus (concert production and label, Paris) and Futura (International Festival Of Acousmatic Art, Crest, France) as the assistant of Denis Dufour, she started to work as an independent composer (collective concerts and audiovisual installations). After the release of her debut album Tant Que Les Heures Passent (trans. “As Long As The Hours Go By”) on Tzadik Records (August 2008), she performed a series of pieces for live voice and laptop which continued to develop on the road. In the 30-concert tour that followed in the USA, France and Italy, she shared the bill with strong personalities such as Christian Fennesz (Florence, Paris), James Blackshaw (St-Ouen), ZU (Vandoeuvre) and Fred Frith (Brest, Oakland, San Francisco). At the beginning of 2011, Bérangère Maximin completed a tour in the USA (11 concerts in New York, DC, Philly, San Francisco, Oakland) and formed a double laptop duo with Chuck Bettis (Tzadik), Pretty Clicks (first concerts in New York in February and March, and in France in September and October, 2011). Maximin has recently been included in the 2011 Residency Program Institut Français Hors Les Murs and spent two months in the USA (February and March) to write the libretto of Dora-Rose Hits New York, a piece for four actors and electronics (ongoing production, stage direction: Lionel Parlier). Bérangère Maximin (voice, guitar, laptop, various objects) featuring Rhys Chatham (trumpet), Christian Fennesz (guitar), Frédéric D. Oberland (guitar) and Richard Pinhas (guitar). Limited edition of 500 copies.
SF 060CD VA: Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974 CD (SF 060CD) 15.00
This is the CD version of the out-of-print 2LP. The long-awaited foray into the Vietnamese rock, pop and soul sound of the late 1960s and early 1970s is finally here. Saigon Rock & Soul delivers the goods international retro collectors have been searching for in vain for many years — and it delivers beyond belief. Every song is a mini-masterpiece, be it heavy acid-rock psychedelia, horn- and guitar-drenched funk grooves, or gripping soul ballads reflective of life during wartime. The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the 1960s and 1970s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of Southeast Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even U.S. army facilities while the Vietnam War raged — and were issued by a handful of Saigon record companies on vinyl 45s and reel or cassette tapes. Westernized forms of music in Vietnam had appeared during the latter 19th century, and especially during the early 20th century, under the influence of the French colonizers. Tan Nhac (trans. “modern music”) always incorporated both domestic and international sounds, and continued to develop alongside Western musical trends. During the 1960s and 1970s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf-rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries. By the mid-1960s, Vietnam had been ravaged by war for years. American G.I.s had become a standard fixture in Saigon, as did many of the cultural artifacts they brought with them. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, The Shadows and The Ventures soon gave way to The Beatles and The Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.I.s would bring in on LP or tape. This era saw the birth of a vibrant rock scene, yet rock music and anything that came close was commonly referred to as “soul” in the Vietnamese genre-listings. Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead. Artists featured include some of Vietnam’s most popular at the time: Elvis Phuong, Hung Cuong, Mai Lei Huyen, Le Thu, Thai Thanh, Giao Linh, Mai Lei Huyen and the CBC Band. Features 70 minutes of classic original recordings compiled by Mark Gergis with extensive liner notes.
SUB 003CD EMPTYSET: Medium CD (SUB 003CD) 12.00
Following their second album Demiurge (SUB 001CD), Medium arrives as the first non-studio-based production by Emptyset, recorded on location in the remote Woodchester Mansion in Gloucestershire. The collection of tracks explores the duo’s preoccupations with the elemental properties of sound and bare, rhythmic structures and overlays it onto the textural possibilities of space and material. The project marks their first act of adapting their analog-based studio system into an architectural intervention, pushing extreme bass and feedback into the irregular spaces of the unfinished building. The rural mansion, which remains an incomplete remnant of the Gothic revival and a place studied by both architectural researchers and psychic investigators, provides a rich source of texture as the sparse palette of sine waves and noise is adorned with the intricate details of the space. Medium emerges as an act of translation, remodeling the house through sonic impulses into a state of audio, a fluid, transformative gesture and a process mirroring the sonar impulses of the bats residing within Woodchester’s rooftop sanctuary. The project, supported by the Woodchester Mansion Trust, was provided technical support by the renowned Bristol-based sound engineer Mat Sampson, who managed the array of vintage microphones and preamps distributed within the building along with the central monophonic sound system. Approx. 21 minutes total playing time.
TR 228CD NOURALLAH, SALIM: Hit Parade CD (TR 228CD) 15.50
This is the fifth album by Texas singer/songwriter Salim Nourallah, formerly of Nourallah Brothers. The story of Hit Parade began in a window overlooking Paris’ Marais district in May of 2009. That’s where Salim Nourallah wrote the opening track, “38 Rue De Sévigné,” a love letter to the “green and pleasant land” of France. This happened at the end of Salim’s third European tour and at the time he was thinking his next record would be recorded and produced by his new friend Wreckless Eric. The title track “Hit Parade,” a Lennon-esque psychedelic thumper, was written on the plane ride back to Texas with the Wreckless sound in mind. But, with Eric’s busy touring schedule, plans to record together quickly dissolved. It all worked out because Salim had also just formed the best group of his career and was itching to make his first band record in at least ten years. The goal being a record that combined his love of The Clash’s London Calling, The Kinks’ Village Green…, The Beatles’ White Album, with his own melodic and lyrical sensibilities honed into a style instantly recognizable as his own. A year of writing ensued, followed by Salim bringing his stellar five-piece band to the Treefort in Austin, Texas. In just five days in August of 2010, the songs were fully tracked with the help of expert record maker Jim Vollentine (Spoon, White Rabbits, …And You Will Know Us By The Trail Of Dead). It was a joyous and intense explosion of sound — enough to yield most of Hit Parade and the 6-song Friends For Life EP. Hit Parade’s lineage can be traced directly back to classic mid-’60s rock’n’roll and the post-punk 1979 explosion, but its main influence is in its various creators’ lifetimes dedicated to crafting their own specific style and sound. From the intense, unsatisfied pulse of “Never Felt Better” to the AC/DC-cum-Kinks swagger of “Goddamn Life” on through the tumbling Who-esque “Quitter” and the plaintive, acoustic guitar-driven “Friends For Life,” Hit Parade will take you on a rollicking good ride through rock’s rich and varied sonic pageantry. Strap on your headphones and prepare to enjoy the trip of a lifetime.
TEC 013CD VA: Tectonic Plates Volume 3 CD (TEC 013CD) 16.50
The mighty Tectonic drop the third volume in their esteemed Plates series, compiling exclusive tracks from a selection of electronic music’s leading and breaking artists. Since starting low frequency operations in 2005, the Bristol label has been a beacon for dubstep, bass and progressive electronic music fans, releasing music from artists of the calibre of Skream, Loefah, 2562, Peverlist, RSD, Flying Lotus, Joker, Addison Groove, Jack Sparrow, Photek, Benga, Digital Mystikz, and label-boss Pinch. Over the past year, album projects with legendary Jamaican dub producer Scientist, NYC beat-experimentalist Pursuit Grooves and live dubstep duo Author has reflected a broadening of Tectonic’s core sound, while remaining faithful to its roots. On Tectonic Plates Volume 3, the first half offerings range across classic 140 bpm tempi, including Kryptic Minds’ haunting opening declaration “The Talisman,” Pinch’s deeply cinematic “Blow Out The Candle,” “Evolution” by Cluekid, and the supersonic “Mach” by Japan’s Goth-Trad. Tribal influences permeate through Tunnidge’s “Universal” and rhythms also swerve towards funky with an appearance from Roska on “480 BC” and, shot through with an array of classic scratch DJ samples, “Phantom” by Addison Groove. Cardiff’s Monky introduces the second movement with the transcendent breaks of “Float” before the heavy-prog-rock stomp of Ginz’s “Chrome” body-slams events firmly back into place. Three breakout artists are featured with recent Red Bull Music Academy participant Om Unit, Kevin McPhee (named in DJ Magazine’s “Ones To Watch” for 2012) and Manchester’s Illum Sphere, whose set at Radiohead’s remixes album launch for Boiler Room topped a fantastic year. The album’s closing scene is the epic 10-minute “Rogue State” by 2562.
“The Spanish Suite was written to magnify the contribution that Moorish Spain made on the European Renaissance. The relationship of music to cosmic rhythms and harmony was altered from the original state of Spanish music and eventually distorted down to the 12 tone equi-temperment system of tuning. The Artistic Heritage Ensemble was taught to play outside of the 12-tone system and to recognize natural tone relationships. The musicians had to be dedicated to music for life in order to reach the level they obtained. The Spanish Suite represents the median effort in returning to our original music. It was written and first performed in December of 1965 an AACM performance at the St. John Grand Lodge located at 7349 S. Ingleside in Chicago. This particular performance was at the Afro Arts Theatre at 3900 S. Drexel in February of 1968.”
TRAUM 149EP COOPER, MAX: Egomodal EP 12″ (TRAUM 149EP) 12.50
Max Cooper’s Egomodal EP is focused on dynamics and tangents, along with the concept of complexity and simplicity. This release is extremely diverse in style and offers everything from the dark Detroit electro-styled techno piece “Epitaphy,” to the melodically trembling “Autumn Haze,” with its superbly-programmed flow, to Ripperton’s mighty house hymn of a remix, ending in the bassline monster “Raw,” which loses its teeth towards the end.
TTSHAKE 103EP JAGUARS, THE: Jaguar/Roundabout 7″ (TTSHAKE 103EP) 11.00
The Jaguars waxed only two 45s, of which this limited reissue pairing of “Jaguar” and “Roundabout” was the pick. Cut back in the Texas oilfields of ’59, all their songs came with a car theme. Presumably, these guys were part of a wild gang of hot-rod teen tearaways, blaring music out of their custom cars. Certainly, the wild & rasping sax on “Jaguar” is played to sound reminiscent of a revving engine. “Roundabout” is every bit as good and every bit as sleazy.
November 2007, Venice. It was cold, damp and foggy. Nurse With Wound were playing two nights at the Teatro Fondamenta Nuove, with Blind Cave Salamander as support act. Listening to them perform, Steven Stapleton felt that some of what they played reminded him of the classic Nurse work, Soliloquy For Lilith (1988). He suggested that the two bands should explore the possibility of playing live together, to explore that piece with a view to recording an album. Forward to September 2009 when, after rehearsals, Nurse With Wound (Steven Stapleton and Colin Potter) and Blind Cave Salamander (Fabrizio Palumbo, Julia Kent and Paul Beauchamp) perform their live version of Soliloquy for the first time at the Mutamento Festival in Turin. The audience responded with great enthusiasm. The cabbalistic proceedings of that evening are contained on this recording.
UTON 001EP TOBIAS.: Remixes 12″ (UTON 001EP) 12.00
Ostgut Ton launches a sub-label that will feature remixes of tracks that have been released on the mother-label Ostgut Ton. Unterton will also release other Ostgut Ton-related or befriended artists and one-off projects. The releases are presented as stamped white labels with track details only. Tobias. starts the remix series with two tracks from his album Leaning Over Backwards (OSTGUT 018CD/009LP). Efdemin remixes the title-track and Ricardo Villalobos and Max Loderbauer give “Girts” the remix treatment.
WATER 241CD BLAKE, TIA: Folksongs & Ballads CD (WATER 241CD) 15.00
‘The only album by Tia Blake was recorded at the Ossian Studio in Paris in 1971 and released that same year by the tiny French label SFP (Societe Francaise de Productions Phonographiques). Great psych-folk with guitars, dobro, flute and fantastically fragile female vocals. First time available on CD, with Tia Blake’s own recollections.”
WG 010CD RESMANN, MARCO: Watergate 10 CD (WG 010CD) 17.00
Marco Resmann mixes the tenth edition of the Watergate compilation. A mere 9 years old, Watergate has steadfastly become one of the world’s most prominent electronic music institutions. This is due in no small part to its heady combination of picturesque location — its dancefloors face directly out onto the river Spree — a wall-to-wall LED light installation and its impeccable music policy, with the cream of the electronic crop passing through its doors every week. The mix CD series, now in its tenth incarnation, is a further means for the club to stamp its seal onto the scene, with many of the club’s residents and regular talents having been invited to contribute. Previous artists have included the likes of Tiefschwarz, Ellen Allien, Sascha Funke and dOP, amongst others. This time, long-time resident and Upon.You label boss Marco Resmann takes up the mantle and demonstrates how his unique tastes influence the Watergate sound with over 22 tracks of masterfully mixed house burners. Bookending the mix are some small audio snippets devised by him, but the meat is supplied by classics like Ricardo Villalobos’ “808 The Bass Queen” and Soulphiction’s “I’ve Got A Feeling,” his own exclusive collaborations with Kiki and Mike Shannon plus more by Guillaume & The Coutu Dumonts, Anonym and other friends of Marco Resmann and the extended Watergate family. Other artists include: SoulPhiction, Minilogue, Douglas Greed, Heartz 4, Serafin, Digitaline, Tigerlily, Håkan Lidbo, Sierra Sam, Abel, André Lodemann, Left, Darabi, Roman Flügel, Jichael Mackson, Roland Clark, Luna City Express, Samu.l, Elon, Kollektiv Turmstrasse, Kenny Larkin, Death On The Balcony, Robert James, Alessio Mereu, Pär Grindvik, App, Soucie Six, Afrilounge, Mz Sunday Luv, Phil Weeks, Deetron and Roberto Rodriguez.
WIB 034CD FALKE, FRED: Part IV CD (WIB 034CD) 17.00
France’s Fred Falke returns to business with his debut artist album Part IV. The hugely in-demand collaborator and remixer presents 12 spectacular, groovy and melodically-rich tracks, all full of Fred Falke signature flavor. In between remixing the likes of Goldfrapp, Kelis and Jamiroquai, Fred has made time to finish off some exquisite original productions — some we have seen before like “Look Into Your Eyes” and “808pm At The Beach” — but the album includes some new gems “Bare Knuckles,” “Memories” and “Aurora.” A French producer with a penchant for house, Fred Falke delivers his much-anticipated debut album jam-packed with heavy disco beats, attention-grabbing synth programming and true songwriting style. Falke has previously reworked songs from artists as diverse as Little Boots, Gossip, U2, Annie, Grizzly Bear, Uffie, Ladyhawke, Lykke Li, La Roux, among many others, and now, thanks to its instantly-recognizable melodies and effective bass lines, Part IV ensures the continuity of the French Touch movement. The album is released on Kris Menace’s Work It Baby, in which Fred has seen so much previous success, so it makes the perfect home for Part IV. Featuring contributions from Kris Menace, Teff Ballmart and Savage.
new releases are also viewable at http://www.forcedexposure.com/new/newindx.html