Sep 122010

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1XA (UK)
1XA 003EP UNKNOWN: Waveshape/Atrium Munitions 12″ (1XA 003EP) 12.00
Third in this popular series of under-the-radar killers from 1XA. Glacial house-tech dubs with roving, squared bass lines and vapor trails of ambience. Banger on the B-side comes as standard. Mastered by Rashad at Dubplates & Mastering, Berlin. Limited edition, individually stamped and hand-sealed with perforated green banner vinyl. Housed in black paper disco sleeve with poly lining. Label support from Patrice Scott, XDB, Laurent Garnier, Sigha, Conforce, Kirk DeGiorgio, Lakuti, Move D, Dirk Diggler, Ricardo Tobar, and more.
ANOST 025EP SCOTT, ROBERT: Too Early 7″ (ANOST 025EP) 12.00
As singer of The Bats and bass player with The Clean, Robert Scott is one of the main protagonists of the New Zealand indie scene. Songs pour out of Robert Scott constantly, collected in exercise books and on cassette tapes over the years. “Too Early” is a short and fuzzy pop song garnished by Scott’s laconic vocals. “The Moon Upstairs” will thrill you with its slightly psychedelic guitar arrangements. The 7″ comes with a silk-screened cover designed by Julia Guther.
ACD 004CD VA: Lagos Disco Inferno CD (ACD 004CD) 14.00
“Some call it disco, some call it boogie, we call it the Lagos Disco Inferno, 12 smokin’ rarities straight from Nigeria, dating back to ’76-82, compiled by Fronk Gassner (aka OJ Franc 0, Soulpusher) of Voodoo Funk fame. Surprisingly familiar, yet intriguingly foreign, these tracks sound just as fresh today as they did 30+ years ago. Our record is rife with horns, moog and bells and whistles to keep you up all night. Great liner notes by Dean Disi (journalist and former executive of lye Records, lagos) and a special message from extreme record hunter Damian Iwuagwu (Logos). Following in the footsteps of amazing African re-issues of late such as Ofege (Academy LPs), Pax Nicholas and the Netty Family (Daptone), Ghana Special (Soundway), this album stands alone as the first compilation to focus on African disco. But make no mistake, you won’t hear any cheesy strings or nasty Roland synths. This is straight up laugh Nigerian disco funk! Restored for you with loving care from Academy LPs. Work it out!” Artists include Doris Ebong, Geraldo Pino, Grotto, Pogo Ltd., Asiko Rock Group, Paradise Stars, Emma Dorgu, MFB, Christy Essien, Tirogo, BLO and Nana Love.
ALP 004LP VA: Lagos Disco Inferno 2LP (ALP 004LP) 22.00
Gatefold double LP version.
180 gram exact repro reissue, originally released in 1977. “Gil Scott-Heron, Brian Jackson, and the Midnight Band take a slightly different approach with their 1977 effort, Bridges. With less of the gaping and world-infused sound prevalent on previous albums, the songs are more concise and Scott-Heron comes into his own as a singer depending less on his spoken word vocal style… the excellent songwriting exposes Scott-Heron at the height of his powers as a literary artist. The social, political, cultural, and historical themes are presented in a tight funk meets jazz meets blues meets rock sound that is buoyed by Jackson’s characteristic keyboard playing and the Midnight Band’s colorful arrangements. Scott-Heron’s ability to make the personal universal is evident from the opening track, ‘Hello Sunday! Hello Road!,’ all the way through to the gorgeous ’95 South (All of the Places We’ve Been).'” — All Music Guide
6E 147HLP DICTATORS, THE: Bloodbrothers LP (6E 147HLP) 14.00
180 gram exact repro reissue, manufactured by Rhino. Originally released in 1978. Third album from the band Steve Van Zandt called “the connective tissue between the eras of the MC5, Stooges, New York Dolls, and the punk explosions of the mid to late ’70s.” Includes the track “The Minnesota Strip,” later ripped off by Danzig.
7E 1109HLP DICTATORS, THE: Manifest Destiny LP (7E 1109HLP) 14.00
180 gram exact repro reissue, manufactured by Rhino. The second album, originally released in 1977, from “one of the finest and most influential proto-punk bands to walk the earth” (John Dougan). Tracks include “Exposed,” “Science Gone Too Far,” “Heartache” and a cover of the Stooges’ “Search And Destroy.”
BWR 008EP VAKULA: Ring Of Night EP 12″ (BWR 008EP) 12.00
Vakula is a Ukrainian DJ & producer. In 2007, Vakula released Hohol on Uzuri and since has gone on to release music for underground labels like Quintessential, Meakusma and Firecracker. On Ring Of Night, Vakula stays true to his trademark sound, inspired by Detroit funk. The release also includes 2 remixes: André Lodemann offers a remix to “Ring Of Night,” bringing a slight Balearic feeling to his house remix while Juju & Jordash bring an ’80s flair to “I Forget.”
In its short life, London’s Café Oto has played host to more than its share of memorable gigs by such improvisers as John Tchicai, Marshall Allen and Evan Parker, but surely none more remarkable than the December 2009 meeting of the veteran American saxophonist Joe McPhee and the British trio Decoy: the organist Alexander Hawkins, the double-bassist John Edwards and the drummer Steve Noble. It was a night of unceasing reward from music distinguished by such intensity of spirit and richness of timbre. Hawkins is a young composer and keyboardist with a rapidly growing reputation and a clear interest in working with musicians of diverse backgrounds. His early training as a pipe organist surely encourages him to exploit the full range of textures offered by the Hammond C3 and its accompanying Leslie speaker. John Edwards may well be the busiest musician on the improvising scene, his near-ubiquitous presence an infallible guarantee of vitality and substance; only his noted ability to bring a sagging session to life is not required here. Steve Noble, who is among Edwards’ regular partners, provides a fine combination of stealth and swing, of drama and discretion, although the dexterous aplomb with which he negotiated a solo passage for small, untethered cymbals really had to be seen as well as heard. McPhee may be a man of an earlier generation, but he shares their absolute devotion to cliché-free spontaneity. Listening to him working in this unusually stimulating context, and appreciating his eloquence, sensitivity and pronounced gift for timbral variation, it is difficult to understand why he is not spoken of more often in the same breath as some of the more renowned free saxophonists. His ability to sing through the trio’s array of pointillist textures, or to launch himself full-tilt into the churning maelstrom, adds a significant element to an already remarkable organism.
BCR 030CD ABBOTT, LUKE: Holkham Drones CD (BCR 030CD) 15.50
This is the debut album from Norfolk’s Luke Abbott, channeling Britain’s pagan heritage through an overwhelmingly satisfying electronic union of joyously Kraut-y arpeggios and rolling, primal rhythms. Abbott’s Holkham Drones is a modern and decidedly British take on the Krautrock meme. Quirky, versatile, cerebral electronica that sits alongside Four Tet and Caribou in that middle ground between the dancefloor and home stereo, adaptable to both. “One of the finest left-field techno-electronica debuts of the year.” –IDJ
BPC 225CD WE LOVE: We Love CD (BPC 225CD) 14.50
This is the debut full-length release from Italian duo We Love. With this debut, BPitch label-head Ellen Allien has sought out the golden needle in the haystack of current club music. It’s almost impossible to resist the charm of the sweet Giorgia Angiuli, with her alluring brown eyes, and the wild locks of the contemplative, emotional Piero Fragola. The pair’s debut album could become the chorus of the summer. Their enchanting songs fuse the ecstasy of clubland with the emotions of pop. Giorgia and Piero moved from the south of Italy to Florence and immersed their intimate love songs in a synthetic glamour. Simmering beneath the cool exterior of the synthesizer and guitars is the sex appeal of ’70s glam heroes. Their gigs are legendary: in these pop performances, We Love create their own cosmos of music, film and fashion. Donning futuristic costumes and masks, they take us on a crusade of love — the strongest feeling of all. Their songs grab hold of you from the first moment and are not so quick to let you go. The wonderful duet “Ice Lips” is about longing for the salty taste of your lover’s skin; the pair’s lust-filled voices are gently caressed by electronic sounds. On “Don’t Cross,” Giorgia’s enchanting voice delivers a beautiful, ethereal melody while in distant reverie. “Cruise Control” combines a driving groove with a touching cello. On “Hide Me” the duo reveal their mischievous, flirtatious side, while on “No Train No Plane” we hear them in dreamland. The album’s finale is “Escape,” an epic pop song which is equally at home on a sweltering festival dancefloor or blaring from a builder’s transistor radio. We Love struck the European pop scene like a bolt of lightning and are set to spread their love all over the world.
CVAN 013EP ANONYMOUS: Oops 12″ (CVAN 013EP) 12.00
DJ feedback: “Secret weapons, not so secret anymore! 5/5” –Ewan Pearson (Kompakt)
CVAN 014EP OCTOBER: That Placid Track 12″ (CVAN 014EP) 12.00
“That Placid Track” has been in the hands of some lucky individuals for some time now, making its way across dancefloors from Berlin to New York, Bristol to Tokyo. Disco references are heavy throughout with a great use of strings licks, a slo-down vocal sample and a classic cowbell, keeping everything nicely in check. On remix duties is Ewan Pearson who has also pulled in the skills of his man Sasse Lindblad to assist with the mix.
CASS 003EP CASSIUS: 99 12″ (CASS 003EP) 12.00
Ten years ago, Cassius put out their first track ever, called “Cassius 99,” a hit from their debut album, 1999. Ten years later, they have their own label and back catalog so they couldn’t resist putting out a “10th anniversary release.” They remastered the original and asked producers Tim Green and Reset! to give it a go. This is the first in a series of “Cassius Gold” — classic Cassius tracks remastered and remixed by fresh, crisp and talented people.
CLR 036EP TRAVERSABLE WORMHOLE: The Remixes Pt. 02 12″ (CLR 036EP) 12.00
Part 2 of remixes of the mysterious Traversable Wormhole project. In 2009, a series of five anonymously-produced, ink-stamped, vinyl-recorded releases appeared in the global techno scene under the mysterious guise “Traversable Wormhole,” creating a MASSIVE buzz. The sound is a unique signature of sci-fi laden techno music with gaps of time, space & bass in between sound & rhythm. Remixes here by Sleeparchive and Chris Liebing.
COCO 002EP SIS: Dejame 1/3 12″ (COCO 002EP) 14.00
Three massive club weapons by SIS on his own imprint.
COR 024CD HEIL, JOHANNES: Loving CD (COR 024CD) 17.00
For more than fifteen years, Johannes Heil has been an essential part of the German techno scene and with his classics such as “Paranoid Dancer” (Kanzleramt, 1998) or “Calling” (Kanzleramt, 1999), he belongs to the acoustic long-term memory of techno. However, in the last few years, with his releases for Klang Elektronik, Anthony Rother’s Datapunk label and several other imprints like JH Records, Metatron or, most recently, Shit Happens, Johannes remains one of the guarantors for musical enhancements. With his eighth studio album Loving, Heil takes stock of his 15 years of musical past, in a modern and at the same time traditional way. He uses influences from Detroit house only superficially; the history of modern dance music that he tells is that of music as the universal language between all continents. So, one can find broken rhythms, combined with African chants as well as a terrific, pumping electro bass line and pizzicato strings, hypnotically dancefloor-binding sub-bass runners or samba percussion tracks with marching band citations and weightless Detroit high-tech house — all of them equally part of the comprehensive vocabulary of… yes, love. After all, love is an emotional condition that still feels the best in the present tense. Maybe the time of love is now, in the year 2010. “With Loving I want to embrace the whole world, because this journey to the origins of electronic dance music in between modern Detroit, high-tech soul and house is coming from the very bottom of my heart.” –Johannes Heil, 2010
COR 024LP HEIL, JOHANNES: Loving 2LP (COR 024LP) 21.00
2LP version.
COMFORT 005EP VAINIO, MIKA: It’s A Muthang/Midnight Mutant 7″ (COMFORT 005EP) 14.00
“Strictly limited to 500 copies, Vainio drops another unique sound work!”
CST 067CD SISKIYOU: Siskiyou CD (CST 067CD) 15.00
“Siskiyou is the new group led by former Great Lake Swimmers member Colin Huebert in collaboration with Erik Arnesen (who still plays with the Swimmers) and musician/filmmaker Karolyn Keir. The group is based in Vancouver, Canada where Huebert has recently settled after a stint working on an organic farm following his departure from the Swimmers. This is their eponymous debut album. Colin sent us a first collection of songs in early 2010 just as the bitterest months of Montreal winter were setting in. Working like glowing embers on us all season long, gaining warmth and radiance with every listen, the humble intimacy and composure of these recordings steadily drew us into the deeper tension between economy and epiphany humming at the core of the tunes. Emotionally direct, marked by an underlying darkness and doubt about relationships (to each other, to the environment, to mortality) without overreaching lyrically or musically, and without overriding the quiet exuberance embedded in every melody – the songs compel.”
CST 068CD CHENAUX, ERIC: Warm Weather With Ryan Driver CD (CST 068CD) 15.00
“Eric Chenaux is one of Toronto’s most prolific and respected musical iconoclasts, an experimental guitar virtuoso with over two decades of dedicated and diverse service to an artistic community that encompasses postpunk, lo-fi, folk, multi-media composition and performance (chiefly in collaboration with modern dance) and free and improvised music. Warm Weather With Ryan Driver is Eric’s third album for Constellation, which has been the conduit for his primary song-oriented solo work since 2006. Building on his fruitful collaboration with piano/synth/melodica player Ryan Driver – whose key role on the new album is signaled by his inclusion in its very title – the new record is without doubt Chenaux’s most accomplished and focused work of forward-looking, contemporary balladry.”
DE 2011CLP KOOL & THE GANG: Music Is The Message LP (DE 2011CLP) 13.00
Blue-colored vinyl reissue, originally released in 1972. “Kool & the Gang’s fourth album — but only their second studio record — was just as strong and joyous as its live predecessors, though it featured a few more vocals and emphasized strong musicianship over hard grooves. (Of course, the band always did pretty well at both.) The title track and ‘Love the Life You Live’ were two more great party jams to add to their repertoire, despite the growing similarity of Robert ‘Kool’ Bell’s basslines. The two-part ‘Electric Frog’ was a squelchy instrumental spotlighting an Arp synthesizer and some great ensemble playing on the chorus, while the band reserved a great feature for trumpeter Robert ‘Spike’ Mickens on ‘Blowin’ with the Wind.'” — All Music Guide
DEP 2013CLP KOOL & THE GANG: Wild And Peaceful LP (DEP 2013CLP) 13.00
Red-colored vinyl reissue, originally released in 1973. The band’s breakthrough album, featuring three massively successful hits: “Jungle Boogie.” “Funky Stuff” and “Hollywood Swinging.”
MEDI 029EP V.I.V.E.K: Feel It 2×12″+CD (MEDI 029EP) 23.00
“The latest release on Mala’s Deep Medi imprint is a four track double pack vinyl shrink-wrapped with a 45min mix CD. The mix features all the tracks on the E.P. and upfront dubplates from V.I.V.E.K. It comes on the back of his first Medi release 2009, ‘Kulture’ b/w ‘Meditation Rock’, and countless dubplates that you’ll no doubt have heard if you’ve checked the Anti Social Entertainment on Rinse FM. Fusing digidub, sound system deep bass, rolling percussion, a hint of Berlin techno, it all adds up to those ‘Medi’ style vibes; eyes down, blissed out, heavy weight music. The title track, ‘Feel It’, kicks things off in fine style with some of the most infectious rolling tablas — his percussion is just sublime. A vocal sample declaring the weight of your bass and the largeness of your soundsystem is all the track needs to usher in a chest thumping sub sonic bass tone and there is no way back; you’re sucked into that soup of sub bass frequencies. ‘Grandfather Clock’ counts down to a dance floor meltdown when the metronome-like sample, half tempo drum patterns and hefty bass melts into blazing techno buzzes that just keep coming, it’s those killer synths that make it, truly coming from nowhere. The deeply blissful ‘Motherland’ is one for the meditative crew, subtle but weighty bass pulses roll off half stepping rhythms, tablas and all that good stuff all accented with Indian vocals instrumentation. It’s so deep and minimal it would make Youngsta proud. The final track, ‘Strategy’, is a roller with a garage kind of swing to it, it skips along with big room dub techno chords twisting in and out of the bumpy beats it really comes alive and picks up the pace. Pure vibes all the way.”
DVR 014LP DIVE, SASCHA: Restless Nights 2×12″ (DVR 014LP) 20.00
2×12″ version. Almost 4 years and innumerable releases later, a new genre of house music has developed from and around the sound of highly inspired Frankfurt-based artist Sascha Dive. This sound is characterized by dark, driving rhythms with clear references to the U.S. American house music of the 1990s. The German Groove magazine called it “Rhein-Main-House”– a very accurate term to describe this movement. Sascha Dive has been successful both as a producer, and as a DJ. When you talk with him about club music, and in particular house music, you almost get the impression of talking to a human encyclopedia. His expert knowledge combined with his definition of contemporary club tunes makes his sets a unique experience. He takes the audience on a trip towards the future and the past, and at the end of the night, gently back into the here and now again. A couple of years ago, in spite of his busy schedule and the time he would spend in his studio, Sascha Dive decided to found his own label Deep Vibes Recordings, and to do his own research in the aesthetics of contemporary house sounds. He released tracks by cohorts such as Johnny D, Christian Burkhardt, Ray Okpara and Robert Dietz, as well as of his own favorites such as Rick Wade, Scott Furgeson, Brothers Vibe, DJ Qu, Sean Dimitrie & Tim Fuller, and Norm Talley. The vinyl version features 5 out of 10 of the tracks featured on the CD: “Tribute To The Night,” “The Get Out Of The Ghetto Blues,” “Underground Railroad,” “The Jam” and “Black Man (Vinyl Version).”
DEL 021CD RILEY: Grandma’s Roadhouse CD (DEL 021CD) 18.00
“In 1970, Gary Stewart, future King Of The Honky-Tonks, was five years from his first #1 record, ‘She’s Acting Single, I’m Drinking Doubles,’ and living in a beat-up trailer near Franklin, TN. Gary and Bill Eldridge, were getting their songs cut by Stonewall Jackson, Hank Snow, Cal Smith, etc. and Gary was recording unsuccessful singles. The wild abandon of Gary’s stratospheric tenor co-mingling with Riley’s sandpaper vocals, spot on group harmonies, psychedelic guitars mixing with southern slide, melodic bass lines, and driving drums, formed a hazy sort of perfection. Further details about the late-night sessions remain as elusive as the album itself, but what is certain, is that a sound emerged that was not yet in Nashville and Nashville didn’t want it. Trickles of ‘country-rock’ were seeping out of various corners of the US, but what these fools had stumbled across was pure ‘headneck’ genius. In 1971, Riley pressed up 500 copies to sell at gigs back in Michigan until a ‘real’ record deal came through. But within a year, the band splintered, with Riley and the two Jim’s going their separate ways and Gary going on to gigs with Nat Stuckey and then Charlie Pride, before his breakthrough. One song from the album did eventually see daylight, when in 1976, Gary re-recorded Easy People style for his second RCA album, Steppin’ Out. But the rest have remained unheard….until now.” Includes 3 bonus tracks and a 16-page booklet.
DWAB 001CD DUCHAMP, MARCEL: The Entire Musical Work CD (DWAB 001CD) 16.50
Originally issued in 2000, this is the first release from this 20th century composer’s label, based out of the Paula Cooper Gallery in NYC; performed by Petr Kotik’s S.E.M. Ensemble, with John Cage on one piece. This CD was recorded in 1987 by S.E.M. (including Ben Neill on trumpet) and was originally released in 2000; the Ampersand version was recorded in 1976. Duchamp’s often overlooked musical work was composed for the most part between 1912 and 1921. His method was based on chance and represented a radical departure from the way music was done at the time. The Entire Musical Work includes the artist’s complete oeuvre, namely “Erratum Musical” (For Three Voices), “La Mariée mise à nu par ses célibataires même,” “Erratum Musical” (in two different versions for player piano and chamber ensemble), and the conceptual piece “Sculpture Musicale” (with a special version performed by John Cage). The liner notes contain reproductions of Duchamp’s handwritten scores, as well as photographs of the instrumental “apparatus” used to create the second version of “La Mariée mise à nu par ses célibataires même (a funnel, seven open top cars and six sets of balls).” Also included is a mesostic (a poem legible both horizontally and vertically) by John Cage.
DWAB 002CD FELDMAN, MORTON: For Philip Guston 4CD (DWAB 002CD) 39.00
Originally released in 2000. Looking for just one Morton Feldman CD to give to someone that you like more than yourself? There’s more than one correct answer to this elusive question, but this overwhelming set (closing in on 300 total minutes) is an utter classic, with paralyzing sonic power. Feldman is recognized as one of the 20th century’s most influential composers. Feldman’s artistic principles were shaped in the early 1950s by his association with composers John Cage, Earle Brown and David Tudor, and painters Philip Guston, Mark Rothko, Jackson Pollock and Robert Rauschenberg, to name a few. In keeping with Feldman’s aesthetic privileges of scale over form, For Philip Guston, composed in memory of his late friend, expands to a monumental five hours. On the front cover of the comprehensive 4CD set is a reproduction of Feldman’s portrait by Philip Guston. The 16-page liner notes include a conversation between composers Walter Zimmerman and Petr Kotik, exploring the many facets of Feldman’s music. Recorded in 1995 and performed by S.E.M. Ensemble (Petr Kotik, flute, alto flute, piccolo; Joseph Kubera, piano, celeste; Chris Nappi, vibraphone, marimbaphone, glockenspiel, chimes).
DWAB 003CD KOTIK, PETR: Many Many Women 3CD (DWAB 003CD) 24.00
Digitally remastered from the original 1981 Labor Record release, and originally released by Dog W/A Bone in 2000, Czech composer/conductor/flutist Petr Kotik’s Many Many Women has long been considered a masterpiece of underground music. The polyphonic composition sets Gertrude Stein’s entire novella Many Many Women to music and marks the crystallization of Kotik’s musical aesthetic. Described by Richard Kostelanetz as “continually austere and yet engaging, realizing a musical reinterpretation of Stein’s text,” Many Many Women highlights both the musicality of Stein’s poetry and Kotik’s distinctly personal treatment of melody. The 12-page liner notes include excerpts from the original text, plus essays by Kostelanetz and Village Voice critic Kyle Gann. 3 hours 35 minute excerpt on a 3CD set, performed by the S.E.M. Ensemble.
DOX 838LP MONK & JOHN COLTRANE, THELONIOUS: At Reeves Sound Studios In New York City 2LP (DOX 838LP) 32.00
“One of the few surviving recordings of one of the most memorable collaborations in the history of jazz. Monk and Coltrane’s partnership lasted for roughly a five-month period during which they played six nights a week at the legendary Five Spot club in NYC. They still somehow had time left over to hit the studio however, as this album proves. Recorded in studio during the spring and summer of 1957, this album showcases Monk and Coltrane, with a supporting cast that included the great Art Blakey and Coleman Hawkins, playing all of Monk’s classics.”
DOX 839LP MONK, THELONIOUS: Brilliant Corners LP (DOX 839LP) 21.00
“During his early years, Thelonious Monk was considered one of the ‘most challenging, provocative and disturbing figures in modern music.’ His music was considered difficult to listen to and understand, causing many fans initially to shy away from trying to ‘dig Monk.’ This album helped remedy that problem. Recorded in December 1956 for Riverside with a quartet featuring primarily Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), Ernie Henry (alto sax), Clark Terry (trumpet), Brilliant Corners, an album of mostly self-penned numbers, is one of his greatest recordings. While still not casual listening, its pure brilliance and vitality can reach just about any listener.”
DOY 003LP HERRMANN, BERNARD: Alfred Hitchcock’s Movie Soundtracks 4LP (DOY 003LP) 72.00
“This 4 album set includes the original mono soundtrack to Hitchcock’s The Wrong Man (1956), and the original stereo soundtracks to Vertigo (1958) and North by Northwest (1959) by Bernard Herrmann, one of the greatest film composers in the history of cinema. Besides working with Hitchcock, he wrote the scores to several other classics: Citizen Kane, Taxi Driver, and Cape Fear, to name a few. Not to mention working with Orson Welles back in the days of radio, and even directing the music to the ill-fated War of the Worlds broadcast in 1938. However, unlike most other musical directors, Herrmann insisted on complete creative control over his music and once said, ‘I have the final say, or I don’t do the music’. Herrmann also said that Hitchcock would in fact astonishingly shorten or lengthen the scenes to fit his music. Do not miss these classic soundtracks to some of Hitchcock’s best films.” Deluxe 4-fold gatefold 4LP set featuring extensive sleeve notes about each score and pictures of the original movie posters.
DOY 643LP DIXON, WILLIE: Walkin’ The Blues LP (DOY 643LP) 21.00
“Willie Dixon was a songwriter / guitarist during the heyday of Chess Records, writing material for such artists as Muddy Waters, Howlin’ Wolf, Little Walter and Bo Diddley. His songs not only laid the foundation for the Chicago blues sound, but also helped shape rock and roll as well. Walkin’ the Blues is a collection of Dixon songs taken from recordings made in 1951-1956 for Chess and performed with some of the greatest artists of the day: Little Walter, Eddie Boyd, Muddy Waters, Howlin’ Wolf, Little Walter, to name a few. Dixon, who was also an accomplished singer, can also be heard singing on four of the 18 tracks.”
DP 039EP MATTY G: My 808’s/Turf W*rz 12″ (DP 039EP) 11.50
“Matthew Gonsalves, known as Matty G to the world of music, is a pioneer of the US dubstep scene. Since his debut release on the Argon imprint in 2006, Matty has ceaselessly pushed his unique brand of hip hop inspired, 808 bass workouts, that have been destroying clubs the world over. His 2007 release 50,000 Watts shook up the scene with its stripped down breaks and punishing subs, finding its way into the bag of just about every DJ worth his salt, becoming something of an instant classic. Its profound influence on the scene is still being felt today, and it has become one of those tracks that people are still searching Discogs to get hold of, at any price. His 2008 LP, Take You Back, cemented his placing in the flourishing dubstep scene, exploring his diverse musical influences and amalgamating the sounds of hip hop, funk, soul, reggae and jungle into a 140bpm template. It still remains one of the most accomplished albums to have been made in the scene. After linking up with Dub Police head honcho Caspa, who remixed his massive ‘West Coast Rocks’ for Argon, he has officially joined the Dub Police crew, the fruits of which we will see over the coming months.”
DP 041EP OTHERS/LD, THE: Limited Edition Pt. 2 12″ (DP 041EP) 11.50
“Part 2 of 3, tracks originally featured on the Scion-Audio Dub Police compilation released over the in the states. This time The Others step up with ‘Quantum Leap,’ a dancefloor smasher with signature Others vibes. Big support for this track. LD steps up on the flip for a tribal-stepper, more music needed from this man always coming with a different approach.”
DP 042EP SUBSCAPE/J KENZO: Limited Edition Pt. 3 12″ (DP 042EP) 11.50
“Final part in the recent Scion series. Subscape and J:Kenzo step up for this episode, loyal Dub Police member Subscape doesn’t disappoint with the track ‘Dominant Species’ followed by J:Kenzo’s ‘Constant’ on the flip.”
EAT 018CD AARDVARCK: Choice CD (EAT 018CD) 17.00
Into his 25th year as a DJ, Dutch producer Aardvarck comes with his second full-length album for Eat Concrete Records — much in the vein of his Bloom series, but in an album context with songs and lush inter-noodley bits. With Choice, Aardvarck has created one of his finest selections to date. Offering 22 tracks that go in all different directions, Aardvarck has become known for bass-heavy dub, lush soundscapes, broken beats and soul vocals. The album is introduced by Gaslamp Killer, kicks off with the beautiful “Lucky Shot,” featuring female vocals by Alexandra, and continues with some cinematic and hypnotizing ambient-esque pieces before the bass kicks in with “Breaking Bad.” From then onward, you are treated with songs reminiscent of some of the recent Bloom releases, displaying a taste for heavy bass, beats and dub samples. Yet Choice has more to offer than DJ-food alone; the album flows like a mix and keeps a light and fresh vibe along the way with lots of sketches and interludes. Aardvarck also offers some definite classics with “Heal” and “Find The Cow..Almost,” featuring guest vocals on both tracks. Timeless.
Glasgow-based Arne Weinberg aka Onmutu Mechanicks presents his first album on Echocord. Being known for producing deep melodic techno, Arne’s alias Onmutu Mechanicks serves as a project for all things abstract and dub-influenced. Nocturne combines dub techno and the deep melodic techno that Arne is known for. The result is a slightly different take on the genre, ranging from ambient-esque soundscapes to dark, reverberated and delayed sonic dancefloor affairs and rhythmical experiments in dub. Nocturne is a statement of pure deepness.
OPA 001CD YUASA, JOJI: Obscure Tape Music of Japan Vol. 1: Aoi-no-Ue CD (OPA 001CD) 25.50
2010 repress. Volume one of Omega Point’s Obscure Tape Music of Japan series, featuring Joji Yuasa’s “Aoi-no-Ue” (1961) and “My Blue Sky” (1975). Joji Yuasa (b. 1929) is one of most important composers in Japan after World War II. “Aoi-no-Ue” was composed for experimental theater at Sogetsu Art Center. The sound of this work is made from the chants of Japanese traditional “Noh” theater. “The text is recomposed by me keeping the original words. And it was sung in the style of Noh-chant by three brothers … This work is composed mainly based on the metamorphosed sound of Noh-chant. The other sound is concrete sound such as bird songs, water drops, glasses, the warped sound of a vibraphone, some generated electronic sound and others. These sound sources are diversely changed, metamorphosed through all the possible electronic techniques at that time, and finally mixed and reconstructed on stereophonic tape. This piece had taken almost half a year to complete, working with the excellent sound engineer Zyunosuke Okuyama at the Sogetsu Art Center.” –Joji Yuasa. This package also includes his final electronic music piece “My Blue Sky No.1,” made at NHK electronic music studio. This studio was the ’60s and ’70s mecca of Japanese electronic music. Yuasa explains: “In this work only clicks, pulses and the various kinds of beats induced from them — varying pitches, width and their frequency of pulse — are adopted. For example, I controlled successively occurring pulses of low frequency sine wave by means of triggering with the frequency of the square wave.” Limited edition of 500 copies for this second edition. Housed in a cardboard paper gatefold sleeve in the original design. Newly-written liner notes in Japanese and English by the artist himself. New and quite different cover art for this second edition by Ryuhei Yuasa.
OPA 012CD YUASA, JOJI: Obscure Tape Music of Japan Vol. 12 CD (OPA 012CD) 25.50
…Miniatures Of Concrete Works. Edition Omega Point presents work by legendary Japanese composer Joji Yuasa — one of most important composers in Japan after World War II. “Nadja, Twincling in Stars” (1963) is the incidental music, by NHK Radio, based on “Nadja” by Andre Breton who made “Declaration of Sur-Realisme.” The actual chart of constellations was played by three players (violin, piano and vibraphone) which was used as the music score. Birdsong, electronics, and sound generated from inside the piano using music concrète techniques were constructed at the NHK Electronic Music Studio where Yuasa’s first so-called pure electronic piece “Projection Esemplastic For White Noise” was made in the same year of 1963. “Music For A Cenotaph For Industrial Victims” (1972) was set in the woods of Tama Hills, in the suburb of Tokyo. The music consists of echoing wooden bells in the woods, made from lowered marimba moderated by square wave, various metamorphosed sounds reminiscent of industrial work to accompany the offering flowers by the attendants, and again, more reverberant sounds of wooden bells. “Music For The Main Pavillion Of The Okinawa Oceanic Expo” (1975) is a musique concrète work which was made for the Oceanic Expo in Okinawa prefecture in 1975. Folk music with an indigenous stringed instrument (Jamisen), voices of various sea birds, the engine sound of a boat, and metamorphosed instrumental sounds reminiscent of the wind and waves combined with orchestral chamber music. Italian folk song “To The Sea” is arranged for chamber orchestra and recorded by the composer as an important sound source of this work. Limited edition of 500 copies only.
EDLX 008EP AUDIO INJECTION: Operation A 12″ (EDLX 008EP) 12.00
With his first EP on Electric Deluxe, Audio Injection captures a dark and raw spirit, moving effortlessly from percussive high-hat funk to heavy bass line assault. All tracks are dancefloor-focused, but contain a healthy dose of weirdness, giving them longevity while still being functional. “Operation A” is accompanied by none other than Speedy J himself. The remix has his signature flow; shifting, rich soundscapes layered over a forward bass line sketch. Music for minds in dark places.
EF 005CD KZA & TOSHIYA KAWASAKI: I’m Starting To Feel Okay Vol. 4 CD (EF 005CD) 15.50
This is the fourth volume of the I’m Starting To Feel Okay series, featuring tracks from the Endless Flight and Mule Musiq stable of releases. This compilation kicks off with the UK Balearic artist A Mountain Of One remix of Kuniyuki. Eddie C is one of the most attractive artists in the nu-disco scene. He has a debut full-length set for release on Endless Flight really soon. Japanese DJ/artist KZA’s new track “Le Troublant Acid” is a melancholic disco tune. Sect is a new project by Soul Clap and this track appears on an Endless Flight sampler 12″. Belgian producer Mugwump’s new track is an uplifting techy disco tune. This track is also set to appear on an Endless Flight 12″ sampler. Mark Seven is Endless Flight’s secret weapon — his old school sound is reminiscent of late ’80s disco and prototype house music. Marcos Cabral is a half of Runaway and this track is his first solo production, carrying the emotional vibes of early New York house. Henrik Schwarz’s version of “Once Again” is a 12″ version from his album Walking In The Naked City. This compilation reveals all of Endless Flight’s faces: from left-field music to nu-disco to modern deep house. Other artists include: Johnwaynes, Moscow, The Revenge, Kaoru Inoue, Just John, John Daly, Richard Sen, DJ Sprinkles, Kink & Neville Watson, and Culoe De Song.
FABRIC 105CD SURGEON: Fabric 53 CD (FABRIC 105CD) 17.00
“Flicking easily from the heavy, sheets of sound produced by his old school contemporaries, Surgeon fuses the old with the new on Fabric 53, creating connections between the oppressing and the minimal that have never been as simply decoded. Honing in on the idea that a lot of ‘modern’ bass music harks back to rave and constantly re-feeds on its memory for inspiration, (‘just this idea of the breakbeat, the broken beat; it’s got some echoes of rave, there are some elements of that somewhere in it’), he includes music from a veritable liege of young producers. Instra:mental’s rolling ‘Forbidden’ is used early on and adds the kind of quickened bass texture that has been carefully incubated over their workings as they slow down from 175bpm drum & bass and Starkey’s ‘Spacecraft’ is used brilliantly to juxtapose the rolling pressure of what comes before it, eliminating the 4×4 pulse and adding thicker, more leading bass tones.” Artists: Scuba, Marco Bernardi, Exium, Instra:mental, Forward Strategy Group, Reeko, Robert Hood, Planetary Assault Systems, Al Tourettes, Appleblim, Ritzi Lee, Ben Sims, T-Polar, Ital Tek, Subeena, Fran Hartnett, Mark Broom & James Ruskin, Stephen Brown, Ancient Methods, Greena, Starkey, Anneka, Slugabed, Cari Lekebusch, Orphx, Gatekeeper, Mark Broom & James Ruskin, Russ Gabriel, DJ Overdose.
FDR 011CD COURS LAPIN: Cours Lapin CD (FDR 011CD) 17.00
This is the debut full-length release from Cours Lapin — a theatrical underworld of twisted French fairytales. The four Danish film composers Asger Baden, Peder, Jonas Struck and Louise Alenius have joined forces to create the project Cours Lapin. Baden, Peder and Struck’s music creates a cinematic backdrop where Louise’s melodies and challenging lyrics perform. French songs with a scent of melancholy and spring, with Louise’s poetic vocals in focus. A mash-up of Tim Burton, doll theater, French chansons and the abyss. Cours Lapin’s unusual combination of words, tones and accents leads us into a theatrical underworld consisting of French adventure shaped by the old “chanson” tradition. The moods of the album move from the dark and sensual to the naive and encouraging; one minute you are initiated in the rites and mysterious intrigues surrounding a murder scene in the ’50s, and in the next you’re following strange creatures on strings in a 20th-century puppet theater.
FR 072CD ISLAJA: Keraaminen Pää CD (FR 072CD) 17.00
Islaja is the recording alias of Merja Kokkonen, a musician and visual artist from Helsinki, currently based in Berlin. A regular contributor to the more psych/folk and improv-oriented Kemialliset Ystävät and Avarus, Islaja’s recordings are by contrast almost entirely self-contained, reflecting the more personal nature of her music, and a natural affinity towards an independent/DIY aesthetic. Her fourth album for Fonal, Keraaminen Pää (trans. “Ceramic Head”) contains many shades of black. It also bears witness to a shift in perception and execution; yet the thread that weaves its way through all Islaja’s work remains resolute, visible and intact. If Islaja’s previous albums for Fonal appear to exhibit a more overtly pastoral nature, this in part feels coincidental, or secondary to something much larger and more difficult to define. From the earliest Islaja recordings, Merja has made the simplest of instrumentation work to her own ends, displaying a disquieting combination of innocence and fearlessness, and a seemingly innate ability to transcend the confines of a genre. It is the same singular approach and vision that informs Keraaminen Pää — born largely of whatever instruments were on hand; if the sound has shifted into more electronic terrain, it remains as immersive and subtly evocative as ever. When sketching out the dimensions of Keraaminen Pää, Islaja was clear about one thing: the album should have a soul within, preferably silky thin and translucent, like a jellyfish swimming around in the ocean. During the recording process, however, Keraaminen Pää turned into a heavy, robot-molded disc of clay. It spins, shines, pops and crackles, all the while escaping definition. This is also is the first Islaja album to feature English translations of Merja’s lyrics. The songs on Keraaminen Pää were written, composed, and recorded on three continents over a period of three years, with Islaja performing, recording and mixing the majority of the album herself. The recordings may recall the waves crashing on the Bight of Benin, the frogs croaking on Lantau Island, the starry sky above Roihuvuori, Helsinki, or maybe a one-euro pizza in Berlin. Less fractured and more fleshed out than previous Islaja recordings, the songs still careen recklessly, pulsing and shifting with a life of their own.
FORM 003EP LEIB & SEELE/OCULUS: Leib & Seele & Oculus EP 12″ (FORM 003EP) 12.00
FormResonance presents Oculus and Leib & Seele. Within this project, producers Florian Schirmacher and Andreas Barth have gotten in touch with deeper shades of house, especially concerning variations in harmonies and lyrics. “Beizeiten” may cause a sun-dazed state of mind; its reinterpretation by Herrhorst & Meissner is made to cause an endorphin-rush. Oculus’ “Ancient” consists of an energetic, powerful groove and a propulsive bass line. “Echo” is a thrilling time-quest riding on a rhythm-monster.
HIGH 081EP ANDRI: Never End EP 12″ (HIGH 081EP) 12.00
A drum roll announces the arrival of Swiss artist and producer Andri to Highgrade. On “Never End,” Andri mixes samples, beats and sexy voices into a coherent platform for an endless groove. Creating a vivid and imaginative window into the cinematic mind of the dancefloor, the tracks “Never End,” “Rumpelstelz,” “Dr. Drive” and “Pimpin’ Bell” all feature pulsing, funk-laden bass lines, bionic rhythms and various samples that evoke a light-hearted feeling of passion and enjoyment.
JLS 3054HLP CYMANDE: Second Time Round LP (JLS 3054HLP) 14.00
Gatefold 180 gram exact repro reissue, originally released in 1973. Cymande scored a major hit with the 1972 single “The Message,” but they mastered their unique fusion of Afro-beat, soul, reggae and British funk on this second album. Crowned with the groove classic “Fug.”
JMAN 036CD GARDINER, BORIS: Every Nigger Is A Star CD (JMAN 036CD) 17.00
Jazzman Records presents an exact repress of Boris Gardiner’s legendary Every Nigger Is A Star, the long-lost soundtrack to a near-mythical Jamaican film. Long a Holy Grail-status LP for reggae and funk aficionados alike, Gardiner’s original soundtrack for Calvin Lockhart’s mysterious movie has eluded any official or unofficial re-release since 1974. Presented in its original format and with its original cover art, Every Nigger Is A Star is a dose of the finest conscious Jamaican music, generously laced with blaxploitation-style heavy funk. The Boris Gardiner Happening present a deep, cross-genre constellation of sounds that spans sweet reggae to soul balladry, and stretches from the magical Carib-funk-jazz of “Negril,” through the gold-standard funk classic “Ghetto Funk,” to the deep acoustic cut of the title track. An essential release for fans of funk, blaxploitation OSTs and reggae, the CD release also comes equipped with detailed historical notes which finally clear up the mystery of the original film. Another “Deadly Sting” from Jazzman Records.
JMAN 036LP GARDINER, BORIS: Every Nigger Is A Star LP (JMAN 036LP) 25.50
LP version, limited to 1,500 numbered copies, with insert.
The African roots of jazz are brought to you via Chicago as Jazzman presents a selection of exceptionally rare tracks originally released as private press 45s by the legendary Philip Cohran on his Zulu label. Drenched in the distinctive sound of Cohran’s trademark Frankiphone, this is funky ethnic jazz which drew on the power of the African past to help Cohran remake the present. Repressed on vinyl for the first time, these 6 tracks were first issued during the heyday of Cohran’s Affro-Arts Theatre.
Repress of the first Superpitcher album, originally released 2005. Just as Kompakt’s inimitable style is penetrating the crates of the world’s biggest DJs (John Digweed, Groove Armada), just as imitators begin biting their sensual style and just as consumers are questioning the Cologne Empire’s ability to keep up, Kompakt does it… AGAIN. Today is Superpitcher’s debut mix CD. It not only raises the bar for minimal, lush techno, but it matches the quality of the great Kompakt Mix CD series: titles like Michael Mayer’s Immer, Triple R’s Friends and Tobias Thomas’ Smallville. It seethes and breathes light, love and rhythm and reestablishes the microhouse sound. Today includes treasures and advance releases from some of the most hotly-tipped producers in the world. It is smaller, sexier and more dreamy than perhaps any mix you’ve ever heard. As the label’s own translated description says: it is “internationally accepted role-model sex.” Consider names like Lawrence from Ghostly International and Oliver Hacke of Trapez. Melt with Nathan Fake of überbuzz label Border Community and Traum. Lust after the bassline of the mighty Wighnomy Bros. Come down with the epilogue from Sebastian Tellier. Feel the vibe from other labels like Playhouse, International Deejay Gigolos and of course… Kompakt. This is the mix CD your mother warned you about. This is Today.
KOMP 080CD SUPERPITCHER: Kilimanjaro CD (KOMP 080CD) 14.50
In his near-decade history with recording and performing for Kompakt, Cologne’s Aksel Schaufler aka Superpitcher has become synonymous with the sound of the label — the emotional sway and character he creates is unrivaled amongst today’s ocean of comparisons. From James Holden to Foals, he has been cited as an influence and his remixes are cherished and have almost reached legendary status. Though it’s been six years since his debut full length Here Comes Love (KOMP 032CD), it’s clear that Superpitcher has remained fully in the picture not only as a producer but thanks to a diet of consistent, rigorous DJing. Now he returns with Kilimanjaro — a full-length that emanates his rich knowledge of music as a producer. From the moment that Cologne church bells ease us into Schaufler’s bewitching twist on dub with “Voodoo,” he sets the tone for themes that echo throughout; enchantment, pain and magic. The first single “Rabbits In A Hurry” has caused a rapturous chime of support from the club elite and proves to be more than that — unfounded disco dements itself with the sounds of the absurd in Superpitcher’s sexiest signature flow. Diehard fans will rejoice with “Friday Night” which is a return to the classic Kompakt sound that Schaufler helped build and when he teams up with Cómeme starlet Rebolledo, it’s a cosmic, hallucinogenic trip. Koelsch tequila in your glass, the ’70s, disco, sex and the finest of drugs. However which way you look at it, Superpitcher has set up an accomplished sophomore release that maintains his roots in dance music while managing to have a complete disregard for genre and adding the involvement of acoustic instrumentation and vocals — a tough integration that works over and over again on this release.
K 062EP VA: Lune Atroce/Soleil Amer 7″ (K 062EP) 9.50
4-way split from this Belgian label, featuring Ducktails, Köhn, Peaking Lights and Alien Radio. Housed in a silkscreened fold-out poster sleeve. “Köhn is Jürgen De Blonde. He has been called ‘the godfather of Belgian electronica’. ‘U C I M’ builds on the same vibes: trancy and neo-cosmic. Alien Radio’s music follows the tradition of Conny Plank, Delia Derbyshire, Dick Raaijmakers and Ursula Bogner. ‘Gedanke und Ahnung’ is bleepsynthronica sounding like a sketch of a derailed sonic research project. Peaking Lights are the duo of Indra Dunis (ex-Numbers) and Aaron Coynes. ‘Creatures Of Day Creatures At Night’ is pure summer pop. The usual synths and drumloops made place for fuzzy calypso riffing. Dunis’ vocal romanticism sounds sweet as a Brian Wilson song. Sc-fi soft pop! ‘Sprinter’ is a repetitive melancholic pop song, and about the most ‘indie’ track we’ve heard from Ducktails so far.”
The Kent-based UK trio known as Honey Ride Me A Goat have been around since the early years of the 21st century. In that time they managed to release several slabs of vinyl and various CDs, record with ex-Soft Machine bass-God Hugh Hopper just before his untimely death, befuddle most music writers and critics with their stop-on-a-dime musical chops mangled beyond comprehension in a no wave-free jazz-influenced instrumental power trio format, and bedazzle countless observers at any of their many shows over the years. Their music is an unholy melding of the scratchy, post-punk shards of guitar scrapes from D. Boon and Arto Lindsay, the disjointed rhythms of Beefheart, the psychedelic jazz-wail of Joe Baiza and James Ulmer and sheets of sound not heard since Rudolph Grey was releasing his wares. HRMAG capture “that” sound and throttle it sideways: songs veer left and right, flow from jazz-like jams to claustrophobic, repetitive, airtight rhythms in a heartbeat; some songs fall apart, others never stray from an ass-tight compositional sound. It’s not “math-rock” and it’s not free-jazz. HRMAG have carved their own musical path. Udders is a best-of compiled by the band, consisting of tracks taken from their scarce vinyl releases of yore, as well as one newly-recorded (and previously-unreleased) track. Limited to 500 copies.
LEXDEV 030CD PIVIXKI: Gravissima CD (LEXDEV 030CD) 17.00
The duo known as PIVIXKI are a unique combination of two distinct talents: two hard-working veterans of the Melbourne (and indeed international) music scene. Multi-instrumentalist and keyboard player within the band, Anthony Pateras, has a CV big enough to fill three press releases. Working within the musical realms of modern composition, improvisation, electronics, avant-rock and noise, he’s composed for major orchestras, played with a multitude of collaborators (including the likes of Oren Ambarchi, Christian Fennesz, Tony Buck, Han Bennink, Dave Brown and violin virtuoso Richard Tognetti), performed in everything from seedy dives to concert halls the world over, released his music on a multitude of labels (including two acclaimed CDs on John Zorn’s Tzadik imprint) and is currently the composer-in-residence at the Australian National Academy Of Music. Max Kohane has been playing in bands since he was 12 and touring since he was 16. He’s infamous for his dynamic, intensely fast and technical drumming style and has earned a rep as perhaps the best skin-hitter in Australia’s hardcore punk scene. He’s played in the likes of Far Left Limit, George W. Bush, Terra Firma, Cut Sick, grind kings Agents Of Abhorrence and crust-punkers ABC Weapons. In that time, he’s managed to play shows in places as far flung as Macedonia, Japan, Indonesia and the U.S. The beauty of PIVIXKI lies in the clash of these two musical cultures, though the willing experimentation of Pateras and Kohane has seen fit that there is no clash at all. PIVIXKI’s debut, Gravissima, recorded by U.S. expatriate Casey Rice, sees an amazing melding of sensibilities. Nominally a piano/drums duo, the band expands their sound with percussive flourishes and the addition of organ and electronic keyboards into the mix. Some of the songs are short, fast and cut to the point; others organically develop over several minutes like soundtrack pieces, occasionally feeding through the creepy, picturesque qualities of Italy’s horror-music legends Goblin, or the seething musical soundscapes of France’s avant-prog troupe, Magma.
LITA 003LP PURDIE, BERNARD: Lialeh LP (LITA 003LP) 19.00
Deluxe gatefold LP version. “Light In The Attic proudly presents a deluxe reissue of the Lialeh soundtrack, the first major black porn movie and the final word in soulful shagging music. Bryan Records released this Shaft-era classic in 1974, and since then it’s been harder to find than a honky in Harlem. Legendary drummer Bernard ‘Pretty’ Purdie composed, produced and performed Lialeh’s score, while between projects with Curtis Mayfield, Aretha, Gabor Szabo, The Last Poets, The Rolling Stones, James Brown… Music fans have long looked to Lialeh for seven original Purdie tracks, his first as writer/composer, untempered by the A&R’s who guided his records for Flying Dutchman, Date, Prestige and Mega.” On 180 gram vinyl; includes liner notes by Egon of Stones Throw and photos from the film.
MIND 010.2EP VA: 10th Anniversary Part II 12″ (MIND 010.2EP) 12.00
This is the second part of Mindshake’s 10th anniversary 12″ series. Includes tracks from Alexi Delano, Cari Lekebush, Skoozbot, Carlo Lio and Tekes & Mario Miranda. Techno from all around. Enjoy it.
PP 001CD PLASTIKMAN: Kompilation CD (PP 001CD) 12.00
Plastikman is the alter ego of one of the world’s most revered electronic DJs and producers, Richie Hawtin. Born in Banbury, Oxfordshire in England, his family moved to Windsor, Ontario when he was nine. The proximity to Detroit meant regular trips across the bridge to the Motor City where he was influenced by the first wave of techno greats, and it was almost inevitable that he would begin experimenting with music-making himself. Between 1993 and 2003, the Plastikman persona, born from the mood and state of mind in late night warehouse parties in Detroit, manifested himself in six albums ranging in style from hypnotic and acidic to brooding and introspective, but always with the common thread of a minimalistic 303, stripped down to a unique brand of techno. Live shows were few and far between, having been reserved for special events like Glastonbury 1995 and Mutek 2004. Now in 2010, Plastikman has re-emerged to perform a 15-city tour, reinterpreting the original Plastikman material using today’s technologies, and creating a fully immersive concert experience using synchronized audio, visuals, and communication technology. Kompilation is the next chapter in the Plastikman story; a limited edition CD containing tracks from 1993’s “Helikopter” through 2003’s “Ask Yourself.” Presented in new packaging with the trademark Plastikman logo, it works as a collector’s item just as well as an introduction to the full Plastikman discography and reflects the running order of the 2010 Plastikman Live show.
MFP 051EP KADAR, OLENE: Filthy Rich 12″ (MFP 051EP) 12.00
Olene Kadar is back on his homebase Mo’s Ferry. The really massive kick makes “Deal” a true stomper, and will put a smile on every Detroit fan’s face. “House” is eight and-a-half minutes of funky organ chords. “Sot:2” contains an equally virtuoso ass-shaker. Somewhere between the industrial aesthetics of the reverberated snare and the indefinable squawking sound, its elements combine into a multi-dimensional piece of “club therapy” full of extremes.
MULE 074EP MINILOGUE: Intermediate State 12″ (MULE 074EP) 12.00
This release is a single cut from Sebastian Mullaert aka Minilogue’s first mix CD WaWuWe (MULE 019CD). Fantastic Swedish duo Minilogue have released on highly-acclaimed labels like Cocoon, Wagon Repair and Mule Electronic and they have become one of the best techno acts in the world. On the B-side is “Tzymbals.”
TECMV 50001CD VA: Dark Matter: Multiverse 2004-2009 2CD (TECMV 50001CD) 18.00
Since its formation in 2004, Bristol-based Multiverse has been one of the key creative studios for developing the city’s flourishing culture of forward-thinking electronic music. Based around their recording studio in the heart of the city, the collective has consistently nurtured and supported electronic artists, both nationally and internationally, in the process creating a series of seminal releases that have helped shape today’s current musical landscape. Through their network of labels which includes Tectonic, Kapsize, Earwax, Caravan and Build, the work of the studio has focused on exploring the uncharted spaces between genres, bridging together today’s cutting edge sonic possibilities with electronic music’s rich and diverse musical history. This intention has been accomplished with a strictly artist-led approach and a commitment to supporting the work of new and innovative musicians and composers. The fruits of this creative labor are reflected here in this celebratory compilation. This double CD release offers a selection of highlights from the studio’s recent history. Leading the charge are both “Lion” and “Pop Pop” by Vex’d, records that formed the first bridge between classic British industrial music and dubstep, a fusion now championed by the likes of Surgeon, Distance and Milanese. This appears alongside Joker and Ginz’s “Purple City,” the track that spearheaded the emergence of the Purple Wow phenomenon. Also present is Pinch’s “Qawwali,” one of the key tracks that broke dubstep to a global audience. As expected, Pinch’s influence within Multiverse extends across the compilation through his collaboration with P-Dutty on “War Dub” featured in the movie Children Of Men, and “Get Up” with Massive Attack vocalist Yolanda Quartey and Bristol legend Rob Smith. Equally, the more avant-garde work of the studio is represented through Moving Ninja, an artist who pioneered the blurring of boundaries between dubstep and sound design and Emptyset, whose eponymous debut album fused the streamlined European minimalism of Mika Vainio and Raster Noton with Bristol’s unique bass-heavy production style. This groundbreaking selection of tracks sit alongside contributions by techno-dubstep pioneer 2562, half-step progenitor Loefah, Skream and October. In the process, Dark Matter creates a landmark archive of the work of one of the world’s most innovative creative networks of electronic producers. Other artists include: Circuit Breaker, S.N.O., The Body Snatchers, Baobinga & I.D., and Cyrus.
NL 005EP INSTRA:MENTAL: Let’s Talk/Vicodin 10″ (NL 005EP) 11.00
“‘Let’s Talk’ is a slow burning, ocean deep house tune that capitalizes on the warm punch of the constant kick drum. Driven on by echoed melody snatches, pulsing synthesizer stabs and a husk entombed voice that waxes lyrical about forthcoming plans, its unsettling mood is, somewhat surprisingly, its optimum strength. ‘Vicodin’ turns the tempo up to a more recognizable dubstep pace but manages to sound totally unique and overtly fresh thanks to its use of intricate percussion and beatless structure. It’s a subliminal smash weaved around pounding sub-basses and Detroit-esque piano chords. Support from: Martyn, 2562, Scuba, Vex’d, Instra:mental, D-bridge, Anthony ‘Shake’ Shakir, TRG, Headhunter, Nubian Minds, T++, Mary Ann Hobbs, Stingray313, DJ Flight, Mark Pritchard, Ramadanman, Surgeon and many, many more.”
“An incredible journey into the inner-space of analog synthesis. Soothing, pleasant, hypnotic and manic are thoughts of the day. This cosmic oozing mess of layered sequencers as swirling syrupy frequencies come raining down. Raglani serves up some sickly sweet synthy songs and Outer Space forge a thick gooey side long track of psychedelic electronic mind muck. John is in another band called Emeralds. Guest appearance by C.Spencer Yeh on Raglani’s ‘Heart Of Glass’ adding a slice of nice on the violin. Artwork and layout by Jeremy Kannapell. Edition of 500 copies in pro-press full color jackets and insert. For fans of early Tangerine Dream, Kraftwerk & Nik Pascal.”
NA 5062LP EQUATICS, THE: Doin It!!!! LP (NA 5062LP) 17.00
LP version. “The stories of great high school funk bands are, thanks to an abundance of reissues, commonplace. The tales of great high school soul-bands are still rare. A ballad or two on the random Douglass High School Stage Band album or Timeless Legend’s mesmerizing entry on Columbus’s 1972 1st Annual Inner City Talent Expo notwithstanding, high school bands rarely struck into the realm of ‘grown folks’ music. Enter The Equatics and their brooding masterpiece Doin’ It!!!! If this is categorized as a ‘funk’ album — and it was for the last ten years, by those few lucky enough to own an original copy — it holds its own. But it was as a soul band, one as inspired by the melancholic musings of Bill Withers as the psychedelic-pop of the self-proclaimed ‘Black Moses,’ Issac Hayes — that the Equatics shone. These young souls offered world-weary, beat-heavy ballads that stand on par with any of the great independent organizations of the early 1970s. That a group of teenagers could offer such an angst-ridden plea as that of Leo Davis’s ‘Merry Go Round’ not only transcends the limitations that came from the band’s average age (seventeen, at the time of the album’s recording), but also the barriers the stood in front of this group of small-city hopefuls. This official reissue was licensed by the Equatics’ bandleader, bass player Benjamin Crawford. Packaged in a deluxe cardboard ‘paste-on’ sleeve that mimicks the original album jacket, Now-Again’s reissue of Doin’ It!!!! also comes with full liner notes documenting this most impressive organization.”
TAUS 003CD O PAON: Courses CD (TAUS 003CD) 15.00
“One autumn, two winters and one summer. That is how much time it took for Geneviève Castrée to change her musical identity from ‘Woelv’ to ‘Ô Paon’. Two years of gestation and four visits to Montréal’s Hotel2Tango recording studio. Courses announces from the start its difference from previous records by Geneviève. The sky is heavy and the universe got darker. The lyrics are more solemn, exploring the shadowy parts of our society: wastelands, greed, the absurdity of power, violence, loneliness. Thierry Amar (Silver Mt. Zion, Black Ox Orkestar, Godspeed You! Black Emperor) expertly arranges the recordings, adding a particular texture to the songs and even playing the role of translator for certain ideas.”
TAUS 003LP O PAON: Courses LP (TAUS 003LP) 20.00
LP version. Includes lyric sheet insert.
OESB 049LP AUTRE NE VEUT: Autre Ne Veut LP (OESB 049LP) 17.00
“Debut LP by ANV. Co-release with Upstairs CD-R — the label run by Dan Lopatin (of Oneohtrix Point Never / Games). Mixed by Chris Coady at DNA Downtown, NYC.” “Autre Ne Veut (‘I want no other’) was inscribed on the back of a gold and garnet hat ornament (ca. 1475) found at Hanley Castle in Worcestershire. It is rumored to be the gift of an English Duke to his French mistress, but this is simply conjecture.” — Metropolitan Museum of Art / The Cloisters, New York City “Olde English Spelling Bee is one of those labels you can implicitly trust to provide you with the most brilliantly weird music. Their latest missive is a self titled shocker from Autre Ne Veut, a moocher from the same circles as Oneohtrix Point Never and all those weirdo Brooklyn types with an uncanny line in subtly skewed pop queerness. Seriously, this is one of the strangest, most jarringly unique records of the year, and we love it. At heart it’s an incredible pop album with traces of Prince, Prefab Sprout and Erasure at its core, but each melody and harmony is delivered with an off-key sleight of hand that really plays on your preconceptions and experience of classic synth pop. There’s definite nods to the soundtracks of John Hughes movies and the like, but it’s perhaps more like The Breakfast Club score remade by the Troma company for some secret pay-per-view internet channel. Autre Ne Veut has possibly made one of our favourite albums this year and we urge you to investigate without delay. Essential!” — Boomkat
OMCC 001LP CARTER, CHRIS: The Spaces Between LP (OMCC 001LP) 15.50
Originally recorded between 1974 and 1978 at Industrial Records studio in London, The Space Between was first released as a 90-minute cassette in 1980 on Throbbing Gristle’s Industrial Records label. It wasn’t until 1991 that it was again released by Mute Records on CD. For those who may not know, Chris Carter is one of the founding members of Throbbing Gristle, partners with Cosey Fanni Tutti (knows as Carter-Tutti and formerly recording as Chris & Cosey) who has been working with sound for over 40 years. Although tracks from The Space Between have appeared on numerous compilations since its release, the album has never been available on vinyl — until now. This new vinyl edition on Optimo Music, now retitled The Spaces Between, doesn’t include all the tracks on the original album but has been enhanced and remastered from the original two-track master tapes and has new cover artwork especially for this release. JD Twitch has this to say about the release: “The original release featured fifteen tracks. As I wanted to have a reasonably loud vinyl pressing, I have picked my favorites to appear here (not an easy task to narrow it down). In addition, there is a bonus track ‘Climbing’ which was recorded around the same time that was released by Coil’s Geoff Ruston on his Men With Deadly Dreams cassette in 1981. One of the first-ever recordings to use an 808 drum machine, it still sounds as if it is from tomorrow. In my opinion, these are some of the key recordings in the history of electronic music. They were made using very basic equipment at a time when there was no blueprint for what electronic music could and should be. There is a beauty, an emotion and an imagination present here that is lacking in a lot of modern machine music. This music is as vital and wondrous today as it was four decades ago.” All tracks have been remastered by Chris Carter in 2009 for this release. Musically, it’s an electronic soundtrack for a sleazy sci-fi movie, with moments of uplifting beauty combined with bits of claustrophobic mania. Amazing stuff.
OW 033EP ELEKTRODREI: Parashooter EP 12″ (OW 033EP) 11.00
“Elektrodrei are back! After a long break, Elektrodrei are jumping out of the plane again, landing in the house of Ostwind and bringing a new friend and artist with them. Now the trio is perfect and ready to show where their way will take them. The Parashooter EP is a little journey through time with many stopovers in musical genres, but still keeping its feet on the ground. The ‘Minimal Trash Art’ Remix of Mathias Korr, with an enormous warmth, interfuses the sunrays of the horizon and lifts the airstreams in our minds to let us start flowing, flowing over forests and lakes, flowing over mountains and valleys, flowing over meadows and grasslands and lets us dream of past times. ‘Dropzone’ comes easy and breezy but is increasingly captured by gusts of wind, barely under control, till the valley of hope shows which way to go — so a soft landing full of charm will be inevitable. ‘Cloudbusting’ is an electro deep techno groover like A1 at Lloyd’s… searching for the borders of our madness, the track slowly and irresistibly sneaks in our souls, packing it just to discharge on the dancefloor. A wonderful cooperation between classic electronic beats and modern contemporary techno.”
PCD 72001CD SISTERS LOVE, THE: With Love CD (PCD 72001CD) 16.00
“As the ’70s dawned and Motown relocated to the West Coast, the era of their honey-toned ’60s girl groups came to a resounding halt. The Sisters Love were the antithesis of the traditional Motown group and came to the label from A&M, armed with a lot of funk, sass and attitude. Paired with some of Motown’s finest writers and producers, Hal Davis, Gloria Jones, Pamela Sawyer, Paul Riser and Willie Hutch, they got off to a rousing start with the gritty ‘Mr. Fix-It Man’ and went into high gear for the UK only release ‘I’m Learning To Trust My Man’. Motown had them playing arenas with The Jackson Five (probably not their smartest move!), issued the odd single and scheduled more but Sisters Love’s anticipated breakthrough didn’t happen. Later on New York DJ Danny Krivit pressed up an extended eight-minute re-edit of ‘Give Me Your Love’, an old B-side from a 1973 single! That song was somewhat of an underground classic but the Krivit mix brought in a whole new legion of fans amongst the rare groove crowd, both in the US and the UK. Sisters Love had long been rumoured to have recorded a complete album for the Motown subsidiary MoWest. Reel Music/P&C Records combed the vaults with Motown’s help and the result is the original 10 cut album (tracks 1-10), plus five bonus cuts, two of which are previously unreleased. Although Gwen Berry passed away some years ago, the other three members of the group, Jeanie Long, Lillie Fort and Vermettya Royster, have all been actively involved in this release.” Also includes a 20-page booklet.
PAPR 2124CD VA: Piccadilly Sunshine Part Four CD (PAPR 2124CD) 17.00
Subtitled: British Pop Psych And Other Flavours 1967-1969. Part Four of the Piccadilly Sunshine series sets foot into the deep and wondrous valleys of British pop music culture, daring to bring forth the once-overlooked and sadly neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join us as we tiptoe barefoot and trip through the late 1960s and early `70s in Great Britain’s vast and glorious cultural dustbin. Stepping amongst the 20 flower-powered trippers presented here, together we shall lovingly restore them to their former glory. Artists include: Barry Ryan, Lace, The Laurels, David Morgan, Gaslight, Jago Simms, Gervase, Paul Raven, Keith Field, The Monopoly, Chris McClure, Joyces Angels, Factotums, West Coast Delegation, Brian Connell, Deuce Coup, Now, and Bob Clarke.
PAPR 2125CD VA: Mixed Up Minds Part One CD (PAPR 2125CD) 17.00
Subtitled: Obscure Rock And Pop From The British Isles 1970-1973. Part One in the Mixed Up Minds series sets forth into the deep and wondrous valleys of British pop music culture assisting its sister series Piccadilly Sunshine in daring to bring forth the once-overlooked and sadly neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join in an exploration of the vast and glorious cultural dustbin that was Great Britain in the late ’60s and early ’70s. Stepping amongst the assorted parade of obscure pop and rock presented here in 20 digitally remastered tracks, together we shall lovingly restore them to their former glory. Includes a 16-page illustrated booklet. Artists include: Barlaston Down, Chopper, Music Motor, Dog Rose, Trane, Rich Fever, Asgard, Jawbone, Endaf Emlyn, Jonathan Gill, Hopestreet, Hollingworth, The Wake, Knocker Jungle, Toby Jug, Methods, Money Jungle, Esprit De Corps, and Newmens.
POLY 44055HLP LEE, RITA: Build Up LP (POLY 44055HLP) 15.00
180 gram reissue of Rita Lee’s (Os Mutantes) debut solo album, originally issued in Brazil in 1970. Orchestral arrangements by Rogerio Duprat and production by Arnaldo Baptista, with a cover of The Beatles’ “And I Love Her.”
CPLP 4500HLP SOFT MACHINE: The Soft Machine LP (CPLP 4500HLP) 16.50
Gatefold 180 gram reissue, licensed to Universal. “The Soft Machine deftly combine ’60s psych-pop, jazz, and rock into a unique sound that stands up to repeated listenings more than most music today. The instrumentals are awesome — interplay between organ, drums, bass and vocals make for intricate rockers with priceless moments. Wyatt’s lispy voice is off-putting at first, but endearing on more listens, aided by his clever and often witty lyrics. Songs like ‘A Certain Kind,’ ‘Save Yourself,’ ‘Lullabye Letter,’ and ‘Why Are We Sleeping’ are great ’60s psych-pop, with good hooks, but still original sounding.”
RAMP 036-3EP SHORTSTUFF: The Summer Of Shortstuff EP Part 3 10″ (RAMP 036-3EP) 13.00
“Shortstuff dribbled this EP out of his arse. It took him 12 months — he worried about everything, accomplished nothing, and then called it something stupid. By the end of the process, everybody at RAMP wanted to die. DJ support from Scuba, Roska, Loefah, Jackmaster, Ben UFO, Ramadanman, Pangea, Scratcha, Lvis 1990, Brackles, Toddla T.”
RE/S MP RE/SEARCH: #12: Modern Primitives Book (RE/S MP) 37.00
Deluxe 20th anniversary hardback edition; 8 ½ x 11″, 212 pages, printed on glossy art paper. Includes a brand new 2009 interview with Raelyn Gallina. “First published 20 years ago, Modern Primitives is still called ‘the Bible of the tattooing-piercing underground.’ Here is a celebratory reprinting, complete with a new introduction by original editor/publisher V. Vale. Also added is a new community section, where current practitioners have been invited to have their cards displayed. Modern Primitives was the first book to investigate not only the ‘how’ but also the ‘why’ of body modification practices. It reaches far back into history to multiform cultural traditions to illuminate one of today’s most wide-spread youth culture visual signifiers. Heavily illustrated with detailed, contemporary photographs, as well as archival anthropological images and drawings of ancient tattoo traditions, Modern Primitives was ground-zero for today’s body-modification trends.” Also includes articles by Wes Christensen and David Levi Strauss and interviews with Genesis & Paula P-Orridge, Monte Cazazza, Anton LaVey, Heather McDonald, Jim Ward and more.
RS 6420CLP CAPTAIN BEEFHEART & HIS MAGIC BAND: Lick My Decals Off, Baby LP (RS 6420CLP) 13.00
Tangerine-colored vinyl reissue, manufactured by Rhino. 4th album, originally released in 1970, following Trout Mask. “Vast scholarly dissertations could be written on Beefheart’s brilliant new approach to song lyric. Leaving in the dust both post-Dylan ‘poetic’ pretensions and the primitive approach which too often mistakes simplemindedness for simplicity, Cap’s lines are magic flashfloods of free-association that somehow never get murky, strange jewel-like clusters of images, hilarious little vignettes from the lives of raffish louts and juicy mamas, half-muddled mamma’s in coveralls and zoot suits. Robert Crumb could draw them, though in his vision they’d be vaguely threatened or threatening… In Lick My Decals Off, Baby this vision is extended, and even though the sonic textures are sometimes even more complex and angular than on Trout Mask, the lyrics have taken an added universality, many of them stepping back a stride from the kaleidoscopic image-clusters of last year’s songs. Lick My Decals Off, Baby is just great bawdy music, as sanguinely sexual as a tale out of Boccaccio.” — Lester Bangs/Creem, 1971.
BTR 057CD LUCAS, TED: Ted Lucas CD (BTR 057CD) 18.00
The music of Ted Lucas has circulated through CD-Rs and blogs for years now. Although primarily known for this, his 1975 self-titled album (sometimes referred to as The OM Record), a legacy of hundreds of tapes decisively reveal one of the psychedelic era’s most criminally-overlooked talents. Lucas studied with Ravi Shankar. He was the “exotic instruments specialist” for Motown and played sitar on many of their most famous productions. He rubbed shoulders with Alice Cooper and Ted Nugent and every other major player on the Detroit scene. His pioneering early psych rock bands The Spike Drivers and Misty Wizards managed to become legends with nothing more than a handful of singles. Stanley Mouse, prime image-maker for the Grateful Dead and friend of Ted, adapted the cover for Ted Lucas from his artwork for Jimi Hendrix’s unfinished last album. It’s the first appearance of the space scarab — the UFO that would later become Journey’s symbol. From brief, spontaneous ditties, predating the lo-fi indie movement by 20 years, to the epicly psychedelic sitar guitar ragas in Lucas’ signature loose string tunings, Lucas never wavered from his visceral, intensely honest vision. A self-taught master of many instruments and consummate do-it-yourselfer, Ted created a home studio and worked out new ways to tune his guitars. The pride he took in his craft and his attention to detail were inspiring and exasperating to all who knew him. His wit was legendary. The reasons for Lucas’ failure to break out of the Detroit scene would require, and probably deserve, a book-length investigation. His career provides insight on the difficulty of self-publishing and self-promotion in the pre-internet age. Without a doubt, things would have turned out very differently had he come up today. Lucas’ voice is unspeakably mellow, his guitar unbelievably gentle, and his arrangements absolutely impeccable. Do not miss this album.
RUSLP 8106LP BAD BRAINS: Bad Brains PIC. DISC (RUSLP 8106LP) 19.00
Collector’s edition picture disc. “Legendary album from 1982, considered the definitive landmark for breaking the NYC hardcore scene. Number 16 on Spin Magazine’s ’50 Most Essential Punk Albums’!”
RB 024EP SULEIMAN, MIM: Mingi 12″ (RB 024EP) 12.00
RB proudly presents Mim Suleiman. The Zanzibar-born and Sheffield-based singer/songwriter/performer made quite a name for herself on the Afrobeat stages of this world with her mixture of East African vocals and percussive traditions. This is the second single accompanying her mesmerizing album Tungi (RB 001CD), and here we have a seductive 808-drum-groove, a highlife-like guitar and Mim’s irresistible hook line. Instrumental on the flip for extended mixing pleasure and double copy pressure. Produced by Maurice Fulton.
SED 057CD WANKE, RICCARDO DILLON: to r.s. CD (SED 057CD) 14.00
“Wanke continues to amaze us with his sensitive, detailed and spacious soundworks. to r.s. follows up his lauded debut Caves on Sedimental with another stunner. For to r.s. Wanke uses electric and acoustic guitars, acoustic piano, objects and natural sounds. The 53 minutes of this unique piece divided in four parts combine static compositions, drones and looped music. Structurally viewed as a classical composition, the music takes shape with flat harmonic profiles and acoustic events that are layered and coupled together in elliptical and hypnotic loops and echoes. The piece is dedicated to and inspired by Robert Schumann’s music. Born in Genova, Italy in 1977, established in Milan from 1982 until 2005, multi-instrumentalist and composer Ricardo Dillon Wanke lives and works in Lisbon. He has been working in the experimental music field since 2000 (long term collaborations with Giuseppe Ielasi, Stefano Pilia, Francesco Dillon, Renato Rinaldi, David Maranha, Manuel Mota, Rafael Toral among others). He is member of Medves group. He set up a trio with David Maranha and Manuel Mota, ‘dru’ and collaborated with Italian classical cellist Francesco Dillon with whom he co-founded ‘Amuleto’-collective. His work with guitars, acoustic and keyboards (piano and rhodes) and sax has started from pure radical improvisation and has drawn to the investigation of drones sounds, static and looped music related to the minimalism.”
SED 058CD CORRIDORS: Corridors CD (SED 058CD) 14.00
“Byron Westbrook has been performing Corridors live around the US and EU for the last four years, however this audio CD is the first physical release of the project and Sedimental is ecstatic to be releasing this very committed young artist’s debut. Since 2004 Westbrook has been the technical coordinator for Phill Niblock’s Experimental Intermedia Foundation. While assisting and collaborating with Niblock and other luminaries of experimental music, Westbrook began developing Corridors as a multi-channel performance system for live guitar feedback. Shortly after the completion of a month-long tour with Rhys Chatham’s Essentialist, Westbrook began performing the project. Corridors has since evolved to encompass the improvised performances of other musicians, recordings of which are processed into phrases or texture units for playback from ipod or minidisc players through the multi-channel system. The results are sweeping and fluctuating textures that place distinct frequencies in different parts of a room, creating an intense opening and closing of space over time for the listener. The pieces were recorded in large spaces (churches, concert and university halls) using a mixture of binaural and mid/side microphone techniques, to allow for the most accurate imaging in a stereo field. The recording process spanned a three year period, during which many different performances of the works were documented. These recordings were carefully edited together, taking the most representative moments of each performance, to make this CD containing three frequently performed pieces. These pieces are loosely structured works, always performed in conjunction with single or multiple light projections. An element of improvisation exists within each performance in that every room is different and the sounds respond uniquely to different rooms. There is a beginning, middle and end that has been worked out, but where the sounds exist and for how long will change for each performance. Limited to 500 copies and housed in a custom oversized sleeve.”
STRIKE 118CD SOUL CENTER: General Eclectics CD (STRIKE 118CD) 15.50
With the release of his fourth album, General Eclectics, Thomas Brinkmann breathes new life into his stellar side project Soul Center. Don’t be misled by the album’s title, though. Taken literally, General Eclectics will lead you astray not once, but twice. While the cover might allude to local noise merchants Einstürzende Neubauten’s infamous Haus Der Lüge sleeve and Paolo Uccello’s horse’s rear, the album’s inner sleeve is covered in maps, footballs, cigarette butts, priests, etc., each replete with their own rich history. Take the ashtray, for example: a work of art in itself that is both light-hearted and laden with meaning. It is Brinkmann’s sense of appropriation (the eclectic side of things) and his interpretation of art/music/image/sound, that provides the red thread to connect the individual parts — and concept — of this album. Unlike Soul Center’s previous works, the featured music is almost entirely devoid of samples and returns to a deep melange of techno’s richer funk and soul flavors — from the album’s slowed-down opener, “Marmelade,” right up to the final hands-in-the-air stomper “Dyr Bul Scyl.” For this album, only two tracks include significant vocal usage and this time, the artist underlines the background of the lyrics. Aleksei Kruchenykh and Vladimir Majakovsky are two of the main writers of the Russian futurism of the 1920s. And we all need some more Russian futurism these days.
STH 2221CD HAACK, BRUCE: Farad: The Electric Voice CD (STH 2221CD) 16.00
“Haack’s music is rooted in the idea that humans and electronic machines share a reciprocal relationship that manifests itself through sounds. In order to further explore this dynamic, Haack dropped out of Juilliard to pursue a more experimental course in, surprisingly, educational children’s music. Haack released material off his own label Dimension 5 Records in 1962, which allowed him to mix kinetic energy, infuse psychedelic philosophy, and pluck sounds from various genres across the board. Adding to his musical pastiches, Haack used home-made modular synthesizers, proto-vocoders, and the heat-touch sensitive Dermatron to expand his music into the technological realm of creativity. Similar to friend Raymond Scott (who J-Dilla sampled for ‘Lightworks’), Haack’s facility to create new electronic soundscapes has turned his work into a virtual music library, one whose samples have already been culled by the likes of Cut Chemist. Farad Bruce Haack serves as a glowing primer of Haack’s work throughout his career. Touching on the lush, pysch-electronic grooves of the Electric Lucifer period and extending to his more abstract, angular works, this compilation highlights his use of the Farad, one of the first musical vocoders invented at the time. Yet amidst echoey reverb and haunting drones, Haack himself manages to create something primal and human, not necessarily conflating human and electronic but posing them as compatible partners.”
DUBK 011CD DUBKASM: Transformed In Dub CD (DUBK 011CD) 15.50
This is the dub follow-up to the acclaimed Transform I (DUBK 001CD/LP) by Dubkasm, where Bristol meets Brazil: a heavy, authentic blend of roots and dub reggae, where Dubkasm’s sound varies from militant digital steppas to acoustic vocal tracks, with Brazilian rhythms and samba instrumentation occasionally woven into the mix. Atmospherics and percussion recorded in Brazil reflect the journey of producer Digistep tracing his Brazilian roots, as instruments such as berimbau, zabumba, cavaquinho and cuica are called into play, while his Bristolian counterpart DJ Stryda captures some of the finest vocalists from the UK’s reggae and dub scene and promotes the material worldwide. Amidst the more traditional dub styles, nyahbinghi drumming bonds with samba, capoeira percussion rides one-drop rhythms, and the first album to mix UK dub with Brazilian influences is born. Features enhanced CD video content “The Dubkasm Story,” which was produced and filmed by Karl Folke and Andreas Weslien, the makers of the excellent and well-received documentary “Musically Mad,” which concerned itself specifically with UK roots reggae sound system culture. Featuring guest artists Tena Stelin, Ras Addis, Christine Miller, Lidj Xylon, Ras Bernardo, and Dub Judah.
SBRCW 5504CD SYNANTHESIA: Synanthesia CD (SBRCW 5504CD) 18.00
Sunbeam Masters deluxe edition, presented in a mini-LP gatefold sleeve, complete with a full-color booklet (including rare pictures and detailed background information) and archive bonus material. Limited to 1,000 individually-numbered copies. London trio Synanthesia were only together briefly, but in that time they made an album that has subsequently been hailed as a lost classic. With original copies (from 1969) changing hands for hundreds of pounds, Sunbeam is delighted to give it its first official reissue, showing it to be a great lost British acid folk gem and an absolute treat for all lovers of acid folk and psychedelia.
SBRCW 5505CD BLOSSOM TOES: We Are Ever So Clean CD (SBRCW 5505CD) 18.00
Sunbeam Masters deluxe edition, presented in a mini-LP gatefold sleeve. Limited to 1,000 individually-numbered copies. Released at the height of flower power in1967, We Are Ever So Clean is the first record by the UK’s Blossom Toes, widely considered to be the finest pop-psych album ever recorded. Produced by Giorgio Gomelsky (discoverer of The Rolling Stones and The Yardbirds), it’s a fascinating amalgam of whimsical pop, music hall humor and acid rock. Produced with the band’s full involvement, it’s presented with no fewer than ten bonus tracks, encompassing non-LP singles, demos, out-takes and live performances, and comes complete with a full-color 12-page booklet incorporating many rare photographs and a comprehensive band history, as well as an introduction from the band’s leader, Brian Godding.
UK dubstep producer and Tectonic head Rob Ellis aka Pinch presents a remix album of his hit track “Get Up” from his groundbreaking 2007 debut Underwater Dancehall (TEC 003CD/TEC 018LP). Since its inception, dubstep has endlessly reinvented itself, reflecting ten years and more of UK bass culture — the anthemic quality of the original still stands more relevant than ever. Never one to do things by halves, Pinch has used the interim period wisely, securing the remix services of the finest producers out there. RSD has had a fantastic 2009 — rocking shores stateside to Japan and at long last receiving due acclaim for his central role in shaping the Bristol sound. Rob Smith delivers a master class production, which has already been ruining audiences on dubplate. Guido brings an astonishing version and shows himself to be his own man — by turns luxuriant and yet pared back to its limber essentials — incorporating deep synth-funk and garage styles while still revealing a sizeable low-end all underpinning a show-stopping arrangement of futuristic soul. Jack Sparrow warms up with an early taste of the recent production form which has prompted Pinch to request a full Tectonic album from him in 2010 — fabulous, low-slung killer vibes, a subtle and deeply meditative, thoughtful version primed for deeper dancefloors with a huge, deep funk coda to explore on the boards. L.V. brings the soulful vibes to an apex — his easy moving, open form disco mix is reminiscent of classic Sly & Robbie Compass Point sides with Grace Jones — in a word, timeless. An indisputable classic tune in optimum versions — treasure them and play them loud.
TEMPA 016CD SKREAM: Outside The Box CD (TEMPA 016CD) 15.50
Skream’s highly-anticipated second album finally arrives. Ollie “Skream” Jones is on a major roll. The Croydon DJ, producer and original dubstepper had the festival anthem of last year with his “Let’s Get Ravey” remix of La Roux’s “In For The Kill”; he’s just been featured on the cover of NME with his Magnetic Man co-stars Benga and Artwork (not to mention the covers of DJ and Mixmag) and as we speak, he is all over Radio 1 with the lead track from Outside The Box. The tune in question, “Listenin’ To The Records On My Wall,” is the perfect introduction to why Skream’s current level of success is just the beginning. It’s a joyful, ragingly energetic celebration of the last quarter decade of British street music, inspired by the hardcore and jungle records used by his older brother Hijak. It’s also a brilliant pop record that makes perfect sense to everyone who grew up surrounded by the breaks and beats of the 1990s and to those who didn’t. This, however, is not a revival record. A natural-born modernist, Skream has selected 14 tracks that cover hip-hop (with one track featuring L.A. rapper Murs from Living Legends), bass-wobbling dubstep, dreamy electronica, a dark and tribal track with La Roux, and a strong dose of euphoric jungle on “The Epic Last Song” — a track that is inadvisable to listen to while driving, unless you want another six points on your license. Outside The Box is the sound of an artist who is ready to take his considerable talents to a wider audience without compromising any of the raw, hedonistic, emotional, lose-yourself madness that has made him literally legendary to hundreds of thousands of people worldwide. Take “Where You Should Be,” a song which features singer and songwriter Sam Frank. There’s the 8-bit computer game inspiration of “CPU”; the Daft Punk-styled vocals of “How Real” featuring Freckles; the tuff-but-soothing heartbeat of “Fields Of Emotion” and the Jocelyn Brown-sampling “I Love The Way,” which sees the first lady of disco pitched right down — also heard during Skream’s massive festival sets at Pukkelpop, Glastonbury and Roskilde. Towards the end of the album, there are moments that point in a whole new direction, like “Reflections,” a tune written with talented drum ‘n’ bass-heads dBridge and Instra:mental. And then there’s “A Song For Lenny,” a sad and very personal musical dedication to a lost friend. Album aside, life is busy for Oliver Jones. He’s back to DJing, switching up his sets to include 4/4, techno, garage and grime and, most weeks, hosting his Rinse FM show — now alongside Benga. It’s going to a big summer, inside and outside the box.
TS 12009LP PANELLA, MARCO: Eastern Landscapes LP (TS 12009LP) 14.00
“Marco Panella’s layered guitar landscapes mix American primitive acoustica with Nashville telecasters, dissonant jazz and straight rock. On Eastern Landscapes, eight self-assured but tonally unpredictable songs serve as the base for studio overdubs and guitar textures. Written and recorded over two years (2008-2010), the songs on Eastern Landscapes draw from the wells of British and American folk forms, classic rock, and even modal jazz to create a sound that’s deeply rooted, satisfying, and somewhat elusive.”
SONG 004EP PUBLIC LOVER: Musique D’Hiver Pour L’Été 12″ (SONG 004EP) 12.00
Public Lover (Bruno Pronsato & Ninca Leece) locked themselves away in their Prenzlauer Berg studio in January. Their mission: creating music for summer. Musique D’Hiver Pour L’Été rides the line between romantic techno and sultry disco with warm instrumentation and a special emphasis on an intentional lo-fi production. Ninca’s balmy vocals and jazzy keyboard hooks are the backdrop for a night on the town while Bruno’s tight rhythm section is the reason to go home and wrap up with your lover.
TO 076LP FENNESZ: Black Sea LP (TO 076LP) 15.50
2010 repress on vinyl, originally released late 2008. LP version; beautifully packaged with reversed Jon Wozencroft photography (compared to the CD edition) on the cover, and nicely printed innersleeves, etc. Feels luxurious. Tracklisting: A1. Black Sea; A2. Perfume For Winter; A3. Grey Scale; B1. Glide; B2. Glass Ceiling; B3. Saffron Revolution.
This album was originally released by 12 Tónar in 2006 under the moniker Lost In Hildurness, and it is the first solo recording from Hildur Gudnadóttir (who is a member of the Nix Noltes band and has performed regularly with múm and Pan Sonic). In her dreamy soundworld she plays the cello, gamba, zither, khuur and the gamelan, so this CD sounds like nothing else. This is exciting, tranquil, and melancholic stuff and at times it makes you think of a lost place and times gone by — and the music has the power to take you there. Recording sessions took place both in New York and in a house in Hólar, Iceland, specifically chosen for its good cello acoustics. It is strictly a solo album as Hildur attempted to “involve other people as little as I could.” Like the cover art, it is personal and intimate. It has been called “the perfect soundtrack to get lost in a forest at night,” but this version, mastered by Denis Blackham, sounds fresher and better than ever. Photography and design by Jon Wozencroft.
TRAPEZ LTD093 AMIR: Vernissage One 12″ (TRAPEZ LTD093) 12.00
Amir has planned a series of releases that all run under the title of Vernissage, intending to create space for creativity, showing that his skills are not limited to one kind of style. With Vernissage One, he kicks off a beat which could have been written by Herbert. “Cadaques” highlights a spiritual quality that is expressed by ethno sounds, constantly shifting dynamics and a feeling for deepness.
TYPE 073CD ALTAR EAGLE: Mechanical Gardens CD (TYPE 073CD) 14.50
Brad Rose (aka The North Sea) is probably the last person you’d expect to see at the helm of a pop album. A folk record — maybe, a noise record? sure, but pop? Probably not. Yet that’s exactly what he and his wife Eden Hemming have done with Mechanical Gardens. The Altar Eagle sound might not come as much of a shock for those cassette collectors who have managed to source copies of the duo’s now-rare debut EPs, but for the rest of the world it should serve as a radical change in direction for one of experimental music’s most valuable sons. The ear-splitting noise that enticed listeners on Bloodlines is all but forgotten as Brad and Eden pick through shimmering dream-pop and cold-wave electronics with the greatest of ease. The quality is assured within minutes of the gorgeous Slowdive-esque opener “Battlegrounds.” Anchored by Eden’s humming, ethereal vocal tones, the song is a glorious statement of intent and while the band go into clubbier directions on the second half, this song is a gateway to their sound. Possibly the biggest surprise on Mechanical Gardens is the sound shift which occurs mid-way through the record, as the bubbling bliss of “B’nai B’rith Girls” gives way to the abrasive electro growl of “Monsters.” Influenced in part by Eden’s long-time love affair with techno and Brad’s recent obsession with synthesizers, the duo strike a perfect middle ground between crumbling experimentation and pop excess. This is rarely better explored than on “Spy Movie,” a track that somehow combines the supposedly warring sounds of Juan Atkins and early My Bloody Valentine. On Mechanical Gardens, Brad and Eden have created an album that revels in its grab-bag of influences, but somehow they have managed to emerge with a sound that is totally singular. It’s pop music for sure, but un-cynical, atypical and hugely enjoyable.
UR 031CD AURAL FIT: Mubomuso CD (UR 031CD) 16.00
“Mubomuso is a neologism, made up from two extant words. Mubo suggests the unadorned and unaffected, while muso means to be in a state without thought or preplanning. All parts of the release lead the listener towards the consideration of a very specific topic ­- namely, war and violence, and the deeper connections to human nature. Stripped of the clothing of civilization, etiquette and socialization, we slowly become aware of reactions and purposes that exist deep within us -­ embedded command codes. Is violent conflict then engraved on our DNA? What purpose does humanity serve on this planet? Aural Fit are the biggest underground psych/noise rock band to rise from the in-the-red psych aesthetics of early High Rise. Bohachi Mondo, Tanabe Endo Kenichi and Nanbu Teruhisa breathe fire. Unyielding, the band devastate on their third full length. Volume at white noise levels, pained vocals, overdriven guitar and unsettled bass and drums are telling of Aural Fit’s perception of the world. Edition of 500.”
UR 048CD WHITE STATIC DEMON: Apparitions CD (UR 048CD) 16.00
“Bleak analog electronics and voice from Justin K Broadrick. Apparitions is a dark, insalutary recording of sub bass throb, scathing frequencies and sheets of feedback unleashed with the ferocity of early power electronics sides. A material electric attack from places unknown. Photographs by Paul Lee. Edition of 500.”
UR 050CD RST: The Sunset Limited CD (UR 050CD) 16.00
“A dark space blues built from electric guitars, The Sunset Limited presents the next phase of RST¹s exploration of the limitless kinetic possibilities of that hallowed rock and roll instrument. Colossal rumbles and riffs arc across an expanse of darkness, lighting shadows of phantom cities, burnout survivors, fires burning in endless night. Here RST pushes its own aesthetic out beyond the void, building on the slow momentum of fifteen years staring into space, stone in hand, amps on high and tilted skyward. Photograph by Matthew Porter. Edition of 300.”
UR 051CD HUMAN QUENA ORCHESTRA, THE: A Natural History Of Failure CD (UR 051CD) 16.00
“Emotional distance. Scientism. Abuse. Greed. Love. Self destruction. A study of modern, alienated, forced-individualists, wired together in our hell. Initially a collection of high-volume live pieces by Unks and Graham, this work was crafted into album form with contributions from a group of like-minded friends who performed together during the tours of the same name in 2009. Weapons-grade Trogotronic electronics utilized throughout. Four-panel poster sleeve. Photograph by Olli Kekäläinen. Edition of 500.”
WS 1732HLP BONNIWELL MUSIC MACHINE, THE: The Bonniwell Music Machine LP (WS 1732HLP) 14.00
180 gram exact repro reissue, manufactured by Rhino. After Music Machine’s successful single “Talk Talk,” Sean Bonniwell’s renamed project released this self-titled album for Warner in 1967. A fully-amplified garage excursion into realms of psych, prog and folk, featuring classic tracks “Double Yellow Line,” “Bottom of the Soul” and “The Eagle Never Hunts the Fly.”
WET 1013EP BEG TO DIFFER: The Remixes 12″ (WET 1013EP) 12.00
Beg To Differ is a dance music duo comprised of Nick Chacona and Roy Dank. The duo’s Wurst debut features two massive — and decidedly different — reworks. Parisian Afrobeat masters Bibi Tanga & The Selenites get the full Beg To Differ overhaul, complete with infectious arpeggios, killer keys, and a new rhythm section. The pop rock of The Hours’ “Ali In The Jungle” is transformed into an epic, string-laden anthem taking in disco, rock, and even trance.
XLR8R 135 XLR8R: #135 September/October 2010 MAG (XLR8R 135) 4.99
“America’s definitive electronic music magazine, #135. Cover: Salem (Deep into the abyss with the Midwest’s creatures of the night). Features: Altered Natives; Jammer; Brenmar; Bit And Pieces (Tristan Perich’s 1-Bit Opus takes the idea of ‘lo-fi’ in a whole new direction); Mr. G; Lazer Sword; Arp; Chicago Juke; Shed; El Guincho; Reviews; Bubblin’; Karizma: In The Studio: Matthew Dear’s Vocal Tips; Components & Videogames; Vis-Ed: AIDS-3D; Outbox: Underworld.” 80 pages.
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