FORCED EXPOSURE MAILORDER UPDATE
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NASCIMENTO, MILTON: Clube Da Esquina 2LP (4M 186LP) 24.00
“Nascimento’s 1972 double LP is named after the musical collective he helped to found in his Brazilian home state of Minas Gerais. Along with the help of fellow collective member Lo Borges, and with wonderful arrangements from Eumir Deodato, Nascimento seamlessly combines bossa nova with soul, pop, jazz, psychedelic and classical influences. A masterpiece on par with any of the classic releases from the more well-known Tropicalia movement.”
PLANT 43: Burning Decay LP (AI 031LP) 17.00
“Burning Decay marks the culmination of a 30-year musical journey for Emile Facey. Combining deep, emotional, melodic textures and voices with razor sharp analogue drum sounds, it brings together a wealth of ideas and influences. Music is, after all, in his blood. His great-grandfather was part of a long line of passionate and professional musicians who played clarinet as part of the Royal Philharmonic and the newly formed London Symphony Orchestra in the early to mid 1900’s, performing under many great composers including Elgar, Vaughan Williams and Strauss. Emile was starting to study classical music and was hoping to follow a similar path until 1984 when he heard Kraftwerk’s Tour de France for the first time. His training in classical clarinet and piano was quickly replaced by hours spent programming music in BASIC on his brand new Sinclair Spectrum and spinning about on bits of lino to the Street Sounds Electro compilations. Following this revelation, Emile spent the next twenty-five years feeding a passion for music of many types from Detroit techno and hip-hop to metal and classical, all of which combine to create his own unique sound. In the early ’90s he started DJing and quickly caught the hardware bug, buying his first drum machines and synths and writing his own material under the name Plant 43. In 2000, he co-founded London-based collective Bleep43, which has become renowned for its exceptional techno and electro line-ups at Corsica Studios in London. Since2002, he has played alongside such legends as Convextion, DJ Stingray, Omar S, Surgeon, Donato Dozzy, Legowelt, Scape One and Rob Euroh, as well as performing live in Athens, Riga, Turin and at the BLOC festival. Since releasing the highly renowned Grey Sky Cracks EP on Ai Records in 2007, Emile has been steadily building an impressive discography.”
SUN CITY GIRLS: Funeral Mariachi CD (ABD 045CD) 16.00
In stunning fashion, Sun City Girls’ final studio record caps a 27-year run for what many hail as the most bizarre, eclectic and provocative musical trio ever assembled. From the delirious intro of “Ben’s Radio” to the final drum crash of the title track, Funeral Mariachi delivers 11 well-crafted gems which display the refined studio production side of SCG shrouded in that otherworldly glow which has always separated the group from their contemporaries. Beyond the gorgeous folk and vocal styles which drive the album, there is a heavy retro Italian cinema influence, Arabic and Indonesian references, and a ghostly psychedelic moodiness throughout. Post-production and final mastering was completed by the Bishop Brothers after the untimely death of Charles Gocher in 2007 and the results will not disappoint followers of this impossible-to-describe unit. Funeral Mariachi provides a perfect introduction to the more melodic sector of the SCG universe surfacing, ironically, at the end of their career in the form of what someday should become one of the most beloved records they ever created. CD pressing housed in a beautiful, heavy-duty, 24-point, full-color mini-LP replica-styled gatefold jacket with the back cover photo taken during the last SCG photo session in 2006.
OESTERHELT/JOHANNES ENDERS, CARL: Divertimento Für Tenorsaxophon Und Kleines Ensemble CD (N 021CD) 15.50
Carl Oesterhelt (Tied & Tickled Trio, FSK, Carlofashion) and saxophonist Johannes Enders (Tied & Tickled Trio, Scalesenders, Triotope) belong to the first generation of the so-called Weilheim scene. This duo’s project, in its entirety, defies any classification. For that would be like trying to describe intuition, telekinesis or necromancy empirically. But even a musically scientific analysis or inclusive historical contextualization would shed no light on this album. An exorcism would be of no use, either, for Oesterhelt and Enders have created a hybrid out of the spirit of the new Vienna school of composed music and a kind of sultry jungle jazz. Imagine the Alban Berg Quartet playing exotica with their faces painted black and their eyes rolling. The two guys from Weilheim have taken lazy voodoo percussion played on maracas and calabash as the driving pulse of their music. Their suggestive energy runs through the sublime string arrangements and their wickedness is ever-present in the dark saxophone licks. We hear feverish breathing and lurking energy in the first piece. A cacophony of chattering saxophones, atonal violin glissandos and stoic maraca shaking greets the listener on No. 2. There are kalimba figures on No. 4 — a mere skeleton of a piece. A sad gypsy waltz takes form on No. 5 — a waltz that seamlessly transcends into a kind of harmonically-free fugue, only to flow into a dramatic, slow-mo rumba. It’s simply great how Oesterhelt and Enders invite you to delve deeper into this wonderfully multi-faceted and compelling music. Despite all the harmonic adventures and great stylistic diversity, Divertimento Für Tenorsaxophon Und Kleines Ensemble retains its moderate, even lazy tempo. This music walks a fine line between sleepy lounge music and neo-classical, unfolding its narcotically-bewitching effect. Line-up includes: Johannes Enders (tenor saxophone); Gertrud Schilde (violin); Markus Muench (violin); Tobias Weber (viola); Mathis Mayr (violoncello); Jost H. Hecker (violoncello); Juan S. Ruiz (double bass); Zoro Babel (percussion); Salewski (percussion, kalimba); Carl Oesterhelt (djembe, rattling, kalimba).
HEADHUNTERS, THE: Survival Of The Fittest LP (ARISTA 4038HLP) 13.00
Exact repro 180 gram reissue, originally released in 1975. First album recorded by The Headhunters without original band leader Herbie Hancock. Includes the oft-sampled “God Make Me Funky.”
WE LOVE: Underwater/Hide Me Remixes 12″ (BPC 223EP) 12.00
Italian duo We Love spring a surprise with two of their more unusual sounding pieces on this first 12″ for their smash debut full-length. Mannheim producer and DJ Johnny D turns “Underwater” into a surprisingly dark track which combines the melancholic atmosphere of the original with a solid, driving sound and hypnotic pulse. The flipside belongs to BPitch label boss and avowed We Love fan Ellen Allien herself. She comes up with a highly-personal club interpretation which only loosely references the original version of “Hide Me.”
DOP: Greatest Hits CD (CC 008CD) 17.00
dOP, the Parisian trio of Clément, Dam, and JAW, have been on a tear since they burst upon the scene, riling up dancefloors with their strange, sexy, infectious brand of irreverently soulful house, and leaving writers scratching their heads at the same. Resident Advisor’s Todd Burns came closest to getting it right when he credited them with “trying to reenergize house music with horns, roses, vodka and a whole lot of vocals.” Greatest Hits does all that and more. The title is deliberately misleading: aside from the opening track, reprised from their first EP, this is all new material, and it’s a deeper, more deviant dOP than you’ve ever heard before. The three musicians aren’t just great showmen but also real musicians: before discovering house music, they played rock, jazz, hip-hop, reggae, classical, and African music, and they bring that wealth of knowledge to bear in their quest to turn dance music inside out. So while the record has plenty of slinky funk and dirty grind, it also explores far more diverse moods and grooves, from hot jazz to autumnal, orchestral folk. Some of the richness of Greatest Hits can be credited to Emmanuel d’Orlando, a French composer and arranger known for his work in theater, soundtracks, and with artists like Sebastian Tellier. His arrangements, performed by the Macedonian Radio Symphonic Orchestra, lend much of the album the darkly cinematic feel of a Sofia Coppola film. Down in their basement studio, the three musicians used virtually every instrument they own — horns, pianino, Chinese flute, harmonica, melodica, cajon, gongs, cuica, analog synthesizers, acoustic drum kit — and many of their friends stopped by to contribute. Parisian minimal techno producer Seuil mans the computer on one track, and Guillaume Coutu Dumont sits in on balafon. Greatest Hits is definitely not just club music — it’s a snapshot of the dizziest years of these talented miscreants’ lives, festooned with horns, roses, vodka, and a whole lot of soul. Cover art by Tom & Léo and Myqua.
GIARDINI DI MIRO: Il Fuoco CD (CCO 048CD) 15.50
Giardini Di Mirò is a post-rock band born in Cavriago, Italy, a small town near Reggio Emilia. After the first EP in 1998, the band has not only released a ton of records, but has also toured like crazy, both their home Italy and the rest of Europe. So far, the band has released four full-length albums; the discography, however, also includes a multitude of EPs, remixes and exclusive tracks for compilations. While not working with the band, GDM’s members engage in solo projects, tapping into sounds and genres one would not necessarily expect from a band deeply routed in guitar music. Giardini Di Mirò has been on City Centre Offices’ watch for almost a decade and they are thrilled to release Il Fuoco as a first step in hopefully a long partnership. This album was originally released in Italy in 2009, and City Centre Offices is finally bringing the album to the rest of the world. Translated “The Fire,” Il Fuoco compiles music for Giovanni Pastrone’s silent movie of the same name. Released in 1915, the movie is considered a masterpiece of early 20th century Italian cinema and the result of Pastrone’s collaboration with Gabriele D’Annunzio. The movie is divided into three chapters, representing different moments of a morbid, yet passionate love story: “La Favilla” (“The Spark”), “La Fiamma” (“The Flame”) and “La Cenere” (“The Ash”). In October 2006, the Museo Nazionale Del Cinema in Turin commissioned the band to compose and perform a new soundtrack for the movie. After an incredible success in one live show, the band decided to turn the soundtrack into a proper album, taking the music composed for the film several steps further and adding new ideas. Il Fuoco is Giardini di Mirò’s most ambitious work to date.
CLOVER, THE: Spread Happiness EP 12″ (CYH 005EP) 12.00
The Clover guys from Florence, Italy bring the funk to CYH. After releases on Bosconi and Tenax, they offer three fresh tunes. Get ready for some monster bass lines.
TRAVERSABLE WORMHOLE: Traversable Wormhole – The Remixes Pt. 03 12″ (CLR 037EP) 12.50
Part 3 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 Surgeon and Brian Sanhaji.
STOJCHE: Whack Whack 12″ (CONSIST 004EP) 12.00
Stojche is a fresh, creative and promising talent from Macedonia. His three-track EP for the blossoming Consistent platform flows through strong, deeply rhythmic house music, rich with high-quality production values and unstoppable, addictive grooves.
ELFIN SADDLE: Wurld DVD (CST 069DVD) 21.50
“Elfin Saddle began working with Constellation in late 2008 when the label invited the group to record a new album at the Hotel2Tango studio in Montreal. Ringing For The Begin Again appeared in spring 2009. At the same time, the band’s co-founders were also completing a year-long art project involving sculpture, stop-motion animation and time-lapse video. Using the backyard of their Montreal apartment as an installation site, Emi and Jordan evolved and devolved an entire miniature world, conjuring an historical arc of civilization from early settlement and relative harmony with nature to gradual industrialization, mechanization and the inevitable discontents of over-production, waste and decline. Emi and Jordan worked on this installation every day for a year, meticulously building, shaping and documenting its trajectory with time-lapse video while also shooting many detailed sequences with stop-motion photography. The resulting work is a wondrous, unpretentious, gently mystical 23-minute video piece entitled Wurld, for which they also composed the soundtrack.” Package includes duotone poster, 3 x postcard set, 30 mins. of audio files: 16-bit wav + mp3 formats, and 86 mins. of video/art: DVD region 0 NTSC. Limited edition of 900 hand-numbered copies.
ELFIN SADDLE: Wurld 10″/DVD (CST 069LP) 31.00
“10” vinyl package, screen-printed and die-cut on thick board, with a 10″x10″ full color insert card, the 5″x7″ postcard set, and a larger 10″x20″ duotone art print poster. The 10″ package includes the DVD in a printed sleeve, inserted in the vinyl jacket. Limited to 500 hand-numbered copies.” 30 mins. of audio files: 16-bit wav + mp3 formats, and 86 mins. of video/art — DVD region 0 NTSC.
CHRIS & COSEY: Heartbeat LP (CTI 001LP) 19.50
Heartbeat is the first in a series of four limited-edition vinyl re-releases from the esteemed Chris & Cosey catalog. Originally released to much acclaim in 1981 by Rough Trade, Heartbeat was the first in a long line of groundbreaking albums by Chris Carter & Cosey Fanni Tutti. This early example of C&C features cut-up sampled voices, Cosey’s distorted guitar, industrial sequences, melodious synths and cinematic sweeps. These albums, which have been unavailable on vinyl for more than 20 years, have been painstakingly remastered by Chris Carter from the original master tapes specifically for these vinyl re-releases and showcase what many consider to be some of Chris & Cosey’s finest works from their eighties period. Each of the albums is presented on different colored vinyl, in a specially “remastered” sleeve, which also includes a 12″ B/W double-sided insert of archive photos, clippings and texts.
PULSHAR: Inside CD (DESOLAT 003CD) 17.00
This the first release on Desolat for Spain’s Pulshar, who are emerging as true musical heavyweights, with compositions that traverse the borderlands between spacious song-craft and the futuristic outer-reaches of the dub-techno universe. After receiving widespread critical acclaim for his various solo projects and remixes in 2009, Inside sees Pablo Bolivar reunited with the tender tenor tones of Aphro Sainz. On tracks like “Da Creator” and “Montparnasse 2am,” an easy house groove takes its time rolling out languidly, while mild melancholia, sample stabs and outer-space delays hark back to the heyday of On-U: a synthetic interpretation of King Tubby’s legacy that would sparkle in the early hours at a tech-house beach party. “Montparnasse 2am” incorporates eerie soundtrack fragments that explicate the duo’s love of classic cinema, and the penultimate track, “Above The Wall” provides another filmic fragment: with surf guitar twangs atop a blissful doo-wop haze. A little magic goes a long way, and the light shines bright on some of the more pop-filtered tunes, such as the whistling nuance of “United States Of Pulshar.” With its plaintive, optimistic melody repeated like a hip-hop sample and burbling synth touches, it could stand as a manifesto for the project. “California State Of Mind” lassoes elements of today’s West Coast beats scene and the synth-funk that preceded it, adding a tuneful dubby touch and letting everything melt together, while “S.T.A.R.S”. and “Distant Fire” incorporate post-garage patterns and weighty bass, showing the full arc of dub’s development. The two pay respect to their dub forefathers in a more literal manner on cleanly-polished gems like “Empty Suitcase” and “Stepping Stones,” a collaboration between Pulshar and Roberto Sanchez, who is a leading figure in the European roots reggae scene. Pulshar encompass the world of reggae influences and incorporate everything in their own distinctive, forward-looking style.
HENNIX, CATHERINE CHRISTER: The Electric Harpsichord CD/BOOK (DSART 010CD) 29.00
Known to the very few, The Electric Harpsichord is possibly THE obscure masterpiece of early American minimalism. Recorded live in 1976 after many years of study under the guidance of Pandit Pran Nath and La Monte Young, it has finally found the perfect home in the Die Schachtel ART catalog: a lavishly-produced and innovative silver/black cardboard 56-page book+CD edition, that gives the work the space and merit it deserves as a unique work of art, complete with two poems by La Monte Young especially written for this edition, and an extensive essay by Henry Flynt. An improvisation performed on just intonation-tuned keyboards put through time-lag accumulators similar to those used by Terry Riley, Hennix has produced one of the most remarkable pieces of music to emerge from the La Monte Young school of minimalism. A Sweden-born composer, who studied in the tradition of Xenakis and Stockhausen in the 1960s, Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970, and pursued studies with both men during the 1970s. While the use of the time-lag in Riley’s works such as “A Rainbow In Curved Air” results in an experience of blissful, focused, samadhi-like calm, Hennix’s drone work has more in common with the chaotic fluxes of psychedelic experience or the mandalas of Tibetan Buddhism. This is a moving eternity, a pulsating, shifting-something like a raga perhaps, insofar as a raga is a specific deity invoked into sound, fluttering inside the matrix of the drone. Catherine Christer Hennix: keyboard and custom sine wave generators. Recorded live at Moderna Museet, Stockholm, Sweden. Mastered by Giuseppe Ielasi.
VA: Musica Improvvisa 10CD BOX+DVD (ZEITIMP 001/010) 75.00
Musica Improvvisa is a cutting-edge project of multi-sensorial improvisation, an open dialogue among different musical experiences, narratives and aesthetics that charters the unexplored soundscape of the telluric territory of the new improvised music from Italy. Ten groups that span from the South to the North of Italy, from the well-known to the totally obscure, whose music goes from a harsh assault to the ear to a visionary post-electronic/post-everything free-form structure. The brilliant outcome has been lovingly packaged by Die Schachtel in a deluxe box featuring 10 full-length CD albums in a series of painstakingly-designed individual CD/LP sleeves, plus an additional DVD of visual scores to accompany CD4 PLUS a 24-page booklet AND a poster. DVD format: 16:9, PAL, region free, Stereo 2.0, Surround 5.1, total time: 45 minutes. Artists include: A Spirale, Amp 2, Amuleto, An Experiment In Navigation, Ligatura, Ossatura, Thau, Tumble, Wintermute, Xubuxue (CD+DVD).
DAG NASTY: Dag With Shawn CD (DIS 168CD) 11.00
“Available for the first time on LP or CD! Dag With Shawn was recorded on Halloween Day 1985 and features the original line-up of the band with Shawn Brown on vocals. Shortly after the recording Shawn left Dag Nasty and the tape was shelved. In early 1986 the band re-recorded the entire album with new vocalist Dave Smalley and released it as Can I Say. Shawn went on to form the much loved Swiz and Dag Nasty went through several more line-up changes over the years, including another vocal switch when Dave Smalley was replaced by Peter Cortner. This original session has only been previously available as partial out-takes and unauthorized bootlegs and, until now, has never been released in its complete form.”
DAG NASTY: Dag With Shawn LP (DIS 168LP) 13.00
LP version. Free album download included.
JAAR, NICOLAS: Love You Gotta Lose Again EP 10″ (DS 004EP) 12.00
This is a special edition all-white 10″ by Nicolas Jaar. It all kicks off with “WOUH,” a time-stopping piece with sparse arrangements, quirky gulps of sound and electric ambiance in a complex tapestry of harmony. The anthemic “Love You Gotta Lose Again” moves into contrasting boundless activity with broken beats, triumphant singing and pleasant guitar licks. “Don’t Believe The Hype” retreats into mystique again — a cascading mass of body-moving sound, simmering with secrecy.
SHANKAR, RAVI: Raga: A Film Journey Into The Soul Of India DVD (EMWM 002DVD) 25.00
“Originally released in 1971, Raga: A Film Journey Into The Soul Of India documents the life of sitar master Ravi Shankar in the late 1960s and early 1970s, following him on his return to India to revisit his guru, Bengali multi-instrumentalist and composer, Baba Ustad Allauddin Khan. It further explores Shankar’s life as a musician and teacher in the United States and Europe, initiating those in the West to the exceptional world that is Indian classical music and culture. Through rare and candid footage shot in both India and the United States, Raga sheds light on Shankar’s influences and collaborations, from Allauddin Khan to his famed dancer brother Uday Shankar, to his associations with Western musicians Yehudi Menuhin and George Harrison. Fully narrated by Shankar himself, the film reveals music as the soul of India and of Shankar’s life. The premiere DVD release of Raga was taken from a digitally-remastered 35mm print optimized to modern color range resolution and standard and a fully remastered audio soundtrack.” All region format; 97 minutes; stereo.
VA: 2000 And Space: The Mission Continues Vol. 1 2CD (ELUX 006CD) 21.00
As most people already thought electronica and chill-out had been forever spoiled and degraded to cheap sell-out labels by those countless and tasteless lounge and Ibiza compilations, a CD came flying in, ready to save us from this jazzy/lounge/chill-mess and renew our perspective on this genre. This creation is entitled 2000 And Space, and it’s nothing less than the latest project of Alex Azary and his Elektrolux to Elux records re-labelled imprint, which has been responsible for various seminal projects and releases since the beginning of the ’90s. Especially with the Euro-wide broadcasted TV nightshow Space Night on Bavarian stations BR and Br-Alpha, Alex Azary has significantly contributed to establishing electronic sounds and music in German TV, film and other mass-media. The last Space Night compilation Alex Azary compiled was Vol. 9, following attempts to keep the series going and benefit from the cult status of the series. This in mind, it doesn’t come as a surprise to see the shows for which the music has been selected by Alex Azary still on the air every night, after more than ten years. Now Alex Azary and Elux records present their 2k version of this format in full HD and with fresh new tracks, entitled 2000 And Space: The Mission Continues Vol. 1, a simply remarkable 2CD compilation, assembling the most sought-after and talented electronic artists and producers of now. Artists include: Luna City Express, Tycho, Lusine, Gui Boratto, Fous De La Mer, Espresso Del Lago, Gabriel La Mar, Das Kraftfuttermischwerk, Jonson, DJ Ino, Audiodrop, Phonosynthese, Ordell, Dan Curtin, Ripperton, Lawrence, Federleicht, Modern Walker, MorphOne, Daniel Paul, Sven Weisemann, Sublime Porte, Subsonic Park, Daniel Stefanik, Solee, Quantum Leap, and Aural Float.
MOUNT EERIE: Songs Islands Vol. 2 2LP (ELV 022LP) 28.50
“Song Islands Vol. II is the 2nd collection of scattered, isolated non-album tracks (get it? ‘islands’?) by Phil Elverum and his Mount Eerie project, vol. 1 having been released by K records in 2002 under the Microphones name. These songs span from long ago (‘Where Is My Tarp?’ from 2002, recorded during the Microphones’ perpetual occupation of Dub Narcotic Studio in Olympia) to recent out-takes from 2009’s Wind’s Poem (‘Lost Wisdom’ and ‘(wind lyrics),’ explorations into the mysteries of black metal) and all kinds of wildly divergent places in between. Raw poems barely accompanied on acoustic guitar, expanses of wooden percussion, distorted punk instructionals, hundreds of voices singing, an attempt at smooth jazz, the lowest note on a questionable piano in a big empty room. Many of these songs have never been released before, and the rest have only been released into ultra-obscurity on limited 7″ singles and forgotten compilations, finally compiled here for the first time onto 2 white vinyl LPs (with free download!), wrapped in a heavy gatefold jacket with a 32-page booklet of details, all enfolded in a fancy letterpressed bookband.”
MAHALINGAM, T.R.: Mali: Essential Recordings of Carnatic Bamboo Flute, 1969-70 2CD (EM 1089CD) 25.50
EM Records and Meditations, from Kyoto, are pleased to announce the reissue, on double vinyl and double CD, of two classic 1969 and 1970 LP releases from Indian bamboo flute legend T.R. Mahalingam, known as “Mali” to his fans. Born in Tamil Nadu in 1925, Mali was a true original whose musicality revolutionized Indian flute playing, elevating the instrument from its folk origins to the heights of art music, imbued with spirituality, without losing vitality or succumbing to the blandishments of fame. Mali was a beguiling combination of virtuosity, spirituality and rebelliousness, and his music reflects this, and much more. He was a legend and a master. Mali’s virtuosity was innate; he picked up the flute, against his father’s wishes, at the age of five, and gave his first performance at seven, to great acclaim, eventually playing with other legendary musicians including the revered violinist Palghat Mani Iyer. Mahalingam developed tremendous control of the instrument, able to sustain single notes for over 40 seconds, able to play any music after hearing it only once, but he used his virtuosity to serve the music, pursuing the Carnatic ideal of the voice as the purest form of music. He sang with the flute. In contrast with the mechanically-keyed Western flute, the Indian bamboo flute allows the player to directly touch the finger holes, allowing access to a wider range of tones and contributing to this vocal quality. Mali added an extra hole to his flutes, increasing his expressivity, and performed other modifications to bring him closer to the ideal of the human voice. Mali’s technical innovations also included the development of new fingering techniques and the introduction of a unique hand positioning, the “parrot clutch.” This relentless search allowed the flute, for the first time, to be elevated to the highest ranks of Carnatic music. Mali was spiritually driven. He had a life-changing religious experience at the age of sixteen, lending a sense of depth and introversion to his music. He claimed to have seen god many times while playing, and was known to cut concert appearances short in such instances. He was also said to have been able to communicate with birds through his music. Legendary in India, Mahalingam was very influential in Europe and North America also, especially among composers including La Monte Young and Terry Riley. Olivier Messiaen, another bird lover, was keenly interested in Mali’s music, and one may hear this influence in a number of Messiaen’s pieces. So, a legend. A master. And beyond words. Please listen to Mali.
MAHALINGAM, T.R.: Mali: Essential Recordings of Carnatic Bamboo Flute, 1969-70 2LP (EM 1089LP) 47.50
2LP version. Gatefold sleeve.
SATIE: Piano Works CD (EMI 631809CD) 13.00
Performed by Aldo Ciccolini. “No more committed or convincing champion of this music could be found than Ciccolini, who equally well conveys, for example, the tenderness of the fifth ‘Gnossienne,’ the pre-Poulenc pert humor and the charm of the ‘Morceaux en forme de poire’ and the frenetic gaiety of the ‘Grande ritournelle’ of ‘La Belle excentrique.'” –Gramophone
DROP THE LIME: FabricLive.53 CD (FABRIC 106CD) 17.00
“Pigeonholes are gracefully obliterated, and Drop The Lime’s signature all-in-the-box DJing style encompassed, on the thrilling, adventurous FabricLive.53. As with all DTL mixes, the most unlikely beats and artists suddenly make perfect sense alongside one another: the raw 303s of Maurice introduce acid to Untold’s future bump, Drop The Lime’s own housey summer hit ‘Sex Sax’ steps and twirls to the swing of Bill Haley & His Comets, and the glittery synth pop of Little Jinder fades into the melodic grace of Reso’s dubbed-out ambience. Filled with teasings of Drop The Lime’s newest work, and of course his unmistakable vocals, overall the mix is every bit as rare and passionate — and unpredictable — as the charismatic artist himself.”
FOSTER & THE VICTOR HERRERO BAND, JOSEPHINE: Anda Jaleo CD (FIRE 150CD) 15.50
Federico García Lorca’s popular folk song collection “Las Canciones Populares Españolas” was banned under Franco’s dictatorship and today the music survives but marginally within the Spanish subconscious. Taking their cue from Lorca and La Argentinita’s infectious 1931 recording of the songs, Josephine Foster and her partner Spanish musician Victor Herrero have arranged the poetically-rich collection for their new acoustic band, formed while living in the Grenadine Sierra. Anda Jaleo is the band’s live recording of “Las Canciones” — a visceral celebration of the persistence of popular anonymous song.
GIANT SAND: Valley Of Rain CD (FIRE 162CD) 15.50
2010 marks the 25th anniversary of Valley Of Rain, the 1985 debut album by Giant Sand, the ever-shifting alternative rock band overseen by “the Godfather of Alt. Country,” Howe Gelb. With that in mind, the band is celebrating in the only way they know how: with a flurry of great music. “Giant Sand is a mood,” says Howe of the record, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalog of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970s, it wasn’t until he moved to Tucson, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings: since then, Giant Sand have released 24 albums — an impressive haul when considering Howe’s equally prolific output under other projects including The Band Of Blacky Ranchette and Arizona Amp & Alternator as well as his solo releases. Giant Sand’s 2000 album Chore Of Enchantment has been declared one of the Best 1,000 Records Ever Made and scooped up plaudits from NME and The Guardian, amongst others, with the former insisting the record cemented his reputation as “a founding father of modern Americana.” Howe and his band will be marking the 25th anniversary of the release of Valley Of Rain by hosting a very special evening of brand-new collaborations and performances at The Barbican, along with other UK dates, before the release of the new album Blurry Blue Mountain. And with the reissues and Giant Sand box set still to come from Fire Records, 2010 will certainly be a celebration to remember for Howe and all of his fans. Includes two bonus tracks.
FRITH, FRED: Live In Japan CD (FRO 012CD) 19.00
“These concerts were part of a solo tour of Japan organized by the now-defunct magazine Fool’s Mate. The music on the CD was first released in 1982 by Recommended Records Japan as a 2LP box set in a limited edition of 1,000. The tapes were returned to Japan after mastering in New York, and at some time during the ensuing 20 years, they disappeared. All efforts to unearth them failed. This version was meticulously re-created from 96K vinyl transfers by Tom Dimuzio over a period of several months in 2007, an amazing labor of love. ‘In 1974, during the recording of my first LP Guitar Solos, I had placed two guitars on the floor, necks parallel, and improvised a piece using that configuration. Although I pursued the idea in subsequent recordings, notably ‘Water/Struggle/The North’ On Guitar Solos 2, I never performed concerts in this way until I arrived in New York in 1978 and was persuaded to make a cameo appearance at Giorgio Gomelsky’s Manifestival using borrowed instruments. This was a defining moment for me, and for the next few years the ‘guitars on the table approach’ became my preferred way of playing solo. The Japanese tour was the culmination of this period. Afterwards I abandoned the guitar, preferring homemade instruments made out of slabs of wood. When I returned to the guitar as a vehicle for improvisation a couple of years later, it was in the conventional position.'” –Fred Frith
VA: Gem Sampler 2.1 12″ (GEM 006EP) 12.00
Artists featured on Gem Sampler 2.1 are Secret Cinema and Tom Laws, who both dropped a big fat techno bomb and Peter Horrevorts, who supplies us with a huge peak-time loop-disco tech stomper.
SUN CITY GIRLS: Dante’s Disneyland Inferno 3LP BOX (GET 719LP) 57.00
“Dark and twisted storytelling by Charles Gocher backed by a variety of instrumental moods: bongo bohemia, C&W, lounge swing-swong, ooga-booga rock, children’s melodies and all things in between. Includes two ‘Uncle Jim’ pieces, his first appearance since the debut LP in 1984. Also, ‘Hector and Chino’ features guest vocals by 9-year-old Crystal Gallegos. Much of the material on this release was originally recorded during the Torch of the Mystics sessions, remixed by Scott Colburn and the band.”
LITTER, THE: $100 Fine LP (GHAS 5017LP) 15.00
“Minneapolis ’60s garage powerhouse’s second album, now on 180 gram high quality vinyl for the first time. Includes a great 12×12 glossy insert with story and photos.”
LITTER, THE: Distortions LP (GHAS 5020LP) 15.00
“Fabulous ’60s garage reissue. Debut album by legendary Minnesotans, includes new liner notes and great photos and art.”
MENDES & ALCADA: Night Of The Bath/In The Morning 12″ (INTSPE 002EP) 12.00
Hailing from Lisbon, Mendes & Alçada is a project by Pedro Alcada and Lux resident, Tiago Miranda. While DJing with Tiago at Lux, Prins Thomas was handed demos of 3 tracks in progress with the invitation to produce the finished music. Two years and 3 computer crashes later, two of these tracks survived. In the meantime, Tiago has turned into a perfectly capable producer himself, releasing music on Ene Records and Italians Do It Better as T&K (with Kaos).
METOPE: Defender/Zonic 12″ (IRR 007EP) 12.00
It’s not unlikely that you will sometimes find the most beautiful houses in the most unexpected corners of Berlin. For the 7th release on International Records Recordings, co-founder Metope stayed at home all summer long to work on these tracks just to make everyone happy. It’s always a special moment for Metopology when it covers you in a warm coat of confidence.
TOUBAB ALL STARS: Mekfoul District CD (IRIS 3002014) 20.00
“A world away from Pariss tourist traps, Barbes is one of the city’s less visited but most fascinating corners. It is an Arab and African enclave that provides a unique and rich color to Paris’ cultural landscape. Both Chant du Monde artists Orchestre National de Barbes and the Toubab All Stars are based here, but their stylistic approaches could not be more different. Orchestre National de Barbes focuses on the music of North Africa for their source material, while the Toubab All Stars have blended the music of Jamaica and sub-Saharan Africa, brilliantly absorbing ska, dancehall and soukous styles in a thrilling, hard-to-resist formula.”
KIMONO: Easy Music For Difficult People CD (KRCD 015CD) 15.50
This is the third studio album from Icelandic progressive guitar/math rock band, Kimono. Easy Music For Difficult People marks a significant change in style for the band, returning as a trio with their first album since 2007. The band, which was formerly a quartet, has been active for eight years and has released two studio albums, one EP and one dub album based on their 2003 debut. At just over 30 minutes and featuring nine songs, the album represents a shift from the “calm before the storm” soundscape (with which the band has been associated on their previous records) to a full-on post-punk album where urgency, darkness and immediacy hold sway. This time around, Kimono took their time polishing their sound with the songs that comprise Easy Music For Difficult People. After experimenting with live multi-track recordings in their studio in downtown Reykjavík, the band recruited Arctic Death Ship engineer Aron Arnarsson and recorded the entire album live over a long weekend in the summer of 2009. Lead singer and guitarist Alex MacNeil manned the post of producer. All instruments, amplification and drums were set up in one space with no dividers to isolate the roaring interplay of guitars from the relentless sonic attack of the drums. The result is an electrifying studio album where the band has attempted and succeeded in bringing its notable live experience right to your stereo.
BOUCHET, SEBASTIEN: Fallen Angel 12″ (KOM 218EP) 12.00
Berlin-based with Parisian tastes, Sebastien Bouchet is groomed to be Kompakt’s most charming producer for 2011. A regular on the DJ scene for years with releases for Freak n’ Chic and Hypercolour, he presents his first 12″ single for Kompakt. “Imbalance” is a curtain-closing for many a late-hour after-party session. “Tempestuous” combines the ramblings of a madman with a relentless bass drum thump. “Fallen Angel” seeks melody and finds it — glistening with emotion and beauty.
MCBRIDE, BRIAN: The Effective Disconnect CD (KRANK 150CD) 13.00
Subtitled: Music Composed For The Documentary Vanishing Of The Bees. “From Brian McBride: ‘When George and Myriam approached me to compose for their film they suggested I concentrate on four different themes: the gloriousness of the bees, the endurance and hardships of traditional beekeepers, pesticides and the holistic nature of non-industrial agriculture. I was especially intrigued with the idea of combining some of their mournful aspirations with something more serene. Composing began in May of 2009. I had decided to start fresh not using anything that I had already recorded. Preparing the music for the film, I knew that I needed to provide more built-in changes in the structure of the pieces to give George and Myriam more flexibility. As I worked, I purposely distanced myself from the more continuous architecture employed in my previous recordings in favor of several mini-suites. In the thinking about the music, I hoped that the pieces would do justice to the ‘gloriousness of the bees’ theme, striving for a more overt hopeful quality. But old traditions die-hard and the hopeful side of the music was eventually more subsumed by the lamentable. I should also mention that if you have seen the film, this record will not contain all the music used and scored for this film. I am incredibly honored to be a part of this project even if the final compositions turned out to be more appropriate for a different and more forlorn film. I know you have a lot to think about in this world but if you care about food or the world around us, you deserve to at least consider the arguments within this honest and real piece of film-making.'”
MCBRIDE, BRIAN: The Effective Disconnect LP (KRANK 150LP) 13.00
LOW: Christmas LP (KRANK 153LP) 13.00
“First time vinyl release for this classic Low holiday recording. We would suggest that few bands from an ostensibly ‘indie rock’ background should release Christmas music, if not out of respect for the holiday or material then at least out of a sense of self-esteem. Low, however, were made for this. Their attention to musical detail combined with the heavenly vocal harmonies of Alan Sparhawk and Mimi Parker are perfectly attuned to both traditional carols like ‘Silent Night’ and more contemporary tunes such as ‘Blue Christmas.’ Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Low’s 20º Below studio in Duluth, MN. ‘If You Were Born Today’ and ‘Blue Christmas’ were released as a 7″ single in 1997 on the English Wurlitzer Jukebox label, while ‘Taking Down The Tree’ is taken from a 1998 compilation of live recordings issued by the Dutch VPRO radio station.”
SOARS: Soars CD (LSE 018CD) 12.00
“Soars is a reflection and by-product of Eastern Pennsylvania’s Lehigh Valley; a fertile creative pool over the past decade, spawning a healthy number of noise/experimental/punk artists, bands, and venues (Brother JT, Pearls & Brass, etc). With NYC and Philadelphia in close proximity, it’s all too common for the artist-as-drone to flee one’s breeding grounds, leaving the assiduous worker-bees to tend the hive. Comprised of four long-time mainstays of the LV’s spirited independent community (members of Memes, Goodnight Stars Goodnight Air, Dark Circles and We Have Heaven), the band’s atmospheric scapes of dream-pop are awash with gauzy hints of Cocteau Twins and My Bloody Valentine, propelled by lockstep industrial rhythms. While destroying and rebuilding sonic textures and lyrical myth, Soars mirrors the depth, beauty, and character of their regenerative post-decay rust-belt colony.”
SOARS: Soars LP (LSE 018LP) 14.50
LP version. Limited edition colored vinyl — digital download included.
NEW YORK DOLLS: Live At Radio Luxembourg, Paris – Dec. 1973 LP+CD (LR 308LP) 27.00
“Before punk rock had a name, its name was the New York Dolls. Recorded for a radio broadcast in Paris in December 1973, this is arguably THE best existing live recording of the Dolls in their prime, complete with stage banter, appalling attempts at fake French accents and a whole lot of drug-fuelled attitude. It’s almost as if you were there, and for those of us who weren’t, this is definitely the next best thing. In addition to thrashing through their ‘hits,’ the Dolls revealed their roots in covers of Bo Diddley, Muddy Waters, and New York’s original bad girls, the Shangri-Las.” 180 gram HQ vinyl featuring a bonus CD of the album.
CAN: Out Of Reach LP+CD (LR 309LP) 27.00
“Originally released in 1978, Out Of Reach was one of Can’s last albums before their official disbandment in 1979. Here, original bass player Holger Czukay is replaced by a much more funky Rosko Gee (of Traffic fame) — who plays a prominent role in shaping the sound of this album, writing and singing on a number of the album’s tracks — while drumming duties are shared between Jaki Liebezeit and Reebop Kwaku Baah (also from Traffic), making this one of Can’s more groove-heavy releases.” 180 gram HQ vinyl featuring a bonus CD of the album.
FLEETWOOD MAC: In London LP+CD (LR 311LP) 30.00
“This early archive concert of Peter Green’s Fleetwood Mac, before Danny Kirwan, is one of the earliest existing live recordings of the band, recorded on April 27, 1968 at a concert given at the Polytechnic of Central London, just a few months after the release of their debut album. Here, the band’s heavy blues influence dominates their sound as they play through a set of mainly blues covers, many of which do not appear on any other recording.” Gatefold sleeve. 180 gram HQ vinyl album featuring a bonus CD of the album, so that you can have the analog and the digital for the price of one.
ROGER & WENDY: Love Rog & Wem CD (LION 639CD) 15.00
“Formerly of 1960s U.S. psych-folk band Euphoria (MGM/Heritage), not to mention veterans of the late 1960s Greenwich Village coffee-house scene that spawned many a career, Roger & Wendy made this private press album for family and friends in 1971, in an edition of 50 copies. They later renamed themselves Bermuda Triangle; their recently reissued 1977 album under that name has garnered terrific reviews throughout the years. ‘It started in New York City with the guy across the hall, who was missing two fingers, saying he earned money playing flamenco guitar in a Greenwich Village coffeehouse. Roger and Wendy (we two, the two of us) exchanged glances. Could it be that easy to get paid for making music? We put together some songs which featured our vocals and Roger’s autoharp, and headed from our 5th floor walk-up slum tenement, where the holes through the ancient brick wall were big enough for snow to blow in, across town to the BASEMENT coffeehouse on MacDougal St. (in the Village) to audition. Hired after one song, we played our first sets that night and every night thereafter ’til 4 A.M., seven nights a week, 365 days a year. At the time, the coffeehouses were called basket houses, since the only pay you got was what was collected in a straw basket passed around at the end of each twenty minute set. Stephen Stills said, ‘I love your guys’ music,’ and dropped $20 in, which more than half covered our $35 a month rent.’ So begins the tale. With strong roots in folk music, Roger & Wendy have electric and often unconventional arrangements. The lyrics are complex and symbolic, the instrumentation very unusual. Roger is also the inventor of much of the technology required to create multiple effects that achieve a multidimensional quality: passages that listeners mistake for electric guitar are actually autoharp. Roger redesigned the autoharp’s chord structure to facilitate switching between keys; now all major autoharp manufacturers worldwide make autoharps using his design. And as for Wendy, women bass players were a rarity in the ’60s, and still are today. Consequently, their groups (then and now) have always been far out there beyond the leading edge. The Roger & Wendy Love Rog & Wem album is an alluring collection of shimmering psych-folk gems, and is the rarest of the duo’s records (fetching $900+). A superb artifact from the early 1970s underground psych-folk scene, taken from the original master tapes, and using the original sleeve artwork for this deluxe mini-LP sleeve reissue. Booklet has photos, great stories, and five bonus tracks, too!”
RAUDIVE: Chamber Music CD (MACROM 019CD) 17.00
Over the past 14 years, London’s Oliver Ho aka Raudive has gathered a worldwide following with his research into deep techno, through his legendary Meta label and with his unique DJ gigs from New York to Berlin to Tokyo. Introducing the Raudive alias, he created a reduced, sexy, dancefloor-centered wave of greatness for labels from Drumcode to Cocoon. This sound turned out to be highly attractive for the DJs to play and for the girls and boys to dance to. The unparalleled appeal of his beats left the usual minimal competitors sounding rather dull. Thus, Raudive quickly became the blueprint of techno modernism with one of today’s most influential genre-bending production styles. With his Cone and Paper EPs, he is now a key artist of the ever-brilliant Macro family, and just having launched his own new Wires imprint, the man is more than on fire. Forming the hallmark of the Raudive saga, Macro unleashes the highly-anticipated debut album, Chamber Music. This album is both claustrophobic in sound design, reminiscent of the dark and sweaty concrete club spaces this music inhabits, and carries acoustic qualities of induced instrumental experimentalism. Bitches Brew-voodoo reeds, New York no wave voices and European avant strings spin a mesmerizing, dark patina around the ultra-sexy year-3000-rhythms. No wonder there’s huge DJ support all across the board — from Miss Kittin to Surgeon to Sven Väth to Jeff Mills. Massive, deep edge and one of 2010’s finest albums, so far.
WHITE RAINBOW/STAG HARE: White Stag 12″ (MAR 066LP) 12.00
“This is a collaborative record between electronic psychedelic artists Stag Hare and White Rainbow. Two tracks, with a third as digital download only, included with the album. Side one is a remix of the track that is not on the vinyl. White Rainbow took the source that was still in the machines immediately after collaboratively jamming and made a chugging propulsive mega house remix that, midway through, divulges into fuzzed-out ambient guitar blankets, hand percussion drum circle loops and vocal swells before tripping over itself and diffusing into a million shattered pieces of its former self. Side two is a collage, where White Rainbow creates a thick multi-layered ocean of chugging trap-drum loops, with Stag Hare embellishing via whispered vocal incantations, vibe-shop wind chime wafts, and dream-time clean guitar billows. Burns as clean as the finest cedar incense with all the windows open after a fresh autumn rain.”
HIJIKATA, TATSUMI: Summer Storm DVD (MC 1160DVD) 17.00
“Ankoku Butoh (Dance of Darkness) is the avant-garde dance form born out of the devastation of post WWII Japan but also influenced by Dadaism, Surrealism and Antonin Artaud’s Theatre of Cruelty. Its legendary founder, Hijikata Tatsumi, is the supreme figure in the last half-century of Japan’s experimental culture, a seminal and inspirational presence there for artists, choreographers, filmmakers, musicians and writers. His final performance with his dancers, Summer Storm, took place in 1973 at the Westside Auditorium of Kyoto University. Three cameramen with small 8mm cameras filmed the entire performance in color, one close-up to the dancers’ faces and bodies, the second from the middle of the auditorium, and the third from the back of the hall. As with the other performances, the ghostly images of Hijikata and his dancers were outlined against a deep, engulfing darkness. The following year, Hijikata would choose to live in seclusion until his death in 1986. The celluloid images were restored in 2003 and are presented on this DVD — a first for American audiences. Performances by Hijikata Tatsumi, Yoko Ashikawa, Kobayashi Saga and Waguri Yukio. Music by YAS-KAZ. Directed by Misao Arai. Bonus Features: Video interview with film scholar Donald Richie, Still gallery. 71 mins, Color, Japanese w/ English subtitles. DVD, NTSC, Region 0 (All).”
MORGENSTERN, BARBARA: Fan No. 2 2CD (MONIKA 070CD) 14.50
Fan No. 2 is a round-up of Berlin-based electro-indie queen Barbara Morgenstern’s extensive recorded output to-date, including previously-unreleased versions and never-before-heard mixes as well as brand-new exclusive tracks. As a special treat for fans of the Berlin singer, musician and producer, the double CD set includes a bonus CD of her two early EPs Plastikreport and Enter The Partyzone, which get their first official release here. The collection is a guided tour through Morgenstern’s catalog, starting from her first release on Monika, Vermona ET 6-1, named after the cult organ that BM put to such great use on all of her early work. The version of “Das Wort” contained on Fan No. 2 is a Monika Enterprise rarity that has its first proper release here. Then there’s Thomas Fehlmann’s “Mix Expansion” version of “Der Augenblick”; another previously-unreleased track originally taken from the Fjorden (MONIKA 016CD) album. There are 2 tracks from 2003’s seminal Nichts Muss album (MONIKA 033CD/LP), produced by ~scape label founder Stefan Betke aka Pole, who has also remastered all the tracks on this double CD set. The piano version of “The Operator” is dedicated to Scottish pianist and composer Bill Wells (with whom Barbara has released on Leaf and Karaoke Kalk) and was so far only available on the single of this song. “Camouflage” from BM (MONIKA 064CD), represents another major milestone in Morgenstern’s career — she always wanted to work with Robert Wyatt and the dream came true with this delightfully moving song. The second number from BM is the anthemic “Come To Berlin.” This powerful hit appears in this collection as a brand-new edit of the original 12″ single track. Fan No. 2 draws to a close with 3 more previously-unreleased tracks. “Mountainplace” originally appeared on Chicks On Speed’s acclaimed Girl Monster compilation, but the version included on here is an exclusive version. “Wegbereiter” and “Blackbird” on the other hand, are both completely brand-new, exclusive tracks. The first sees BM typically walking a fine line between kitsch and heart-wrenching while the later, a cover of The Beatles song, is unashamed, uplifting pop. Fan No. 2 charts the course of Barbara Morgenstern’s catalog and the development of her style. Not quite a “best of” in the conventional sense of the term, but still packed with hits.
DEATH IN JUNE: Occidental Martyr 10″ PIC DISC (NERUS 009LP) 23.00
“Death In June’s Occidental Martyr was originally released in 1995. It features screen actor Max Wearing reading lyrics to Death In June songs over a soundtrack recorded by Douglas P. specially for the album. Max Wearing appeared in Peter Weir’s Gallipoli (1981), and Richard Wolstencroft’s Pearls Before Swine (1999). This picture disc edition is limited to 500 copies, and includes two postcards.”
DEATH IN JUNE: Burial/Death Of The West LP + 7″ (UBAD VC4P) 34.00
“Burial is a half studio, half live album originally released in 1984 on Leprosy Discs. It was the last recording to feature the original Death In June line-up, as Tony Wakeford departed the group shortly thereafter. Now issued for the first time as a picture disc, in an edition of 500 copies. Includes bonus 7″ picture disc with re-recorded versions of ‘Death Of The West’ and ‘Heaven Street’.”
PARR, CHARLIE: When The Devil Goes Blind LP (NN 016LP) 18.50
LP version. 180 gram vinyl with tip-on sleeves. The legendary Charlie Parr’s spellbinding finger picking and slide techniques on guitar and banjo place him front & center among the world’s foremost string-benders. His blood & guts songs are infused with an originality, integrity and heart rarely (if ever) displayed by contemporaries operating in or around pre-war blues traditions. In 2010, he’s enjoying an ever-growing fan base comprised of folk-blues purists, American Primitive beard-scratchers, jam band-lovin’ neo-hippies, etc. Produced by Bo Ramsey (former guitarist with Greg Brown and Lucinda Williams), Charlie’s first nationally-distributed record is easily his most fully-realized effort to date.
CURRAN, ALVIN: Solo Works: The ’70s 3CD (NW 80713CD) 45.00
“I am happy to stand again in front of all these free-wheeling tone paintings and look back — embracing both their concrete and their purely ephemeral, abstract qualities — while reflecting on how much these four seminal works determined the music I made afterward, similarly inspired by the rhythms, colors, and eternal durations of nature and the immediacy and knowledge of making music with anything at hand.” –Alvin Curran “This historic collection gathers together the four seminal solo albums recorded by Alvin Curran (b. 1938) in the 1970s. Two, Fiori Chiari Fiori Oscuri (1974) and The Works (1976), are making their first appearance on CD. Author/critic Tim Page, an early advocate of these works, writes, ‘Curran weaves electronic technology, an occasional acoustic instrument, voices and musique concrète (‘found’ music) into a multi-hued tapestry of sound. He holds these dissimilar elements together with a compelling subliminal musical consciousness; the listener never feels that Curran is deliberately being clever, or that he is out to impress, shock or self-consciously ‘expand the musical language.’ Curran’s eclecticism is not willful; his sounds are there because they fit, and they convey a subtle and ingratiating sense of mysticism. These challenging, multi-faceted compositions manage, through their very catholicity, to synthesize and perfect a striking new musical syntax uniquely Curran’s own.'”
GLASS, PHILIP: Violin Concerto No.2 – The American Four Seasons CD (OMM 072CD) 19.00
“Orange Mountain Music presents Philip Glass’ second violin concerto, subtitled The American Four Seasons, performed by violinist Robert McDuffie accompanied by the London Philharmonic Orchestra under the direction of Marin Alsop. This live performance was captured on the occasion of the UK premiere of the work in the spring of 2010. The concerto is in four movements, with each movement preceded by a piece for solo violin comprised of a prologue and three songs. The strings-only orchestra is complemented by a synthesizer producing a sound palette that harkens back to the Philip Glass of the 1970s. The American Four Seasons was commissioned by McDuffie to act as a companion piece to Vivaldi’s Four Seasons concertos, which are among the most performed and recorded works in the history of music.”
ASMARA ALL STARS: Eritrea’s Got Soul CD (OH 016CD) 15.50
Eritrea is back. After 30 years of war with Ethiopia and a decade of seclusion, the Asmara All Stars now introduce some of the best musicians and vocalists from Eritrea on Eritrea’s Got Soul. Eritrea has been almost cut-off from most outside influences since the early ’70s. Recording an album is not an easy task in a country where many aspects of life are dominated by political concerns, and where every working musician gets a salary from the state. The Asmara All Star project is all about leaving politics behind and focusing on making exciting music. At first, French producer Bruno Blum had a hard time getting the ball rolling, but eventually more and more musicians got excited by his unusual approach and talent began flocking to the studio. In the end, ideas were flowing freely in Asmara, with albeit a few obstacles along the way. The fruits of this long but ultimately rewarding process are now released on this very special album. In a way, Eritrea has vanished from the world’s radar. Music lovers around the world have been showing a huge interest in Ethiopian reissues from the ’70s. A closer look reveals that many of the musicians on “vintage Ethiopian” recordings were really Eritrean. Today, the Asmara All Stars continue to play in a style reminiscent of the golden age of the big band sound, charged with Eri-jazz, soul and roots reggae. The decades of isolation have somehow kept this music alive. The album was recorded in Asmara, Eritrea’s capital city, in 2008 with a heavy, analog live band sound featuring electric krar, a full horn section, a funky organ and haunting vocals by some of the country’s most famous singers. Young singer Temasgen Yared came up with the soulful “Ykre Belni,” seemingly straight out of the heyday of Abyssinian soul jazz. Another highlight is Faytinga’s “Amajo,” which fuses Kunama rhythms with a roots reggae beat, and Mahmoud Ahmed Omer delivering the uptempo dancefloor smash “Adunia,” featuring a rare sample of local hip-hop. Eritrea’s Got Soul explores the vast variety of this country’s genuine music: Tigré legends Ibrahim Goret and Brkti Weldeslassie stand alongside the raw “blues” “Inedir” by Adam Hamid and the beautiful talent of young Sara Teklesenbet. The album brings together different musical styles and rarely heard languages by eight ethnic groups, including Kunama, Nara, Bilen, Afar, Saho, Hedaareb, Tigré and Tigrigna. A rebirth of urban Eritrean music from the depths of the country’s rich history.
ASMARA ALL STARS: Eritrea’s Got Soul LP (OH 016LP) 20.00
LP version. Available on heavy 180 gram vinyl. Includes free digital download code plus bonus tracks. Limited to 500 copies. Eritrea is back. After 30 years of war with Ethiopia and a decade of seclusion, the Asmara All Stars now introduce some of the best musicians and vocalists from Eritrea on Eritrea’s Got Soul. The Asmara All Stars continue to play in a style reminiscent of the golden age of the big band sound, charged with Eri-jazz, soul and roots reggae. The album was recorded in Asmara, Eritrea’s capital city in 2008 with a heavy, analog live band sound featuring electric krar, a full horn section, a funky organ and haunting vocals by some of the country’s most famous singers. A rebirth of urban Eritrean music from the depths of the country’s rich history.
ABILITY II: Pressure Dub 12″ (FOOT 013EP) 11.00
“Heavy vinyl repressing of one of the finest house tracks ever made. Previously impossible to find. One of the most mind-melting, genre-bending, dimension-crossing, consciousness-morphing pieces of music ever put to vinyl has finally been reissued! The bleep classic ‘Pressure’ by Ability II remains a stunning realization of electronic music’s futurism: one listen leaves the impression that this record must have come from some far-off solar system unbeknownst to our lesser life form, left to us by a nobler species as their sole contribution to the historical undertaking of mankind. Erasing all memory of tradition, precedent or genealogical origin and taking a brave new step forward into a new musical landscape that would feel right at home in the most unsettling robotic nightmares of a Phillip K. Dick prophecy, ‘Pressure”s 1990 release is a testament to UK rave culture’s ingenuity, void as it is of the persistent murmuring echoes of dance music’s past barring a rather serious mutation of reggae’s echo/delay and colossus low-end. Dream-induced, floating synth pads, unsettling cut-and-paste vocal samplings strung out over endlessly unfolding delays, the screeching moans of a possessed machine, tough as cryptonite snares leading the unrelenting percussive march: every element of ‘Pressure’ harbors an extraterrestrial oddity that still sounds utterly funky thanks to its sustained sub-bass assault. Ability II’s only 12″ release has been guarded with the fanatical zeal of a religious devotee protecting their one material link to a higher power — as such it has been about as hard to locate as the Holy Grail itself. Thankfully this pressing allows the uninitiated to take the same ride through cosmic revelation that the chosen ones have, converting believers to the existence of more enlightened creatures than ourselves — not in the greater universe but right here on Earth, private geniuses pushing a true electronic music that is tired of looking backwards for its inspirations and determined to forge a new path ahead despite the weights of the past.”
POOLEY & SPENCER PARKER, IAN: Kinderteller/Jolesch 12″ (OVM 210EP) 11.00
Legendary producer Ian Pooley has partnered up with up-and-coming producer Spencer Parker to create a very dynamic duo. This release brings us a sound that touches on some of Ian’s disco-infused monsters from the past with an update. “Kinderteller” is a jacking, piano-driven monster that will rock any dancefloor. “Jolesch” is driven by a funky Rhodes line with an infectious female vocal sample. Two funky monsters that make for an incredible Ovum debut.
ABER, SHLOMI: Chicago Days/Detroit Nights CD (OVM 9010CD) 12.50
Recognized as one of the main techno pioneers and influential artists of recent times, Shlomi Aber has a personal approach, married with 12 years production experience, that takes influence from jazz, funk, minimal, acid and, in particular, the old-school Detroit techno movement. Aber has created some of the most recognizable and unique techno of modern times, boasting some of the world’s most prestigious labels on his ever-expanding CV: Cocoon, Ovum, R&S and Renaissance, to name but a few. Growing from the classic Tel Aviv ’90s underground dance scene, Shlomi’s rise through the DJ ranks of his native environment is a house fairytale in its purest form, beginning with throwing regular parties for his mates in his parents’ garage when he was just 14, to playing massive events such as the Love Parade, Gay Parade, Dance & Levis, and many others. Shlomi was selected one of Beatport’s artists of the year for 2008 and also received a respected “Worldwide DJ Awards” nomination, placing Shlomi in the first tier of electronic music artists, headlining every prestigious club, festival or venue worldwide. 2006 saw Shlomi launch his own imprint, bookings, and artist management agency. This heralded the birth of one of the most established and top-leading labels of the underground dance music scene, the Be As One imprint. The label, with its broad range of quality underground house and techno, has become a firm favorite with the world’s elite, with the only constant being that “a track must have the right feeling and stand out in its own way.” After another successful EP release in 2010, Shlomi finally brings us his debut album on Ovum Chicago Days/Detroit Nights. Shlomi really shows his diversity on this LP, from the driving main-floor monsters of “Groove Mechanism” to the melodic beauty of “Taped And Gorgeous.” Shlomi takes you on a journey and reveals why he is one of the most sought-after and respected producers at the moment.
ABER, SHLOMI: Chicago Days Detroit Nights 2×12″ (OVM 9010EP) 18.00
AZARI & III: Reckless With Your Remixes2 12″ (PERMVAC 067EP) 12.00
Azari & III present a banging 12″ with two remixes from DJ Sneak. And Sneak does what Sneak does best: disco-infected and loop-oriented house music. The full vocal mix has a more moderate tempo while the “Gangstaz Dub” speeds up the tempo a bit. The remix from label heads Tom Bioly and Benjamin Fröhlich bring beats + bells + piano/vocal break + organ loop + strings + angel voices + happiness.
LOSOUL: Care Remixe Pt. 3 12″ (PLAY 159EP) 12.00
Here is the third part of the 12″ remix package of tracks from Losoul’s Care (PLAY 024CD). Paris-based producer duo Chloé & Krikor perform together as Plein Soleil, and on the flip you’ll find a pretty funky old school-styled mix by Stuttgart’s hottest house producer Danilow Plessow, better known as Motor City Drum Ensemble. As a bonus you’ll find the original of Losoul’s “Deuce” — one of his most played tracks which hasn’t been released on vinyl yet.
FLATNER & LOPAZZ, ALEX: Dinosaurs 12″ (PFR 114EP) 12.00
Two true heroes of underground electronic music, Alex Flatner & Lopazz step up the game with this outing on Poker Flat. The original version of “Dinosaurs” is an energetic jam with a super-solid bass foundation, harkening back to the trippy, percussive sound worlds of classic Poker Flat releases from the likes of Guido Schneider. Paul Woolford hands in his “Mannheim” remix, which takes a freaky, percussive edge and steps up the energy even further in this amazing workout.
TIROGO: Float CD (QDK 052CD) 15.50
Tirogo is another great sample of lost African psychedelic music. It was recorded in Nigeria in 1977 and originally released on EMI, same as the great album BLO-Chapter One. This Nigerian psych-rock band Tirogo is similar to bands such as Ofege, Blo, Founders 15, Doves, and Aktion. Great African songs covered with wild guitar solos, spooky organ, great beats and strong vocals. There are four guys pictured on the cover, but six young men were actually in the band. It is getting harder and harder to find lost African bands these days, since there has been a big resurgence in the international music scene to hunt for good material. With the massive help of collectors and Now Again Records in the USA who actually went to Nigeria to sign the boys, QDK Media are able to present this amazing album to you. It will suit the same music lovers who enjoy Amanaz, Witch!, Question Mark and Blo. Band members include: Wilfred Ekanem (bass, percussion, lead vocals); Elvy Akhionbare (lead guitar, percussion); Wilfred Iwang (drums, vocals, percussion); Fumi Onabolu (keyboards, percussion); Godwin Debogie (conga, percussion, vocals).
WITCH: Introduction CD (QDK 053CD) 15.50
QDK Media presents the stellar first album from Zambian psych-rockers Witch — originally privately-pressed on a small local label in 1973. Another out-of-nowhere African ’70s rock discovery in the Blo mold, this five-piece electric band plays in a strong, electric African underground style. Introduction features tons of wah-wah fuzz guitar on every track, African-style beats and vocals and all original songs. After the successful release of the other Witch album Lazy Bones!! (QDK 050CD), here is Introduction, with crazy and wild fuzz guitars all over and chanting — as good as it gets. An incredibly cool and stoned album from Africa. If you’re feeling depressed, low, disturbed, out-of-sorts, sad, frustrated or demented, then folks, we suggest you seek out a quiet place, indulge in some soothing meditation and cut away that headache by listening to this inspirational album. Band members include: Chris Mbewe (lead guitar, vocals, acoustic guitar); John Muma (rhythm guitar, vocals); Gedeon Mulenga (bass); Boidi Sinkala (drums); Emanyeo Jagari Chanda (vocal, percussion).
KENDRICK, JODEY: Plus Ten 12″ (REPH 206EP) 11.00
Rephlex hooked up with Jodey Kendrick after hearing some tracks from his debut CD on Napalm Enema. One might say it’s very Drexciyan or Aphexy music, but that’s because it’s rooted in Rephlex’s favorite genres of New York disco, Chicago house and Detroit techno, with a certain mystery something-special added. Careful use of microtuning and analog tweaking, combined with a very British pastoral quality, Jodey provides us with something pleasurable and original to listen to every time.
MONOLITH: Volume 1 12″ (REPH 210EP) 11.00
Widely heralded on message boards as one of the best electronic/dance records of the year. Also rumored (incorrectly, as so often is the case with Rephlex releases) to be the work of Aphex Twin. Whether it is the irresistible disco house anthem of “F-Tron,” the catchy electro of “Vigton,” the storming braindance of “Syphonic Flash” or the stripped-down, dubby “22 Livingtones,” this EP is bound to entertain across the board, having been tried and tested on dubplate at countless gigs.
PURLING HISS: Hissteria LP (RRTT 027LP) 16.00
“Well it’s finally here. It’s the new LP by Purling Hiss and it’s called Hissteria. It’s two sides of hi-energy psychedelic punk rock & roll that manages to weld Funhouse’s dialed-in sleaze rhythms to the hungover excess of Hendrix at Woodstock. Or Ginn at Polliwog Park. It’s full of clanging cymbals, howling vocals, fretboard heroics, and menacing vibes. Purling Hiss is the work of a well-mannered longhair named Mike Polizze, who is best known for his reckless shredding as the guitar player for Philadelphia’s Birds Of Maya. Hissteria is a suitable soundtrack for zonked drives across the dead highways of the USA. Or for pre-dawn paranoid sessions as you pace back and forth in the kitchen trying to figure out just what the hell you’re going to do, man. Or just crank it real loud when the party gets strange. Some people will love it and the rest of them can just go somewhere else and go fuck themselves.”
MAREK BOIS: Boissche Untiefen 2×12″/2CD/12″ (RRY 022BOX) 25.50
Niklas Worgt is a man of multiple identities. In 2010 he celebrates his 10th anniversary as Dapayk with a number of releases, like the album collection Decade One on Mo’s Ferry. Although “Dapayk” is Worgt’s most commonly-known moniker, he has been releasing sublime minimal techno as Marek Bois since 2006. It is under this guise that he presents to us the irrepressible Boissche Untiefen. Originally released in May 2008 on double CD, double vinyl and a remix 12″, this album was a comprehensive package to follow up on his earlier, critically-acclaimed albums Black Beauty (MFP 031CD/LP) and Close Up (MFP 016CD/LP) — a culmination of the works as one half of Dapayk & Padberg. The title Boissche Untiefen is a translator’s nightmare, with “Untiefen” paradoxically meaning both “deep” and “shallow,” dependent on the context. Social critique or statement of intent? Regardless, this record sails above the murky waters of mediocrity. Irrespective of the name it falls under, one thing synonymous with Worgt is a propensity to introduce rich and unusual sounds to his productions, which is nowhere more apparent than on this latest album. Revisiting his technoid roots of the mid-’90s, Worgt used more analog equipment than usual, and resisted the urge to polish tracks in the mix. Boissche Untiefen is a hi-end techno gem, a breathing organic progression through ten tracks that swell with innovation. In Boissche Untiefen, Niklas Worgt moves even closer to becoming the finished article. As inventive as he is prolific, this is a distinctly special album of ultra-modern techno, boiling over with fresh ideas. This package contains three formats. CD1 contains all LP tracks plus two bonus tracks, CD2 is a 61min live set recorded at Tresor, Berlin, November 16, 2007, and the 12″ includes remixes by From Karaoke To Stardom, Marcel Knopf, Delete and Flower Pot.
VA: Twenty Centuries Of Stony Sleep 2LP (RLP 3100LP) 26.50
Deluxe double LP version, housed in a luxurious 350 gram extra thick gatefold sleeve. Rune Grammofon celebrates release number 100 with this quite excellent and suitable collection of tracks from 13 of their esteemed artists, old and new. When the label started to compile the album and look at possible track orders, they soon noticed the large number of quiet tracks they had received, making it closer in feel to a “real” album than a compilation, and by far the best compilation album they have done. Twelve tracks are exclusive to this release, including a track by up-and-coming Rune Grammofon artist Jenny Hval. As with previous compilations, Rune Grammofon has turned to song lyrics and poems for the title — this one is from William Butler Yeats’ short but monumental poem “The Second Coming.” Other artists include: Alog, The Low Frequency In Stereo, Ultralyd, Espen Eriksen Trio, In The Country, Bushman’s Revenge, Hilde Marie Kjersem, Stian Westerhus, Maja Ratkje, Puma, Deathprod, and Supersilent.
SUPERSILENT: 11 LP (RLP 3103LP) 22.00
This is the eleventh release in the Supersilent series. These recordings are taken from the very fruitful sessions that resulted in Supersilent 8 (RCD 2067CD), but are no mere leftovers. Indeed, Supersilent 8 was originally scheduled as a triple release, but producer Deathprod (Helge Sten) finally decided to split it. This is also the first vinyl-only release from the band. Supersilent 8 was recorded during a 5-day studio session at Athletic Sound in Halden, Norway, the all-analog facility where other Rune Grammofon albums like Supersilent 1-3 (RCD 2001CD), Scorch Trio (RCD 2025CD), Luggumt (RCD2040CD/RLP 3040LP) and Raus Aus Stavanger (RCD 2049CD) were recorded. From the monumental hardcore blizzard storm of 1-3 to the elegant electro-jazz of 4 and from the quiet soundscapes of 5 to the epic 6, Supersilent yet again re-invented themselves with 8, an album that to a certain degree explored more abstract and mysterious pathways beyond categories and comparisons. In fact, these sessions turned out to be so fruitful, that producer Deathprod finished 5 hours of music and at one point considered making it another triple CD. In the end, 68 minutes ended up on Supersilent 8, but it was always understood that more of the excellent music that didn’t make it to the final cut would appear in one way or another at a later time, and indeed, here it is as a vinyl-only release. This was also Jarle Vespestad’s final studio session. This 180 gram audiophile vinyl edition was carefully mastered by Bob Katz and cut by Paul Gold at Salt Mastering. Members include: Helge Sten (audio virus, electric guitar), Ståle Storløkken (synthesizers, keyboards), Arve Henriksen (trumpet, voice, electronics), and Jarle Vespestad (drums).
CFCF: The River 12″ (RVNGNL 004EP) 13.00
“CFCF treads dark waters on The River. Where the 22-year old Montreal based producer CFCF’s (Michael Silver) debut album Continent (Paper Bag 2009) hinted at primal and ambient themes, The River fully transports the listener to a heart of darkness. Inspired by Werner Herzog’s visual masterpiece Fitzcarraldo, The River follows a dream-like arc, lucid sound sequences from a lunatic mind. The River’s voyage begins with ‘Before and After Light,’ a track based around a cyclical finger-picking sample and ghostly tones that could form the core of an Ambient Eno album. ‘It Was Never Meant to Be This Way’ furthers the vessel along on a wash of synth waves and a melancholy chopstick piano figure. Around the bend to the A-side’s end is the choral, Popul Vuh-inspired cosmic guitar shredding of ‘Upon the Hill.’ ‘Frozen Forest’ heightens the grandeur opening the B-side with a slow-mo break beat and arpreggiating bass work out. The title track casts doomsday shadows before the best use of a master blaster drum attack since DJ Shadow’s ‘Stem/Long Stem.’ After the unrest, ‘Orage’ drifts on a bed of wreckage into an uncertain dusk. The first pressing of The River is limited to 550 vinyl copies. The first run of jackets are printed black offset with a bronze letterpress overprint on heavy news board. Jacket concept and design by Kevin O’Neill of Work For Good, based loosely on the weathered map that lead Fitzcarraldo to madness and freedom.” 6 new songs + full digital download including remixes from Games, Jacques Renault, and Coyote.
BLACK RASCALS: Blaze Theme Track 12″ (CORE 093E-EP) 11.00
“Black Rascals’ ‘Blaze Theme Track’ receives a reissuing from Slow to Speak’s Core series. One of the best moments from one of the best deep house production teams ever to grace this good earth, the impossible-to-find ‘Blaze Theme Track’ is the quintessential instrumental masterpiece from New Jersey’s Kevin Hedge and Josh Milan. Moody, brooding chord stabs lay way for a breathtaking bass solo that drives the record forward from the first few measures on to its continuous and relentless ascension. Totally musical and raw in the same breath, ‘Blaze Theme Track’ was released in 1993, right at the peak of the duo’s underground monopoly, and probably their most cutting edge instrumental to date. If ever there was a track to do battle with the avant-garde experimentations of Detroit, Berlin or Chicago, it is this record. Pressed on high quality LOUD vinyl, ‘Blaze Theme Track’ is now prepared for reintegration into the electronic music scene seventeen years since its debut, sounding just as forward-looking now as it did two decades past.”
LED ZEPPELIN: Stairway To Heaven 12″ (FPE 627EP) 13.00
“Full-side pressing of the greatest song ever made.”
RUFUS AND CHAKA KHAN: Any Love/Better Days 12″ (MR 803EP) 10.00
“Reissue of two classics from Rufus and Chaka Khan, ‘Any Love’ (1981) and ‘Better Days’ (1977). Produced by Quincy Jones.
AFRICAN MUSIC MACHINE: Black Water Gold LP (LPS 3317LP) 11.00
A compilation of singles released between 1972 and 1974 from this New Orleans-based funk band, led by Louis Villery. Originally released in 2000.
YOUNGMAN & BENGA: Ho/One & Only 12″ (SBOY 034EP) 9.00
“‘Ho’ and ‘One & Only’ is the debut collaboration from Youngman & Benga, and we’re told it’s the first of many! For those unfamiliar with the name, Youngman is indeed young, but has grafted from his early teens and had notched up an impressive CV of global gigs and tours with the likes of Bassline Smith & Drumsound, and a discography that includes collaborations with Skream, Crissy Criss, Bassline Smith, Drumsound, and outings on labels including V Recordings, Tempa, Ganja, Westbay, Technique, Ministry and Chronic. For those who have been living on the moon and may not be aware of the name Benga, then here goes: one third of dubstep super group Magnetic Man, global touring partner in crime for over a decade to Skream, Rinse FM resident, global ambassador for all things 140 BPM and the face (and afro) of the dubstep movement. He recently dropped Stop Watching/Little Bits on Digital Soundboy and scored a top 10 hit with Magnetic Man’s ‘I Breath Air.’ OK then. Youngman and Benga are now also a force on the club and festival circuit, with Youngman joining Benga on a number of selected dates across the UK and Europe. This mighty double A-side release is the duo’s debut offering of smooth, soulful vocals and progressive, tension building beats. Now signed to Shy FX’s Digital Soundboy label, Skream, Breakage, Shy, DJ Yasmin and many more are battering it during their DJ sets and Mista Jam recently made it his ‘Jam Hot Record Of The Week’ on 1Xtra. So there you have it! Youngman & Benga, the story begins.”
MELCHIOR UND DAS MENACE, DAN: Visionary Pangs LP (SS 049LP) 14.00
“It’s been over a year since the world has heard an album’s worth of fresh material from Dan Melchior und das Menace. So if you’ve been jonesing for some of Dan’s great music, we have the cure. On Visionary Pangs, Dan presents four short songs and two long song-cycles. It’s a great sequence, which allows our ‘relatively modest-sized man’ to delve a bit deeper in his sonic explorations and pimp a bit of his guitar skills, which are as strong as his song-writing. Since the mid-1990s, Dan has released some 30 albums and singles, and it has been a good run. However, the best of the bunch started emerging in 2007 with his Pink Scream EP and has continued with the excellent Christmas for the Crows LP and S.S. Records’ Thankyou Very Much double album. We are very confident in saying that Visionary Pangs sits with the aforementioned trio as one of Dan’s best to date. If it doesn’t wedge into your brain that Dan is one of the best songwriters going, a member of a proud tradition of English underground tunesmiths which includes Mark E. Smith, Syd Barrett, and Dan Treacy, we don’t know what will! 500 pressed.”
FLYING LIZARDS, THE: The Secret Dub Life Of The Flying Lizards LP (STAUBANA 003LP) 17.00
Jah Lloyd meets David Cunningham on The Secret Dub Life Of The Flying Lizards from The Flying Lizards. These legendary recordings from 1978 are now available on vinyl for the first time. “The source tapes for this LP were recorded in Jamaica by Jah Lloyd (Patrick Francis) as part of a series he made for Virgin Records’ Front Line label. The original tapes were not released and were offered to me by Front Line’s Jumbo Vanrennen with the suggestion that I should ‘remix’ the music. I accepted the project, expecting lots of time in one of Virgin’s studios to play with the music and the equipment, only to be presented with a mono master tape. So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers). The subsequent work took a long time: as I thought it might be something of an indulgence, I worked on it at weekends and evenings rather than let it interfere with other projects. The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time, notably Fourth Wall, my collaboration with Patti Palladin, and my production work on Michael Nyman’s records. The original players remain unidentified. Jah Lloyd used various combinations of musicians but did not include who played on which tracks.” –David Cunningham, May 1995
SCHWIND, NICO: Midnightfunk 12″ (SVT 044EP) 12.00
Niko Schwind’s Midnightfunk EP kicks off with the title track that features the great Chicago-esque vocal skills of Patrick Blasa. Imagine a sticky slap bass, cowbells, high-pitched vocals and low-pitched male laughing, plus a somewhat jetlagged piano. With “Just A Groove,” Niko dips deeply into the world of crescendo tech-house while “Sonderbar” takes a more jazzy approach to the tech-house music of 2010. Weird, slightly minimal, but still very musical.
HUMAN BEINZ, THE: Human Beinz In Japan LP (SBR 5076LP) 22.00
180 gram virgin vinyl version, packaged in a gatefold sleeve. Though their fortunes waned in America following their January 1968 top ten hit “Nobody But Me,” Youngstown, Ohio’s psych-pop garage band The Human Beinz remained big stars in Japan, where they flew for a promo visit in March 1969. Unbeknownst to their fans, they had already agreed to split following the visit — and unbeknownst to the band, an album of live performances taped on the tour was issued in Japan shortly after their return to America. Long-established as one of the rarest records in the world, Human Beinz In Japan shows them to have been as fine a psychedelic garage band onstage as they were in the studio. This first-ever vinyl reissue includes an insert with detailed liner notes and rare photos, including a new interview with guitarist Ting Markulin.
INGOES, THE: Before We Were Blossom Toes LP (SBR 5077LP) 22.00
180 gram virgin vinyl version. Recorded between 1964 and 1966, this is the first-ever collection of tracks by the quartet that would soon evolve into psychedelic heroes Blossom Toes. Formed in London, they were managed by the legendary Giorgio Gomelsky (discoverer of The Rolling Stones and manager of The Yardbirds), and honed their live act in Paris, Spain, Morocco and elsewhere, issuing 45s in France and Italy but not at home. This comprehensive set collects all their studio recordings, as well as previously-unheard demos and a rare live cut that captures their exciting stage act. It comes complete with a gatefold sleeve full of rare photos and detailed notes by guitarist Brian Godding.
ZANDER, FRITZ: For Your Love EP 12″ (SUOL 020EP) 12.00
Fritz Zander, one-half of Zander VT, decided to release his second-ever solo EP on Suol. “For Your Love” is modern vocal house at its best — a loop-driven track that rips apart every floor. “When The Lights Went Out” is a slow groover that is based on a piano disco line — just right for early in the evening or early in the morning. “Lose Yourself” has a good amount of soul, with pianos and Rhodes in playful harmony.
KELPE: Margins EP 12″ (TEAMACRE 006EP) 9.00
“With a discography reading like a handbook for the rum and uncanny, electronica mainstay Kelpe is an obvious graduate to the Team Acre-associated university of drum wrong and mutant fuzz. Here teaming up with multi-talented human rhythm machine Chris Walmsley (Voice of The Seven Woods, Broadcast, Psapp, etc.), Kelpe brings an EP that balances deftly between the sound of yesterday and tomorrow. ‘Margins’ is a wriggling slice of traditional drum funk. The steady gallop is haunted by holy ghost rousing keys, zap anomalies and unearthly guitar work. ‘No Film’ is a moody and low-slung drum excursion. Intricate rhythms provide the solid foundation for unsettling synth work and fragmented stabs of citric sound. ‘Toy Castle’ is pure bounce, the pounding kicks push the soundscape through the dance and the sonic scenery is littered with hidden artifacts. The final excursion here is a trip to the lab with ‘Taps On.’ Initially, it is the most soothing of the bunch, giving nods to Dilla or ATCQ’s more soulful offerings. ‘Taps On’ continues its journey through cut and paste territories and rhythmic breakdowns. All together a potent brew of electronic voodoo.”
JACK SPARROW: Circadian CD (TEC 009CD) 14.50
Rising Leeds star Jack Sparrow launches his debut album Circadian, following previous faultless Tectonic tribalistic anthems “The Chase” and “Terminal.” Following in the footsteps of 2562, label boss Pinch and Cyrus (Random Trio), Sparrow is one the few dubstep producers capable of making the leap from hard-hitting 12″ dancefloor releases to full-length album. As the restrained 4/4 kick drum of opening track “Loveless” pounds in, warming chords rise up, and snatches of soulful vocal cuts chime in over building drum layers — you already know you’re headed for an involving journey with this album. Fans of Mala, Martyn, Quest and Silkie will feel at home with the vibe of the opening track, yet Sparrow takes things in his own direction with a sound that combines elements of deep house with a tribal side of dubstep. The vibe switches then for “Dread” — a collaboration with fellow Leeds-based producer Ruckspin — a dark, cold ragga-techno rhythm before Sparrow breathes new life into his original Tectonic tribal anthem, with a VIP version of “The Chase.” “Salvation” continues with a voodoo-laden tribal theme, taking things into slightly more tech-y territories before we hear a fresh take on “Terminal.” “Shoal” ventures into new territories as technology battles with organic sounds. Next up, the sweet sounds of vocalist Indi Kaur meet with Sparrow’s adept production skills for a soulful meander in the endearing “Subterranean.” “Dune” takes things back into a more sinister world, with its lunging half-step rhythm and earthquake sub-bass and ethno-decentralized atmospherics. “Relapse” kicks in at 160 bpm, Jack Sparrow demonstrating his prowess as a highly versatile producer with this “autonomic” take on his dubstep sounds — highly rhythmical while pushing forward the technological boundaries of sound. “Regress” keeps with the uptempo bpm but steps back the pressure, allowing for memories of the early days of ambient jungle to seep in. “Exit” gently delivers you out of the Circadian journey. A unique track that warms your heart and chills your bones simultaneously, and lets you float off fully satisfied.
ROCKETNUMBERNINE: Matthew And Toby 12″ (TEXT 008EP) 11.00
“Kieran Hebden (Four Tet): ‘Rocketnumbernine toured the UK with me earlier this year and they were playing this track every night. Each night the performances were getting more and more intense and blowing mine and the crowd’s minds. By the end of the tour I knew we had to go into the studio and get a great recording made of ‘Matthew and Toby.’ We recorded all analog to get the sound right and if you buy this on vinyl you will have a recording that has never touched a computer, which I think is the way it needs to be done sometimes. I’ve done a remix for the B-side, more of a club version. I discovered Rocketnumbernine through Steve Reid who was great friends with the drummer from the band, Tom Page, and you can hear Steve’s influence and spirit in this music without doubt. Steve passed away just a couple of weeks before we made this recording and we have dedicated it to his memory.'”
PREFAB SPROUT: Let’s Change The World With Music CD (TSQ 2493CD) 15.00
“Prefab Sprout returns with the eagerly anticipated new album Let’s Change The World With Music, their first album in eight years. Prefab Sprout’s classic pop and elegant ballads have provided us with uplifting songs carrying a poignant emotional weight. Rising to fame in the ’80s, Prefab Sprout are one of Britain’s most endeared bands. Singer-songwriter Paddy McAloon is revered for his critically acclaimed, intelligent songwriting and is regularly lauded as one of the great British songwriters. The band’s stature has risen steadily in recent years, due in part to the 2007 reissue of their classic album Steve McQueen which earned an 8.6 from Pitchfork, who called it ‘some of the most beautiful, enduring British pop music ever made.'”
VEGETABLE ORCHESTRA, THE: Onionoise CD (TRES 008CD) 15.50
This is the third CD by The Vegetable Orchestra, an ensemble unique to the world of music which is committed to the exploration of the acoustic qualities of vegetables! In addition to performing on the international concert circuit, the 12-person collective from Vienna has spent the last dozen years experimenting with the building of vegetable instruments, industriously unearthing the acoustic universe of roots and legumes, cabbages and courgettes. All the instruments used are exclusively made from vegetables: from fresh as well as dried plant material such as carrot, leek, celery root, artichoke, dried pumpkin and onion skin. All these components are used for building organic instruments and sound generators which usually only last for one concert or one day in the studio. In addition to the vegetables, various utensils like record players or power drills are used to create unusual noises and to add unexpected texture to the music. The sounds produced by the vegetable instruments are amazingly multi-layered: transparent & crackling, shrill & massive, dark & hypnotic, funky & groovy… a heterogeneous multitude of acoustic gems and strange, unfamiliar sounds whose organic origin is not always immediately recognizable. The compositions are tailored to suit the specific characteristics of the vegetable instruments being used, in terms of their sonic attributes and practical considerations to optimize performance. Stylistically the music oscillates between organic pop music and aural sound experiments, with inspiration from various sources: minimal techno, ambient, noise, pop, new and electro-acoustic music. This CD is an aural voyage through phantasmagorical continents of sound and imaginary gardens. Living music: multi-layered and idiosyncratic. The elaborate digipak also includes a poster.
KRAML, ANDRE: Black Water 12″ (TRAPEZ 114EP) 12.00
Trapez welcomes back Cologne’s André Kraml. Spiced with samples and effects he assembled through his work for cinema soundtrack production, this pounding piece of deep techno is unique. “Black Water” connects psychedelia with a melodic sequence similar to Derrick May’s “Strings Of Life,” “Koerbchen” is a short funk track one would expect from Christian Martin, and “Der Springende Punkt” is a meditative techno track with deep, mighty production. Pinto reworked “Black Water” into a heavy, beat freak.
COOPER, MAX: Expressions 12″ (TRAUM 131EP) 12.00
Max Cooper has become one of the figureheads of modern composed electronic music on Traum. “Ripple” is an epic builder, heavy with bass, tripped-out FX, haunting abstract vocals, and spiced with teasing climaxes, evoking artists such as Terry Riley or Philip Glass. “Enveloped” is much more detached and dream-like, incorporating all the strength and vitality of classical music. Maetrik’s remix provides a mutant disco experience before “Sea Of Sound” swings back to the original intention of this EP.
LIMINANAS, THE: Limiñanas CD (TIM 021CD) 9.50
“Getting their start in October of 2009, The Limiñanas are the brainchild of Lio and Marie Limiñana. Beginning as a home studio project the duo spent much time flipping through John Barry and Ennio Morricone LPs and books on Victorian era architecture, watching Noir films, and basking in the sounds of southern France, seeking inspiration. Their first single came by way of Chicago’s venerable Hozac records, followed up by a single 7″ release on the fledgling Trouble In Mind in April 2010. It’s been noted that there are traces of Serge Gainsbourg, Beck, Stereolab, Gospel, Yeh-Yeh, guitar fuzz freakouts, and Nugget’s-era stompers in the Limiñanas music. All of which may be true, but Limiñanas’ sound is irreverent and singular. This release has a cinematic feel, with its reoccurring themes, lyrics and instrumentals taking cues from influences like Gainsbourg’s great Histoire de Melody Nelson LP, as well as the 1960s soundtracks they’ve become enamoured with.”
LIMINANAS, THE: Limiñanas LP (TIM 021LP) 15.00
GOLDMUND: The Malady of Elegance CD (TYPE 039CD) 14.50
2008 release, repressed. The Malady of Elegance is the second poetic full-length from Boston-based composer Keith Kenniff, better known to some as Helios. Taking cues from Corduroy Road, Keith again restricts himself to the piano in conjuring up his humble soundscapes and again the listener is pulled into a deep, meditative and filmic world as the notes glide to a slow, pensive meter. Keith’s Two Point Discrimination EP was a collection of haunting experiments in form and sound, but The Malady of Elegance sees him back into the warming, homespun territory of Corduroy Road. That’s not to say these compositions are upbeat, far from it in fact, but there are lines to be drawn to folk music, and while Keith no longer draws on the American Civil War as a primary influence, there is still the sense that the ghosts of old America haunt the keys. Since the release of Corduroy Road, Keith’s music has become a staple of documentary filmmakers, feature film producers and even advertising, with Goldmund being the primary focus of this. Countless BBC documentaries and short films have been graced by his memorable compositions and needless to say, The Malady of Elegance will be equally as high-profile in these circles.
CANTU-LEDESMA, JEFRE: Love Is A Stream LP+CD (TYPE 075LP) 20.00
Limited vinyl edition. Includes a 50-minute bonus CD featuring some of Jefre Cantu-Ledesma’s original material reworked by Type label head John Twells (Xela). As a member of San Francisco legends Tarentel and Type’s premier astral travelers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that Love Is A Stream is his first Type solo album. With previous releases on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop. Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound); however it was only a fragment of the genre that these bands attempted to recreate. On Love Is A Stream, instead of focusing on tired, melancholy ballads, Cantu-Ledesma focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise audiences fell in love with when My Bloody Valentine blew their ear drums performing Loveless, or the kind of harmonic excess heard on Catherine Wheel’s Ferment, but taken into deeper, more abstract realms. Love Is A Stream is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty. The world might be spiraling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it.
BLAKEY AND THE JAZZ MESSENGERS, ART: 3 Blind Mice LP (UAJ 14002LP) 11.50
Exact repro reissue, originally released in 1962. Recorded live a year earlier at The Renaissance in Hollywood, CA. Features: Art Blakey, drums; Jimmy Merritt, bass; Cedar Walton, piano; Curtis Fuller, trombone; Wayne Shorter, tenor; and Freddie Hubbard, trumpet. Tracklisting, side A: “Three Blind Mice,” “Blue Moon,” “That Old Feeling.” Side B: “Plexis,” Up Jumped Spring,” “When Lights Are Low.”
CHILTON, ALEX: Like Flies On Sherbert LP (VL 901073LP) 24.00
“A step beyond the pop-perfection of Big Star lay Chilton’s darker side. His 1979 solo effort was both a brilliant and flawed drug-fuelled examination of his own country roots in search of a new direction. Through songs by Ernest Tubb, Jimmy C. Newman, Roy Orbison and K.C. and the Sunshine Band, as well as some originals, Chilton produced a looser album that allowed his new-found creativity to flow through the many cracks, simultaneously dividing fans into two camps: the Big Star purists, and the ones who were able to see the genius on the flip-side of its demise.”
SAN SODA: Immers & Daarentegen 2CD (WPH 001CD) 21.00
Debut CD album from Belgium’s San Soda, who has built up quite a name with house lovers far and wide. Featuring some 12″ tracks plus new and diverse sounds. Also included is a mix CD of We Play House from label boss, Red D. Ever since San Soda’s limited edition vinyl release, both We Play House Recordings and San Soda have come a long way from a Belgian anomaly to an internationally-acclaimed house music house of trust. And so the label felt it was time to release a first CD — the logical choice was to present to you the debut album from San Soda, containing a couple of tracks from his previous releases on WPH and a whole bunch of new tracks, which see San Soda going beyond the house format to give you some of the deepest beat excursions of the year. Worth noting: all tracks from the sought-after Purple EP — which was vinyl-only — are included in this package in one way or the other. Immers & Daarentegen is an album in the true sense of the word, because it’s not just a collection of tracks, it’s a genuine listening experience from beginning to end, a testament to the talent and skills of this young Belgian producer with the brightest of futures. And of course, the label could not resist confusing their non-Dutch-speaking fans a bit more with some crazy titles. Also included is a bonus mix CD by label boss Red D, containing a selection of WPH tracks past, present and future, all seamlessly mixed into a trip down WPH lane. Being a DJ in the oldskool sense of the word, Red D mixed this one in one take with two turntables, one CDJ and a pristine collection of virgin WPH vinyls.
BLOWFLY: Blowfly’s Disco Party LP (WW 2032LP) 11.00
Exact repro reissue, originally released in 1978. Blowfly is the alias of R&B songwriter Clarence Reid, under which he has been performing pornographic parodies of popular songs for decades. Blowfly’s Disco Party includes tracks “Prick Ryder,” Nobody’s Butt But Yours, Babe,” and “Who Did I Eat Last Night?”
LUKID: Chord 3LP (WERK 002LP) 28.50
3LP release. Chord is a vital body of work from an important member of the Werkdiscs group of questing artists. Lukid tunes unfold and ripen into sonic screenplays that you can re-discover and re-immerse yourself in on each listen. In a review of his late 2008 album Foma (WERK 007CD), Resident Advisor opined “he may as well re-christen his production alias The Master Of Musical Subtlety. This collection of perplexingly complex hip-hop instrumentals takes the low-slung, late-night pace of his first, Onandon, and runs headlong with it through a room full of wilting vinyl into a sample bank of bitty drum hits and scuzzed-out, succulent synth swells.” Presented as a vinyl-only triple pack limited to 500 copies, Chord extends and develops the sonic themes of Foma, taking three tracks from that CD-only release into the vinyl realm for the first time as augmentation to the eight brand-new pieces on display.
LONE: Once In A While 12″ (WERK 020EP) 11.00
Lone’s “Once In A While” has been one of the most in-demand tunes of 2010. This track is a luxuriant rush through glowing synth clouds and sun-dappled deep house of an early ’90s vintage that instantly captures the imagination. Sinden’s version places a snaking soca rhythm at the center of the mix to draw out increased levels of dancefloor energy, while Midland heads in the opposite direction to spin a delicate web of floating, pulsing grace from Lone’s original silken threads.
WARM WIDOW: Widower CD (WHITEBOX 007CD) 14.50
Manchester’s Warm Widow present an urgent and unorthodox rock album, captured live in a matter of hours, entirely recorded on three rather shitty SM58 microphones in the grimy confines of some of Manchester and Salford’s least-welcoming environments. The struggle the band found their sorry asses enveloped in to make this record is the very thing that gives Widower its character. You, too, would be keen to get the fucker nailed sharp-ish if you were working in a non-soundproofed room, above a gym full of pissed-off bodybuilders, keen to put into practice their abilities to kick the living shit out of the “noisy, talentless bastards upstairs.” The trio of Lianne Steinberg (drums/totally fucked-up arm leading to a hiatus in performing for the best part of a year with the excruciatingly painful exception of this recording session), Zak Hane (bass and homeless), and Martin Greenwood (guitar/vocal/problematic approaches) offer a collection of lo-fi pop blasts that give a nod to some of the sexiest bands you’ve ever fawned over — album opener “Cracker” recalls the Slates-period coldness of The Fall, Greenwood’s uniquely scattershot lyrical imagery cutting its own dark path throughout the record. Elsewhere, there’s the early Jesus Lizard-esque “Lost Dog.” We find the Anglophile-via-U.S. pop sensibilities of Guided By Voices in there as well. Elsewhere, “Dogs In The Surgery” could have been co-written with Bob Mould during the Sugar period, and “A Million Butterfly Skulls” could have easily slipped its way onto Wire’s Chairs Missing LP. Album closer “Back Of The Class” resolutely and unashamedly echoes The Fall’s “Spoilt Victorian Child.” There are undeniable points of reference to Warm Widow’s influences throughout this album, but, like The Fall, their dark center is clearly a sound which could only be born out of circumstance in a bleak inner-city surrounding. Manchester is the culprit. Warm Widow is the band. This is the sound of a dark future scribbled by the buzz and screech of a blown-out amplifier. Meticulously mastered by Bob Weston (Shellac, Mission Of Burma) at Chicago Mastering Service.
HUUN HUUR TU: Ancestors Call CD (WORLD 468107) 19.00
“Redefining the folk traditions of their native Tuva, the four brilliant singers/multi-instrumentalists of Huun Huur Tu transform ancient and modern musical forms into a rich sonic tapestry. The band’s members come from the former Soviet Republic of Tuva, a sparsely settled region that lies at the center of Asia, north of Mongolia, and 2,500 miles east of Moscow. Since its formation in 1992, the group has featured indigenous music played on rare instruments and has preserved and popularized khöömei (throat-singing) — arguably one of the world’s oldest forms of music-making. Closely linked to traditional shamanistic practices, Tuvan folk music, with its combination of instrumental and throat-singing sounds, has been used for communication with spirits of the human, animal and natural worlds for centuries. Singled out for its incredible sound, Huun Huur Tu has performed in venues around the world. Their past collaborations include projects with Frank Zappa, Ry Cooder, The Kronos Quartet, and (most recently) electronica wiz and record producer Carmen Rizzo.”
WADA, TASHI: Alignment LP (YIKYAK 018LP) 16.00
“Yik Yak is proud to present Alignment, the first ever release of music by Tashi Wada, son and collaborator of Yoshi Wada. Alignment pairs the direct and retrograde motions of an eight violin canon in just intonation. The canon gradually cycles through the first 128 pitches of the harmonic series which are transposed into one octave. Marc Sabat plays all eight violin parts, resulting in a true synthesis of vision between the composer and performer. Mastering by Rashad Becker. Design and silk screens by Alan Sherry. Includes a letterpress print of a type drawing by Tashi Wada. Limited edition of 400.”
LADY BLACKTRONIKA: First Lady Of Beatdown EP 12″ (YOF 001EP) 12.00
On “Lose My Life” Lady Blacktronika lays down her soulful vocals, deep bass and moody keys over simple, captivating Motor City beats. Deep, groovy and hypnotic, the overall sound is far more than the sum of its parts, and the alternate mix is bigger and badder than the already stunning original. “Summertime In The City” is a slamming Chicago house groove with edgy stabs, moody keys, and soulful vocals by Mattski Avalos. “Never Everything” is melancholic yet sweet and uplifting.
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