FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 11/01/2010
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LUMEN, JAY: Mooovin 12″ (PURE 062EP) 12.00
100% Pure welcomes back Jay Lumen, credited by Beatport last year as one to watch. “Mooovin” is a vocal-infused, synth-squelching power tune and “The Story” is filled with twitching beat plots, intrigue, emotion, sassy soul snippets and a banging bass. To honor of all the vinyl lovers out there, the label releases Jay’s previously digital-only track, “Is Mine.” Atmospheric and up-tempo for the clubscape, its blended vocal snatches strut across the rolling beats.
GUNN-TRUSCINSKI DUO: Sand City LP (3LOBED 083LP) 19.00
“Three Lobed Recordings is extremely excited to be releasing Sand City, a blistering new collection of original compositions from Steve Gunn and John Truscinski, otherwise known as the Gunn-Truscinski Duo. Steve Gunn is one of the most exciting American guitarists working today. His solo discography, as well as his work with GHQ, should be well known to folks who have followed Three Lobed Recordings over the past several years. Percussionist John Truscinski is a stalwart of the American underground in his own right through his dedicated work in X.O.4 (with Bill Nace and Jake Meginsky), Slaughterhouse Percussion, as well as with GHQ (as last seen on the outfit’s Everywhere At Once from the Oscillation III series). Sand City is an extremely mature and thoughtfully-crafted album that conjures some of the most potent moments of both Fantasias-era Sandy Bull and the more guitar-centric Sun City Girls albums while firmly charting its own raga-based territory. It is an exceptionally strong collection that should leave listeners rapt for years to come.” Hand-numbered edition of 624.
HEALING FORCE PROJECT: Moorg#1/Analogic Prospectus 12″ (ACIDO 007EP) 13.00
“Subtle pulsating space mission score alike far out ambientish techno tunes.” All tracks by Antonio Marini.
HECKER, TIM: Haunt Me, Haunt Me Do It Again 2LP (ALIEN 089LP) 25.00
“Now, for the first time on vinyl, Haunt Me is available as a clear vinyl double LP, packaged in a full-color gatefold sleeve, and limited to 750 copies. Tim Hecker needs much less of an introduction today than he did when he released his debut recording Haunt Me nearly ten years ago; he now easily holds his own with top tier electronic artists from around the world. Despite its age, the album remains interesting and vital. While not nearly as complex as more recent outings such as Harmony in Ultraviolet and Imaginary Country, it gives a very clear view into the artist’s approach and style. Haunt Me is a beautifully arranged record that sees nine compositions spread out over twenty tracks that have been woven together to form one long extended piece of music. This method has become standard on the recordings by Hecker that followed Haunt Me and is an excellent method to deeply immerse the listener in the work. At the time of Haunt Me’s release, Pitchfork championed Tim Hecker as one of North America’s best kept secrets, scoring the album an impressive 8.6 on 10, and they have continued to support the artist’s endeavors ever since. On Haunt Me, Hecker is often riding a fine line between ambient and noise. During one interlude, he is utilizing a cascading wave of distortion and throbbing bass, just as it starts to become the slightest bit oppressive. Gears are quickly shifted and the high-end harmonies and feedback are quickly giving way to more lush passages in the vein of early Stars of the Lid. Tim Hecker very quickly learned the technique of blending the ebb and flow of soft and hard sound and he continues to work towards perfecting this technique today.”
ANCIENT METHODS: Fifth Method 12″ (ANCIENT 005EP) 12.00
“Modern, uncompromising industrial-esque techno bombs.”
MILLER, SEAN: Chic Easy 12″ (AREA 024EP) 12.00
Admired globally for his unique take on house music, Toronto-born Sean Miller has played at some of the most renowned nightclubs and festivals and has releases on labels such as Viva Music, Saw Recordings and Saved Records. “Chic Easy” features deep industrial bass chugs that move energetically under electric riffs and peaks. “Carousel” is one for the speed-freaks with tune warps revolving around stabbing sound snippets. Vibrantly relentless.
SIDESHOW: Fink Dubs EP 12″ (AUS 1030EP) 12.00
Ninja Tune records have allowed Aus Music to release some of Sideshow’s deep, intensely dubbed-out interpretations of the latest Fink album Sort Of Revolution, the critically-acclaimed international singer-songwriter’s third album for the legendary stable. “Sort Of Dubolution” (a dub of the album’s title track), comes as a classic Sideshow live dub epic, drenched in Fink’s signature vocals alongside an earth-moving bass line. Follower “Dub It All” (an edit of Fink’s “See It All”) is a stabbier, angular take on the original.
MILLS, JEFF: Something In The Sky 5 12″ (SITS 005EP) 9.00
Fifth installment in the “Something In The Sky” project.
DOLPHY, ERIC: Out To Lunch! LP (BLP 4163LP) 11.50
Exact repro reissue, originally released in 1964. Featuring Freddie Hubbard, Bobby Hutcherson, Richard David and Anthony Williams. “Out to Lunch stands as Eric Dolphy’s magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck’s Time Out, and its five Dolphy originals — the jarring Monk tribute ‘Hat and Beard,’ the aptly titled ‘Something Sweet, Something Tender,’ the weirdly jaunty flute showcase ‘Gazzelloni,’ the militaristic title track, the drunken lurch of ‘Straight Up and Down’ — were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom.” — All Music Guide
GULLS: Mean Sound 12″ (BOOMARM 001EP) 11.00
“The experimental beat making of Gulls, aka Jesse Munro Johnson, is a force to be reckoned with. Based out of Portland, Oregon, his electronic adventures are patiently psychedelic, masterfully composed, and brimming with the earnestness of an artist whose music is designed to yell ‘this is NOW!’ Every track is built entirely from the ground up. Johnson samples only himself, cutting up and rearranging myriad textures horns, synthesizers, etc. into dazzling kaleidoscopic formations. A densely woven tapestry of sound, the listening experience is not the simplest to articulate. Yet we can begin to pull at the strands, to see what exuberant stars and hungry black holes make up this immense electronic cosmos. Gulls’ compositional discipline reveals an interest in classical minimalists like Philip Glass as well as the polyrhythmic intensity reminiscent of traditional West African and Brazilian music. While informed by a scholarly interest in music across genre and location, the project is rooted firmly within club culture. As a dance floor maestro, Gulls takes cues from early dub, dancehall, and sound system culture, blowing basic pieces of music into astronomical proportions, into mammoth versions with their own savage lives. As even the forefront of today’s electronic music scene finds itself compartmentalized by genre and subgenre, the boundaryless compositional voice and healthy swagger of Gulls is thrilling. The EP also features Kranky recording artist and sonic voyageur Strategy, whose remix of ‘Mean Sound’ blasts things into another galaxy entirely.”
MOEBIUS: Blue Moon OST LP (BB 059LP) 17.00
180 gram LP version. By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, while Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. This was the last solo album that Moebius delivered to Sky Records, originally released in 1986. Blue Moon was released at a time when electronically-created pop music was no longer perceived as exotic. It was new music, free of the ballast of the 1970s, minimalist and uncluttered. Moebius, a constant simplifier in the Cluster/Harmonia family, made a particular virtue of this simplicity on Blue Moon, resulting in 11 wonderfully measured miniatures, rhythmic, harmonic textures of exceptional aural transparency. Clarity, calm and an impression of unthreatening irreality run through all 11 pieces, which, to capture their full sense of musical and atmospheric development, would all need to be twice as long. Instead of which, regrettably, they break off abruptly, all too soon, all too often. Short isn’t always sweet. What an epochal flight of fancy Blue Moon could have been, had it extended to a double album format. But Moebius, his wings clipped in the service of film music, needed, of course, to match his compositions to the length of each scene — sometimes a blessing, other times a curse. Due to their soundtrack function, the 11 compositions on the album fell short of the glittering diamonds they could so easily have become, precious though they undoubtedly were. As previously on Tonspuren (BB 040CD/LP), Moebius structures his music with well defined, sharp contours, modestly elegant, simple yet rich in detail, thus never running the risk of lapsing into monotony. This is forceful electronic pop music and it works perfectly well without pictures. It has survived throughout the decades because Moebius — much like his Harmonia colleagues, Hans-Joachim Roedelius and Michael Rother — had formulated a musical language which, today, can be understood better than ever. Innersleeve with full-color photos and notes by Asmus Tietchens.
DIGITALINE: Okoubaka 12″ (CADENZA 055EP) 14.00
Cadenza welcomes Swiss duo Digitaline back into the fold for their 55th release. The Okoubaka EP is proof that Laurent Bovey aka Laps and Gregory Poncet aka Gregorythme have lost none of their production flair, with both a dancefloor-tailored house sound and dark, dubby, atmospheric techno. “Kaya” glides along with an acid-heavy bass line and a barrage of heavy beats, while “Okoubaka” features harsh beats, brash synths and an onslaught of spooky effects that heighten the track’s eerie vibe.
YOSHIMURA/PRO MUSICA NIPPONIA, NANAE: The Art Of The Koto, Volume Four… CD (CH 13189CD) 14.00
…Works By Miki And Yoshimatsu. “This disk completes the four-volume The Art of the Koto, which features the musical artistry of Nanae Yoshimura. As a companion especially to Vol. 3: Works for Nijugen, it contains three more compositions for the nijugen-koto, a modern version of the koto with twenty strings (instead of the thirteen strings of the traditional koto). This time, however, the focus is on works for nijugen-koto and an ensemble of Japanese traditional instruments, played by members of Pro Musica Nipponia (Nihon Ongaku Shudan). On this disk, two compositions by Minoru Miki can be heard: Tatsuta-no-kyoku written in 1971 is one of his earliest solo compositions for the new instrument nijugen-koto, which was ‘invented’ in 1969 (track seven). The other is his Concerto Requiem for nijugen-koto solo and an ensemble of Japanese instruments (track one), one of Miki’s most important works written in 1981. Tracks two through six include a piece in five movements by the versatile composer Takashi Yoshimatsu (*1953). Originally written in 1998 for nijugen-koto solo and a trio of European instruments, it was newly arranged in 1999 for an ensemble of Japanese instruments to be performed during ‘Pro Musica Nipponia the 156th regular concert’ on August 8, 2000, in Tokyo.”
KEANE & OMAR FARUK TEKBILEK, BRIAN: Kelebek/The Butterfly OST CD (CH 13287CD) 14.00
“With the Kelebek/The Butterfly soundtrack, film producer Mahmut Bengi has brought Omar Faruk Tekbilek and Brian Keane together once again to create the music to this mystical and tragic story. The result is remarkable and moving. The score to Kelebek/The Butterfly effortlessly flows from East to West, from orchestral score to Turkish music, and into electronic sound design. The music moves just as effortlessly between moods, from mystical to tragic to suspense to folkloric or romantic. Whether it’s the fusion of jazz and the red-hot Middle Eastern musicianship of ‘On The Move,’ the beautiful melodic and harmonic East-West mixtures of ‘Yusuf’s Theme’ and ‘Zeynep’s Romance,’ the Turkish-folk-meets-American-roots music of ‘Teacher,’ the simple and honest oud and guitar collaboration on ‘Brother To Brother,’ the new age orchestra and ney of ‘Butterfly,’ the moving and tragic ‘Yusuf Prays/Lost Souls’ that features Omar’s older brother Haci Ahmet Tekbilek on duduk with an orchestral adagio, Omar’s haunting vocals over a multi-layered harmonium and sampled glass harmonica in ‘Losing Hope,’ the bizarre and wonderful combination of Richard Hunter’s harmonica playing with traditional Middle Eastern folk music in ‘Street Fair’ (based on the Azeri folk song ‘Menim Canimsan’), or the Dervish updated to hip-hop/electronic trance in ‘Deep Blue,’ Brian and Omar continue to push the boundaries of musical tradition while simultaneously demonstrating a respect and affection for those traditions and their spiritual origins. Now in their mid-fifties, Omar and Brian have continued growing in their own worlds as prominent master musicians; this soundtrack for Kelebek/The Butterfly is testimony that their friendship and musical collaboration are truly enduring.”
DOLPHY, ERIC: Conversations LP (CELL 5014LP) 11.00
Multi-instrumentalist Eric Dolphy, after playing with the likes of Charles Mingus and John Coltrane, originally released Conversations in 1963 on Fuel. This is the 1986 Celluoid reissue, featuring different cover art. The line-up includes Richard Davis (bass), Clifford Jordan (soprano sax), Prince Lasha (flute), Sonny Simmons (alto), Woody Shaw (trumpet), Eddie Kahn (bass) and J.C. Moses (drums). Tracks: “Jitterbug Waltz,” “Music Matador,” “Love Me” and “Alone Together.”
DOLPHY, ERIC: Iron Man LP (CELL 5015LP) 11.00
1986 Celluoid reissue of Dolphy’s 1963 album, originally released by Douglas. The line-up includes Richard Davis (bass), Clifford Jordan (soprano sax), Prince Lasha (flute), Huey Simmons (alto), Woody Shaw (trumpet), Eddie Kahn (bass) and J.C. Moses (drums). Both of these albums are underrated gems, but this one’s got a richly palatable visceral jubilance across cuts like “Mandrake,” “Come Sunday” and “Burning Spear.”
SOFT MACHINE: Bundles LP (CRP 107LP) 31.00
“Originally released in 1975, Bundles marked a turning point for the band, not marked by the fact that this album was the first to have an actual title, instead of just a number. This would also be the last album to feature the brilliant keyboard playing of Mike Ratledge, the last surviving member of the original 1963 Wyatt-Allen-Ayers line-up, but whose playing here takes a backburner to the prominent role played by brand new guitarist (and another ex-Nucleus member) Allan Holdsworth. Holdsworth’s hardworking guitar style breathes new life into the band after the relatively weary sounding Seven. Although, much of what came after Fourth has been dismissed as past-prime by many Softs fans, Bundles is that one bright star on the post-Wyatt horizon, and along with absolutely brilliant musicianship all around, this is some of the best fusion jazz to be found from that or any other period.”
VA: Winter’s Bone: Music From The Motion Picture CD (CINE 800CD) 12.00
“Debut release from Light In The Attic’s new soundtrack label: Cinewax. Dramatic score by Dickon Hinchliffe (founding member of Tindersticks). Winter’s Bone, the music: Among the highlights of the Original Motion Picture Soundtrack are the old time sounds of the Ozarks translated into the 21st century by stellar vocalist Marideth Sisco. Her Ronnie Gilbert (of the Weavers)-inspired vocals are absolute joy — and she’s an expert storyteller of the Ozarks region; her spoken word podcast, These Ozarks Hills, can be found online at KSMU.org. Although these musicians are not yet nationally known (yet), this soundtrack should will draw attention to these regional heroes: Dennis Crider, an expert Western Swing guitar picker; Missouri bluegrass maverick, Bo Brown; claw hammer banjo picker, Van Colbert; guitarist and songwriter, Rick Reding; and Missouri Ozarks fiddle master Billy Ward (to name but a few) that will delight fans of No Depression and classic Americana music. For those seeking more contemporary music flavors, one could do no better than Dickon Hinchliffe — a founding member of the seminal English band The Tindersticks in which he wrote songs, played violin, guitar and keyboards. Dickon’s other movie film scores (with the Tindersticks’) include director Claire Denis’ Trouble Every Day which starred Vincent Gallo.”
SHACKLETON VS. KASAI ALLSTARS/BURNT FRIEDMAN VS. KONONO NO. 1: Mukuba Special/Rubaczech 12″ (CNG 001EP) 12.00
“Remixes of electro-traditional music from Congo by Burnt Friedman & Sam Shackleton for Crammed Discs’ Congotronics series.”
ERNESTUS VS. KONONO NO. 1, MARK: Masikulu Dub/Masikulu Rhythm 12″ (CNG 002EP) 12.00
“Ultra heavy Afro-beat rooted house techno compatible monster tune.”
BRAINSTORM: Journey To The Light/We’re On Our Way Home 12″ (RG 561EP) 10.00
“Repress of the classics!”
JANDEK: Chair Beside A Window LP (COR 0742LP) 21.00
“The grainy, haunted beauty of Jandek’s early work went through many phases, never quite as varied and multi-faceted as the material on his 4th album, Chair Beside A Window released in 1982. The relatively wide range of Chair Beside A Window gives insight into the influences on the seemingly impenetrable Jandek sound. Hearing the blown-out harmonica bluster of ‘You Think You Know How To Score’ it’s hard not to imagine it as the Jandek equivalent of a Dylan phase, however insanely translated. Most notable in terms of both variance and firsts is the standout track ‘Nancy Sings’, featuring the first time we hear an outside vocalist. This song, a sad and empty blues featuring stunning female vocals, could easily be argued for as the moment freak-folk was born. Nods to folk blues, early gospel and even some strange takes on group jams appear. The layers of intentions and emotional frequency are always a mystery, but the mystery is more colorful and relatable here than it ever was before. Vinyl for this album has been unavailable since the initial pressing and has been sought ravenously by collectors ever since. Working in direct collaboration with Corwood Industries, we’re thrilled to offer this exact repress, heavyweight-vinyl edition.”
JUJU & JORDASH: Deep Blue Meanies (Robert Hood Remixes) 12″ (DKMNTL 004EP) 12.50
Robert Hood delivers 2 devastating remix cuts of the great “Deep Blue Meanies” track from Juju & Jordash’s self-titled long player (DKMNTL 002CD/LP)…TIP!
GOLDWILL: Discooker 12″ (DES 099EP) 12.00
Berlin & Schwerin-based nu-breeds-de-jour Goldwill cook up a rather special release as Dessous teeters ever closer to its 100th release. Discooker is comprised of 3 original tracks on vinyl. Sauntering off into the night, “Nachtzug” delivers a tripped-out, jazzy jam that skips between off-kilter house and laid-back disco edit stations. A freaky, warbling synth tone becomes the main destination as skipping beats and warm, coal-fired beats pump throughout.
GARDEN SOUND: Black Summit LP (DIGI 028LP) 14.00
“When it comes to blown-out psychedelia, the first current band I want to hear is Eternal Tapestry. When it comes to desolate desert blues, that band is Barn Owl. Those are two pretty potent names in the world of experimental music right now so when 4/5 of them join up for some Portland sessions, that’s good news for us all. Gärden Sound is the quartet of Dewey Mahood and Jed Bindeman of Eternal Tapestry (as well as Plankton Wat & Heavy Winged, respectively) and Jon Porras and Evan Caminiti of Barn Owl. Black Summit is their first charcoal-lined foray into the deep and if you can’t get lost in this haze, there’s not much hope. Immediately evident is the incredible restraint shown by all four players. They’re not being timid or trying to feel each other out, but there’s an obvious level of comfort and understanding between each. With three guitars and Bindeman’s trademark drumming, it would be easy to drown everything in full-on sludge but Gärden Sound are too damn good to play that game. Opener, ‘Forbidden Paradise,’ sets the scene. Methodical guitar works lull the listener into a solemn state of comfort while Bindeman adds to the hypnosis with tribal-infused narcotic rhythms. The build-up is slow but gets you ready for the knock-down blasts of ‘Beast of Burden.’ Heavy stomp and zoned-out, smoked-out guitar riffs that blow the roof to oblivion. This is music that needs to be played as loud as you can stand it. ‘Hidden Origin’ calms things back down, contemplating the next move while finding its way through the blackened labyrinth concocted by Porras, Caminiti and Mahood. Each guitarist finds his own path as they lead each other to the prize. The 14-minute closer, ‘Obsidian Sky,’ brings everything home. Sprawling riffage like a dense forest of apocalyptic crumble. Desolation takes hold as the molasses drones take shape and form themselves into an unpassable mountain of debris. It’s mind-bending and cathartic; a sonic temple crushed to ash so it can rise again. Gärden Sound prove worthy opponents, ably standing on their own and stomping out their own trail toward the stars.”
SALAS, DC: Peru 12″ (RDLGI 002EP) 12.00
This 12″ vinyl release comes in transparent plastic bag deluxe packaging with obi. DC Salas’ nugget “Peru” has been stuck on repeat at the Doctor Vinyl record store in Brussels, and here it is, plus some killer remixes, and another DC Salas track baptized “Petit Bonheur.” The Mugwumpian version has already attracted massive attention from DJs everywhere, while Dave Dk’s rendering reduces and teases the elements of the original into a relentless maelstrom with a hint of Basic Channel.
DEATH: …For The Whole World To See LP (DC 387LP) 15.00
LP version, repressed again. “Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up …For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things weren’t really going anywhere when they heard from Columbia Records’ president Clive Davis. He was interested, but he had one demand — they’d have to change their name. David, acting as the band’s leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Death’s 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here …For The Whole World to See. …For The Whole World to See is the first full-length release EVER for the band called Death — with only one 7″ single to their name, and that usually goes for about a grand per. That’s $1000! For those who do have the single, the remastered sound here will break you up.”
FUNCKEN, ROEL: Daze Flextone EP 12″ (EAT 020EP) 12.50
Roel Funcken, one-half of Dutch electronica duo Funckarma, delivers the Daze Flextone EP, his solo debut for Eat Concrete Records. These four tracks highlight the latest take on his dubstep-fused electronica experiments. The result is energetic, original and extremely heavy. Three of these tracks were previously released on CD only thru Berlin’s Ad Noiseam. Also included is a Roel Funcken remix of a track by Dutchman Krampfhaft.
ONMUTU MECHANICKS: Lupus Moon EP 12″ (ECHO 047EP) 12.00
Arne Weinberg aka Onmutu Mechanicks presents his first 12″ on Echocord. Being known for producing deep, melodic techno, Arne’s alias Onmutu Mechanicks serves as a project for all things abstract and dub-influenced. The Lupus Moon EP combines dub techno and the deep, melodic techno that Arne is known for. The tracks “Lupus Moon” and “Aspiring To Aspire” are taken from his album Nocturne (ECHO 008CD). This EP also contains a remix by XDB, known from the Metrolux label.
KIERAN, PHIL: Empty Vessels 12″ (EDLX 011EP) 12.00
The Empty Vessels EP is Phil Kieran’s debut on Electric Deluxe. The title track features a stripped-down, swinging groove. Tripped-out sounds flavored from industrial, house, and alien origin shift, move and melt this unique techno hybrid. The Gary Beck remix is for the more traditional dancefloor. A cool groove, dusty bass drum and huge rim shots create a framework for noise build-ups and Gary’s own treatment of the already deranged original sounds, sending you straight to rave heaven.
SHOEMAKER, MATT: Soundtrack For Dislocation CD (EEAOA 034CD) 14.00
“Matt Shoemaker’s first full-length album for Elevator Bath is Soundtrack for Dislocation, an entirely self-contained account of a fantastically abstract and intensely personal vision. As with much of Shoemaker’s work, this is an album permeated with a very potent sense of unease. And despite the fact that the use of field recordings is very minimal here, there is a no less organically tangible quality which only contributes to the feeling of disquietude. For those unfamiliar with Matt Shoemaker’s work, Soundtrack for Dislocation is absolutely the ideal place to start as it is arguably the most fully-realized project in his catalog. All the necessary elements are present: The enigmatic cover and interior images, the cryptic track titles, and of course the recordings themselves – densely packed and elaborately evolved aberrancies, open to various interpretations. Shoemaker seems to have provided more than enough clues to the puzzles he offers in his works but, like the most effective tales, these subtle indications cannot quite account for all that happens. The rest is up to the astute listener who accepts this very inscrutability as the reward. Matt Shoemaker’s music has been released by such labels as Trente Oiseaux, The Helen Scarsdale Agency, Mystery Sea, and Ferns Recordings. He resides in Seattle. Packaged inside an extra thick, full-color, matte finish, 6-panel digipak featuring Shoemaker’s beautiful photography, this compact disc has been issued in an edition of 509 copies.”
BOTTIN: Discocracy 12″ (ESK 503808) 12.00
Bottin is an Italian musician, sound designer and DJ in Venice, where he fights a reckless war against his neighbors: the infamous pigeons of St. Mark’s square, who sometimes try to sabotage his already unstable vintage synths. Bottin’s sound is a blend of ’70s disco, early ’80s electro, and Italian giallo and can be roughly defined as “horror disco.” His Eskimo debut was supported by everyone from Mylo to Aeroplane to Prins Thomas to Pete Herbert, and many more.
VA: Generator: Broadcast In Hi-Tech 2×12″ (GEN 031EP) 15.00
“A showcase of US & International artists starting with the fierce, primetime techno debut from UK’s Abstract Science sure to sweat that dancefloor. Another Generator debut is Sydney, Australia’s Andy Rantzen [of ItchE and ScratchE] with a soothing techno groove ‘love song’ entitled ‘The Kiss’. On the US front, Chicago’s Obsolete Music Technology [Emphasis Recordings/Aesthetic Audio/Eargasmic] hands in an impressive show of fistpumpin’, energizing future house while JAMAL MOSS weaves together another of his trademark wayout lofi masterpieces. From the Detroit sector, DJ T1000 [Pure Sonik/Generator/Tresor] bringing it with ‘Detroitism’ a clapyourhands/ stringladen spacetech funker followed with ‘Daily Routine’ by Terrence Dixon [Utensil/Tresor/Children Of Tomorrow], a minimal space capsule thumper, perfect for a go on a antigravity simulator. Columbus, Ohio’s Plural [6ONE6/Dobox/Miga] contrives a saucy laidback glitchy groove with mysterious and moody pianostabs. Lastly, for those who dig the fluid, melodic classic Detroit sound, take a BackToTheFuture techno journey with Chicago/Detroit dynamic duo, Windimoto [Windimoto Music/ Phuture Soul Recordings].”
HUGO: The Dark Side 12″ (GVR 002EP) 12.00
The Goodvibe Records project is an effort to expand the boundaries of Hugo and his favorite producers’ music, beyond standard nightclub beats. Hugo takes the listener down the darker alleys of his sound. We are all strongly attracted by the dark side of life, of humor, of music — it doesn’t make us bad people, but in fact, lightens the seriousness of subjects dubbed taboo. Includes remix-work by Jay Haze.
A BOLHA: Um Passo A Frente LP (GROO 025LP) 29.00
“Brazilian band the Bubbles became the toast of the underground Rio de Janeiro scene, backing Tropicalist singer Gal Costa’s residence at the Sucata night club in 1970. They won the ‘Best Band of the Festival’ award at the VII FIC of 1971 (International Festival of Songs), the same year they appeared on Leno’s Vida y obra de Johnny McCartney album. After venturing to England to attend the Isle of Wight Festival, they decided to experiment with a heavier sound, more akin to UK bands of that era (Deep Purple, Cream, King Crimson, Humble Pie, with a little Beatles’ White Album in for good measure) than that of their Brazilian cohorts. A name change to A Bolha later, still loaded with verve and swagger, fueled by drugs, they recorded their first album, which has secured a permanent place as one of the best hard psych rock albums to ever emerge from South America. The LP, Um Passo a frente (‘A step forward’), was released in 1973 by the Continental label, in a gatefold cover which was quite luxurious for the era. This masterpiece, now impossibly hard to find as an original, certainly made a name for A Bolha in the pantheon of 1970s Brazilian rock. But success in the early 1970s was not like it had once been in the old Jovem Guarda or Tropicalist days, when bands had weekly TV shows to help them become well- known nationwide–and eventually, worldwide. In other words, the meager abilities of Continental to promote the album made it a collector’s item, not the fate a band would actively seek for their recordings. Now we at Groovie Records bring to you the reissue of this masterpiece of the Brazilian rock, the LP is a replica in a gatefold cover, and includes the infamous hard- rocking 1971 single as bonus tracks.””
DARA PUSPITA: The Garage Years LP (GROO 026LP) 29.00
“Dara Puspita (trans. ‘Flower Girls’) was arguably the world’s greatest all-female garage rock band. The reason you’ve probably never heard of them is that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe. The four albums recorded by the original members between 1966 and 1968 (the material represented on this LP) is one of the great chapters of 1960s popular music history never to be reissued in vinyl, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. This is an amazing compilation for all garage rockers, fuelled with fuzz tunes and groovy rhythms.” Includes an insert with rare photos and extensive notes by Alan Bishop.
VLADISLAV DELAY (AS SISTOL): Remasters & Remakes 2CD (PHC 002CD) 13.00
“Over the past decade, Sasu Ripatti, better known as Vladislav Delay, has released a series of sonically exploratory and innovative albums and singles under his Luomo, Uusitalo, and other guises (including his current stint as an integral part of the Moritz von Oswald Trio), working with labels such as Chain Reaction, Force Tracks, Mille Plateaux, Staubgold, and Leaf, etc. Slightly lost in all that shuffle over the last ten+ years was one of his earliest projects under the name Sistol, recorded for and released by Phthalo Records back in 1999. Ripatti has remastered his earliest album for a deluxe 2CD reissue, and pubs like Pitchfork and Resident Advisor have already posted excitedly anticipatory news of their 2010 release. The first disc features two exclusive new tracks recorded during the original album sessions, and the album as a whole has been remastered by Sasu himself to better capture the punch and flow he’s perfected over the past ten years of putting out punchy electronic projects such as the Luomo records.” The second disc features remixes by Ike Yard, Mike Huckaby, Aki Latvamäki, Alva Noto, John Tejada, FaltyDL, [a]pendics.shuffle, DMX Krew, Somatic Responses, DuranDuranDuran and Sutekh.
RENAULT, JACQUES: Marilyn’s Gold 12″ (HOG 003EP) 12.50
Jacques Renault hits us up with two buttery smooth disco tracks. Both tracks sound like a hot summer night in a NYC nightclub. Guaranteed to get the freaks out at night.
VILLAGES: The Last Whole Earth 2LP (HRV 004LP) 22.00
“Asheville, North Carolina resident Ross Gentry performs and records under the guise of Villages. With dense layers and glacial droning, he creates engaging narrative soundscapes that evoke the shifting fragility of the early ambient movement as well as the elegance of symphonic composition. The Last Whole Earth is engagingly contemplative and meticulously well-crafted drone. With washes of guitar and synthesizer, subdued vocals, field recordings and minimal noise, Villages devises a beautifully pastoral narrative teeming with honest emotion. While the majority of drone artists are currently plotting a darker and harsher course, this offers warm radiance reminiscent of acts like Flying Saucer Attack, Labradford and Stars of the Lid that many are sure to find refreshing. This double LP is housed in a gorgeous gatefold sleeve with artwork from Asheville artist Lisa Nance. The pressing is limited to 500 copies.”
GUNN, STEVE: Sundowner LP (HRV 006LP) 17.00
“Native Philadelphian and current Brooklynite Steve Gunn has been paving a unique path in his solo career for years now, fusing elements of the American experimental scene (as a member of drone./noise ensemble GHQ) with complex finger-picking and raga-inspired styles to craft a new direction. Almost a full year since the release of the ecstatic Boerum Palace (Three Lobed Recordings), we are pleased to present Sundowner for the first time on vinyl. Sundowner was previously only available in limited CD form on Digitalis. Pressed at RTI for maximum listening pleasure, the album was remastered by Patrick Klehm (Lee Ranaldo, Comets On Fire, Yellow Swans) with an additional five minutes of work. This pressing is limited to 500 copies.”
DAZE MAXIM: Tomorrow Universe 12″ (HELLO 016EP) 12.00
As usual, Hello?Repeat co-founder Daze Maxim returns with three outstanding tracks which are made for a better tomorrow.
NAPOLETANO, MARCELLO: Every Day Madness 12″ (HHYR 011EP) 12.50
His name gives away the fact that he is Italian, otherwise you’d be forgiven for thinking a Chicago native produced these tracks. Marcello Napoletano already spoiled us with his releases on labels like Mathematics and Yore, now he goes back to the basics for HHYR. Three tracks that show the original spirit of raw, emotive, jacking music. One word: Madness!
EXPO ’70: Where Does Your Mind Go? 2LP (IMMUNE 011LP) 24.00
“Where Does Your Mind Go? is the brand new studio album from Expo 70 recorded during one prolific evening in 2009 while on an East Coast tour. The recording was tackled by Jason Meagher (No Neck Blues Band, D. Charles Speer & the Helix) at his Black Dirt Studios in upstate New York. On the recording, Expo 70 founder Justin Wright is joined by part-time player Matt Hill (Umberto) and the two truly capture time and stand it still. Where Does Your Mind Go? is a 74-minute journey released on deluxe double LP and comprised of four long-form tracks that each take up a side of the two LPs. The drum rhythm of the album’s opening track ‘Close Your Eyes and Effortlessly Drift Away’ will surely put the listener in a relaxed trance. Delicately strummed notes from guitar and synth slowly surface and come to the forefront, building as the guitar melodies shift and flow alongside majestic ambience that is eventually joined by a moody bass line. Side B’s ‘Night Dusting the Atmosphere’ is a more electronically-driven piece that conjures the best of mid-’70s Klaus Schulze with darker moods that sound more like a ’70s horror film than a loose drift into space. The second record shifts as ‘Transgressing Outward Which Is Inward’ opens with a pounding synth loop and is accompanied three minutes later by piano. Clocking in at nineteen minutes, this track’s brooding synth melodies and fluttering piano notes build into a John Cage-like choral resonance. It’s not hard to lose time while listening as the moods of each instrument delicately transform and intertwine.” Deluxe full-color gatefold sleeve.
MUGSTAR: Lime CD (IMPREC 314CD) 12.00
“Mugstar’s third album (their second on Important Records) maintains the power and heaviness of sonic assault laid out in their previous releases whilst extending musical maneuvers and textures into new territories. ‘Sunburnt Impedance Machine’ moves through driving riff passages with soaring guitars and voice recalling touches of early Floyd before locking into a repetitive keyboard and drum driven outro, power on, power on! ‘Serra’ is an extended voyage through a shimmering Krautrock landscape, continuous and expectant grooves that call to mind a turbo-charged Neu! – combine with heavy waves of churning Minimalist synth ala Glass or Reich. Clinic’s Hartley guests here — adding distant bursts of haunting clarinet skronk – inducing flashes of Nik Turner or Beefheart (you gotta hear it). ‘Radar King’ launches with mesmeric drums and bass whilst guitars weave and build to near climax before descending to an eerie space — hanging, drifting with a stretched moment of tape fx weirdness before the energy inevitably re-emerges, it builds and charges with looming and crunching guitars to a colossal tornado apocalypse finale. A noisefest Sonic Youth would revel in. ‘Beyond The Sun’ closes in a more reflective mood with incessant rhythms punctuated by arpeggiated synths and distant voice evoking a feel of pastoral psychedelicism. The mantra-like effect driven this time with restraint, atmospheric shifts verge on enlightenment and dark uneasiness. Take the list of band names mentioned above, add a few others along the lines of Bardo Pond, Oneida, Circle, Kinski, wind the intensity and volume levels up to blistering and you’ll be entering the universe of Mugstar.”
LESBIAN: Stratospheria Cubensis CD (IMPREC 315CD) 12.00
“Stratospheria Cubensis picks up where 2007’s Power Hor (Holy Mountain) left off. The album takes the band and listener on a darker and more elaborate optimistic prog-doom journey, each track telling an epic psychedelic story using myriad genres, styles, and timbres. Seldon Hunt’s impressive artwork richly supports the albums themes that the band describes simply as ‘mushrooms in the sky with diamonds.’ Recorded and Mixed at London Bridge and Aleph Studios Seattle by Randall Dunn (Master Musicians of Bukkake, Earth, Boris, Sunn O)))). Mastered by Mell Dettmer at Sinister Kitchen. Artwork and layout by Seldon Hunt. Logo by John Santos.”
DAUNER, WOLFGANG: One Night In ’88/Pas De Trois 2CD (MOOD 4606CD) 17.00
“The boundaries in jazz have now become smoother, the horizon is expanding. Dauner, Mariano and Saluzzi anticipated these developments back in the eighties. You can hear it immediately: three world class musicians get together. Wolfgang Dauner is one of the pioneers of German jazz and is one of the first avant-garde players; he also explores classical territory on the piano. Charlie Mariano showed for decades that he had an open ear for world music influences. And the virtuoso on the bandoneon, Dino Saluzzi brings his expressive playing into jazz sessions. Together they create enchantingly beautiful and timeless music, in the sumptuous melodies, unexpected jumps in rhythm and the elegantly flowing solos. Jazz meets tango — in a daring, as well as emotionally moving, performance.”
PULICHINO, FERNANDO: Open Source (Prins Thomas Edit)/Best Is Yet To Come 12″ (INT 016EP) 12.00
Fernando Pulichino should be a familiar name to you, either as part of 2020 Soundsystem or maybe his recent cover version of Bauhaus’ “Kick In The Eye” on Redux. Anyway, Internasjonal cherry-picked two of his tracks, one for the peak-time and one for the good times. Includes an edit by Prins Thomas.
COHRAN AND THE ARTISTIC HERITAGE ENSEMBLE, PHILIP: The Spanish Suite CD (KE 348CD) 13.00
“The Spanish Suite was written to magnify the contribution that Moorish Spain made on the European Renaissance. The relationship of music to cosmic rhythms and harmony was altered from the original state of Spanish music and eventually distorted down to the 12 tone equi-temperment system of tuning. The Artistic Heritage Ensemble was taught to play outside of the 12-tone system and to recognize natural tone relationships. The musicians had to be dedicated to music for life in order to reach the level they obtained. The Spanish Suite represents the median effort in returning to our original music. It was written and first performed in December of 1965 an AACM performance at the St. John Grand Lodge located at 7349 S. Ingleside in Chicago. This particular performance was at the Afro Arts Theatre at 3900 S. Drexel in February of 1968.”
COHRAN AND THE ARTISTIC HERITAGE ENSEMBLE, PHILIP: Armageddon CD (KE 696CD) 13.00
“Yet another masterpiece from the archives of Phil Cohran. Armageddon was conceived in 1958 and written down in 1963. After performing with Sun Ra and benefiting from the teachings of the Honorable Elijah Muhammad, Phil Cohran’s compositions changed decidedly, and he began to focus on cosmology and culture. This particular performance was recorded live at the Afro Arts Theater at 3900 S. Drexel in Chicago on February 11th, 1968. It has never been released and practically unheard in over 40 years.”
THERMALS, THE: Never Listen To Me 7″ (KRS 539EP) 5.00
“Musically, ‘Never Listen To Me’ and its B-side ‘There Is Always A Reason’ find The Thermals treading new ground. Unlike the power-chord powered raucous sing-alongs for which The Thermals are famous, these songs are driven primarily by the rhythm section, with the guitar and vocals taking on a more subtle, subdued role. Like most Thermals songs, on the surface they appear quite simple. But these songs expand and collapse in new and exciting ways, and are a good indication of where The Thermals are heading.”
AUSTEN, LOUIE: Last Man Crooning/Electrotaining You! 2CD (LAM 005CD) 21.00
One of the last fellows of the endangered “crooner” species & after 40 years in showbiz, Austria’s Louie Austen is a timeless role model and elder statesman for old & young, glowing with confidence and full of power. During the span of a decade, Louie´s leapt from thriving as an enigmatic night club crooner to one of the most exhilarating performers electronic music has to offer. His oeuvre is as diverse as it can get: he enchants folks with his songs at the Wiener Burgtheater in a Johann Nestroy play adaption, he’s been featured in the Oscar-winning Stefan Ruzowitzky movie The Counterfeiters, and you´ll also find him onstage at a hip, smoky Berlin underground electro club. One has a hard time trying to pin Louie Austen down. With the long-awaited Last Man Crooning/Electrotaining You!, Louie Austen and his producers were immensely inspired by James Bond, the power of funk & soul, and epic-ness in general. Beyond the seeming lightness and elusiveness of human emotion, there’s a palpable, neverending love for music, a passion for women, humanity in general, and other cities. Louie was also greatly inspired by backflashes of his lively past during the ’70s and ’80s, when he was living in South Africa, Australia and the USA. As if one silvery disc was not enough, there are 2 CDs awaiting you with Electrotaining You! — a remix album of all original Last Man Crooning tracks by a great variety of international DJs and artists, including Acid Washed, Christopher Just, Frittenbude, Ian Pooley, Filippo Naughty Moscatello, Matzak, Rodion, Eric D’Clark, Phonique, Mike Vamp (Märtini Brös.), Remute and Kinky Movement.
TENSNAKE: Coma Cat 12″ (LMFLF 042EP) 12.00
“German producer Tensnake has a passion for ’70s & ’80s Disco, and with his recent track ‘Coma Cat’ its obvious. Why ‘Coma Cat’ we asked Tensnake: ‘I named the track ‘Can I Get Get’. Then I went out to a party one night and met a particular person; she had a lot of fun and a lot to drink…maybe one too many. She turned from Party Cat into Coma Cat, and I decided that she definitely deserved a track which is named after her.’ Besides the original, we would like to serve you also brand new mixes by Round Table Knights & Treasure Fingers for DJ pleasure.”
PHONIQUE VS. TIGERSKIN: Longdrink EP 12″ (LG 006EP) 12.00
Phonique and Tigerskin explore their passionate, freaky and funky sides on their Longdrink EP. Phonique throws us two hot ones with “Sandman” and “Longdrink.” The former skips through tripping, tool-y and percussive territories while the latter goes all-out with a rolling bass and hedonistic synth passages. Tigerskin’s “Loop Back In Time” grows from a rolling drum array into a disco-fueled killer while “Tony’s Riff” is a jazz-based jam with super-funky drums fused with deep house and cutting-edge techno.
SOUND OF STEREO: Helium 12″ (LL 036EP) 12.00
Sound Of Stereo’s Helium EP shows two sides of the amazing duo. The A-side is full of crowd-pleasing, anthem-style bangers represented by the title track. Next, there is Sound Of Stereo’s deeper B-side: techno, but not narrow-minded vibes represented by the track “Radium.” Remixes provided by Paul Chambers and Jan Driver.
HIGHBLOO: Fakirology 12″ (LL 037EP) 12.00
This is Highbloo’s second EP on Lektroluv. Highbloo has played at all the big festivals; in the meantime, he’s a regular at Social Club in Paris and will also play the gigantic I Love Techno fest. The remixes on this EP are from the hands of UK star Will Bailey and Mumbai Science, who are currently killing it globally. Fakirology is a sweet mix between midget, dirty Dutch and minimal techno.
RODRIGUEZ: Cold Fact LP (LITA 036LP) 19.00
LP version, 2010 repress. Deluxe 180 gram pressing, heavy jacket. “It’s one of the lost classics of the ’60s, a psychedelic masterpiece drenched in color and inspired by life, love, poverty, rebellion, and, of course, ‘jumpers, coke, sweet mary jane.’ The album is Cold Fact, and what’s more intriguing is that its maker — a shadowy figure known as Rodriguez — was, for many years, lost too. He recorded Cold Fact — his debut album — in 1969, and released it in March 1970. It’s crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late ’60s inner-city America.”
DISKJOKKE & STRANGEFRUIT PRESENTS THE SHOOKT: Ghost In The Machine 12″ (LUNA 011EP) 12.00
The Sjukt (pronounced “The Shookt,” meaning “the sick”) is the alias of Diskjokke and half of Mungolian Jetset and Luna’s co-founder Paul “Strangefruit” Nyhus. This EP showcases two pounding pieces of machine-made-flesh for the ears ‘n feet. “Ghost In The Machine” is a deep ‘n chunky trip to the far-out spheres, incorporating elements of psychedelic disco and exotic samples. “Bug In The Machine” is a simplistic tech-house stomper fueled with bugged-out squeaks, sounds and riffs aimed at the out-of-the-body feeling of three a.m. clubbing.
HOOD, ROBERT: Power To Prophet/Clash 12″ (MPM 009EP) 12.00
Hot off the heels of his Omega (MPM 008CD/LP) album, Robert Hood delivers 2 killer tracks. The thundering kick and warehouse-style acid line on “Power To Prophet” will add energy to any dancefloor. “Clash” is a nod to the old skool Chicago minimal techno sound of producers such as Steve Poindexter.
HOOD PRESENTS FLOORPLAN, ROBERT: Living It Up/Wall To Wall 12″ (MPM 010EP) 12.00
Robert Hood finally restarts his disco-influenced pseudonym Floorplan. “Living It Up” loops a disco sound while evolving with pads and synth stabs. “Wall To Wall” takes things deeper, exploding with claps, driving things in a way only the Hood can do.
BORNGRABER & STRUVER: In G LP (MINIMAL 003LP) 15.50
“21st century electronic Krautrock” is perhaps the best description for the album In G, on which Berlin’s Borngräber & Strüver skillfully recombine the influences of motorik Kraut and the achievements of minimal techno to their own musical statements. There is no trance bliss or party sound, only condensed musical statements. It was in 1999 when Borngräber & Strüver met at Ninetynine Records in Berlin. Since then, they have worked together on musical projects. Their first release EP on the UK label Blue Juice polarized many and was soon followed by remixes for artists like A Guy Called Gerald and Beth Hirsch. Their debut album Transcontinental featured dark Blade Runner-inspired atmospheres and fine electro beats meeting dub effects and surprising breaks. On this album, Borngräber & Strüver blend guitars, vocals and horns in a particular way, almost evoking a hidden soundtrack for your mental cinema.
ROSS 154: Until My Heart Stops 12″ (MOS 002EP) 12.50
White label/stamped repress on red vinyl. The second release on the M>O>S record label could have been part of Holland’s rich techno-history, if released when the tracks were made. Dating back as early as 1993, these two tracks come straight out of a plastic bag full of SA90 tapes in Ross 154’s bathroom and a cardboard box filled with cassettes. Old shit for new times.
MADLIB: Madlib Medicine Show No. 10 – Black Soul CD (MMS 010CD) 16.00
“Madlib digs deep to give you a mix of 60s and 70s soul and funk unlike you’ve ever heard. Madlib has taken us across so many different terrains with his Medicine Show Series. His most recent work? The sweetest installation yet – Madlib Medicine Show No. 10: Black Soul. Through Madlib’s extensive output you’ve seen – or heard rather, Madlib’s unique power to renew value to obscure sounds, and with this particular project nothing has changed. Madlib Medicine Show No. 10 reminds us of the mastery Madlib has performed throughout his heralded body of work, sourcing inspiration by the likes of Don Blackman, ZZ Hill or the Sylvers and blowing you away with the original work that stems from it. With Black Soul, he’s digging deep to give you a mix of 60s and 70s soul and funk unlike you’ve ever heard.”
KRYPTIC UNIVERSE: Ha-Lo EP 12″ (MELTED 004EP) 12.00
“Atmospheric bleeping and dubbed-out techno EP.” Stamped, numbered edition of 303.
RAMASES: Space Hymns LP (MEX 038LP) 24.00
“In 1971, a message was delivered from an Egyptian god through his vessel to the youth of the world via the infamous Vertigo label. That vessel was one Martin Raphael, a central heating salesman from Sheffield, shocked into servitude by Ramases in order to preach his word. Backed by the band Hotlegs, who were moments away from being known as 10cc, Ramases created this one-of-a-kind cosmic folk rarity, a bizarre and alluring message of peace and the supernatural, housed in a six-panel Roger Dean gatefold designed to make your pupils dilate. Mexican Summer proudly presents an exact reissue of the first Ramases LP, available domestically after almost 40 years of a secret existence.” Hand-numbered edition of 2000.
PERHACS, LINDA: Parallelograms 2LP (MEX 042LP) 26.00
“Mexican Summer is beyond psyched to present a hefty, heavy gatefold edition of Linda Perhacs’s lone album, Parallelograms. On the strength of this single album, recorded in 1970, Linda Perhacs remains a towering figure in the world of psychedelia, folk, female singer-songwriters, and acid-visionaries alike. Lauded by artists as diverse as Daft Punk, Devendra Banhart, Animal Collective, and Swedish metal band Opeth, in the 21st century, her album remains a testament to her singularity of vision. Ignored upon its initial release, Parallelograms seemingly sank without a trace, and Perhacs gave up making music for the next forty years. Psych fans the world over unearthed and began to obsess over this album in the meantime: a spine-tingling blend of crystalline vocal melodies from Perhacs, mind-expanding sound effects, and on the title track, one of the finest aural hallucinations ever captured, equal parts ‘sound sculpture’ and ‘visual music.'” Deluxe gatefold, hand-numbered edition of 1000 copies, featuring a download coupon and 6-sided insert with new liner notes written by Perhacs in May, 2010.
GAUNTLET HAIR: Out, Don’t/Heave 7″ (MEX 064EP) 5.00
“The duo of Andy R. and Craig Nice makes up Denver, CO’s Gauntlet Hair, but the gravity of the situation they create goes deeper than that. Both men are part of the Rhinoceropolis house in the city, and have sparked a musical movement that’s already gotten some dap via electronic artist Pictureplane. Gauntlet Hair divides the dance beats with an icy spell of post-punk and chilly, urbane vocals, but keep the rhythm up front and the aural violence at tense levels. Imagine the gorgeous gents of Duran Duran dressing up as Liars and showing up to the beardo mountain Brooklyn commune to pants the guys in Yeasayer, and you’re a bit on course to defining the heavy space hits and body-moving apocalypse grooves they dumpster-dine on every night. Pressed on beautiful translucent yellow vinyl.” Hand-numbered edition of 500 copies.
SOFT PACK, THE: Gagdad 7″ (MEX 071EP) 5.00
“The Soft Pack celebrates their jump over to the tanning rays of Mexican Summer with a brand new single. ‘Gagdad’ sprawls across both sides of a 7″ with a party-starting organ groove, slamming drums, and the unmistakable vibes that one of our catchiest acts has no trouble bringing across. No matter what time of year, the distinct Fall/VU groove of ‘Gagdad’ will convince you to don some shades, make it down to your nearest body of water, and get your own beach party happening, under the auspices of no man-made laws.”
FJELLSTROM, MARCUS: Schattenspieler LP (MIA 013LP) 18.00
LP version. Swedish composer and multimedia artist Marcus Fjellström’s debut Miasmah release follows two critically-acclaimed full length albums on Lampse. In addition, Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers. Currently based in Berlin, Fjellström’s compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic. Schattenspieler (which translates as “Shadowplayer”) takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral, instrument-based audio constructions flow from one moment to the next — the fleeting ghosts of Fjellström’s melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you’re listening to something more implied than obviously stated, as if Fjellström wants only to expose his listeners to the shadow of the music — the implication being perhaps a more terrifying experience than to be confronted outright. The undeniably Angelo Badalamenti-esque descending synth strings of opening track “The Disjointed” lay the foundations for this album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label-mates Kreng and Jacaszek. Marcus’ wide-ranging abilities in composition and his willingness to let go of accepted form and function makes Schattenspieler a perfect choice of release for the Miasmah label. The suspense-laden “Antichrist Architect Management,” with its harrowing and tense undertones, weaving synth lines and washes of static hiss and flicker, is a particular stand-out track. Schattenspieler also includes a four-part suite “House Without A Door,” which was originally commissioned for the Bernd Behr film of the same name. “Uncanny Valleys,” reflective in some ways of the opening track, is a haze of descending synth and organ tones. The imperfections in these often scratchy recordings makes for an alluring, almost drug-induced state of mind where all that is real is unreal.
MAGDA: From The Fallen Page CD (MINUS 101CD) 15.50
This is the debut full-length album from Berlin’s reigning queen of minimal, Magda. Enter the disorientating, evocative world that Magda has created — one that teeters on opposition: otherworldly but visceral, brutally dark with a warm sense of beauty and grace, sparse yet full-bodied and dense. Haunting electronic soundworlds that fall somewhere in-between reality and some sort of intangible dreamscape, brimming with nostalgic clues to the past and a curiosity-rousing sense of remembrance. >From The Fallen Page is an engulfing, transportive album that takes listeners from one end of the spectrum to the other, treading the fine lines of extremities along the way. Starting with “Get Down Goblin,” a growling, dramatic entrance into her electronic voyage, the album bleeds into tracks of all shapes and sizes, from the swelling, eerie chords and solid rhythms of “Lost In Time,” to the oozy, bass-ridden “Breakout,” to the dynamic tech-y workout of “Your Love Attack.” And though the tracks sequence to tell a story, they all fall under the same alluring spell regardless of order: for instance, “Music Box” — a daydream-y sound-world filled with chilling chords and a lurid sense of dread (indeed, a music box from a dark past) — is a cinematic pairing to the dizzying builds and piano fills of “Doom Disco,” which sounds somewhere in-between a hand-clapping, bouncing club and an ancient, creaking haunted house. The funked-out, low-slung groove of “Japan” closes the chapter, a melancholic farewell immersed in soft, lush melodies. The darkly-tinged collection takes on a personal, animated effect as a result of entirely unique sounds. In fact, everything in the album’s movement came about naturally, from its inception to its change in direction. Originally set out to be a post-punk, dark disco set of soundtrack-inspired music, it evolved into a melodious and percussive adventure into Magda’s past and influences. The album’s punchy bass lines and hypnotic drum patterns tell of her days growing up in Detroit, she didn’t purposefully set out to find memories; the memories found her.
JPLS: Voxplosion 12″ (MINUS 102EP) 11.00
JPLS’ Voxplosion EP finally reveals key pieces that have woven themselves throughout Richie Hawtin’s sets for the past year. “Voxplosion Puss” features an endless vocal statement constantly collapsing in on itself. “Voxplosion Escape” focuses on a conversation regarding one’s hopeless, inevitable fate. Radio distortion twists in the background as signature JPLS vocal modulations tear apart. “Voxcycle A” features a gravity-defying bass line and sharp vocal stabs. “Voxcycle B” opens up like a tense computer trying to diagnose its own madness.
ASTATKE, MULATU: Timeless CD/DVD (MO 016CD) 19.00
“Ethiopian Mulatu Astatke is a giant in African music. He is the inventor of Ethio-jazz. His work has inspired many imitations, many admirers and a whole new generation of fans. His music veers from the sublime tezetas to the most foot-stomping funk. The award-winning and invaluable Ethiopiques series has shed a light into a vital and amazing music scene that existed in the Addis Ababa in the ’60s. The composer/arranger of that era was Mulatu Astatke. On February 1st he blessed the sold-ut Luckmann Theatre with an amazing show. He shared the stage with veterans of the Los Angeles jazz scene Bennie Maupin, Azar Lawrence and Phil Ranelin. The performance is beautiful, showcasing many classics as well as some new material. Nas, Damien Marley, Cut Chemist, Quantic, Madlib and K’naan all have felt the influence of Ethio-jazz. This special edition honors Mulatu and his music. Part one of a three-part series. CD includes live concert (mastered) and the ‘Yekermo Sew (Te’amir Remix).’ DVD contains full live concert, slideshows and special features.” NTSC region 0 format DVD; run time: 73 minutes; black & white; stereo; aspect ratio: 1:33:1. Housed in a hardbound package with a 20-page booklet.
MODESELEKTOR: Modeselektion Vol. 01 #3 12″ (MONKEY 007EP) 12.00
The final 12″ from Modeselektion Vol. 01 (MONKEY 006CD), featuring all-exclusive tracks by Marcel Dettmann, Robag Wruhme, and Cosmin TRG. Constantly in search of the next new beat, Modeselektor focus their first installment mainly on the progression of dubstep’s offsprings and related or unrelated but similar-sounding techno producers in London, Berlin or elsewhere. The project, spanning 3 separate 12″ releases, an ultra-limited and numbered clear vinyl 2LP, and the CD will present the music in whichever context you like. On blue vinyl.
IF, BWANA: ”Assemble.Age!” CD (MUTABLE 17540) 13.00
“Modern classical music meets industrial meets musique concrete. The music of If, Bwana (Al Margolis) represents a vigorous, original and informed continuation of the experimental traditions of American music, responding as it does to the sounds and materials of late 20th and early 21st century American life with a keenly sensitive ear and a marvelous feeling for form, balance, and texture in music. The five works on this recording all utilize and reprocess the performances (both studio and live) of the musicians and vocalists. Their work has been processed, edited, selected and assembled into strange and mutated pieces, which in many cases are quite some way removed from the realms of the familiar.”
DICK & THOMAS BUCKNER, ROBERT: Flutes & Voices CD (MUTABLE 17541) 13.00
“Flutes & Voices is utterly brilliant improvisation, finding two longtime musicians in top form. Thomas Buckner and Robert Dick have somewhat parallel musical histories. For well over three decades, both Buckner and Dick have redefined what is acoustically possible on their instruments. Both have a profound interest in the development of a highly individual sound language and in free improvisation. Their activities have helped shape the downtown scene in New York, and affected the course of new music worldwide. About four years ago, they began to very occasionally meet to start and continue a musical dialog. In June 2009, they recorded together. Flutes & Voices, a collection of dynamic improvisations, is the result.”
KIMURA, MARI: The World Below G And Beyond CD (MUTABLE 17542) 13.00
Subtitled: Works For Violin Subharmonics And Interactive Computer. “Mari Kimura is a creative violinist carrying on the tradition of renovation and transformation of her instrument by composing for herself, using the media that is available in her lifetime. This album includes two kinds of works: solo violin works using ‘subharmonics,’ an extended bowing technique she developed, and works for violin and interactive computer. In April 1994, at a solo recital in New York City, Kimura introduced subharmonics as a musical element to extend the range of the violin by a full octave below the open G string without changing the tuning. Playing subharmonics takes precise control of bow pressure and speed, reliably and repeatedly on demand, which is extremely hard, especially in real time performance situations. Her introduction of subharmonics was widely praised by Edward Rothstein, the chief critic of The New York Times who described it as a ‘revolutionary technique’ for the violin. Kimura took these obscure sounds and developed them further. She created compositions using subharmonics not for the sake of novelty but to use them as a new element for the musical language for the violin. This album contains many of her early works using subharmonics controlling different subharmonic intervals, such as subharmonic octave, third and second. Since the early 1990’s, Kimura has also been a violinist/composer specializing in interactive computer music composition and performance. She created many works for the violin using an interactive computer music program MaxMSP. On this album she includes some of her older works for violin and MaxMSP, as well as more recent compositions.”
BUKADDOR & FISHBECK: Glaedys 12″ (MBF 12073EP) 12.00
Bukaddor & Fishbeck return with a 12″ that will seduce and baffle critics with its stylistic diversity while winning new fans with its daring refusal to conform to contemporary minimal house. “Glaedys” features euphoric vocal snippets chasing each other, FX sounds evolving from the depth of the bass, and filters opening with the speed of light. “Vocoloco” is a tuff track — trippy, drugged-out minimalism evolves into a kind of hi-NRG track to set all dancefloors on fire.
ESKMO: Eskmo 2LP (ZEN 161LP) 20.50
2LP version. “Brendan Angelides, aka Eskmo, somehow manages to rope together the aesthetics of glitch, dubstep, and R&B into a package that is troubling, beautiful and strangely uplifting all at once. It states, simply and without the need for any of these words, that Angelides is a unique presence in electronic music.”
FRIEDMAN & JAKI LIEBEZEIT, BURNT: 5 7 EP 12″ (NON 029EP) 12.00
Friedman & Liebezeit present two pieces in their “Secret Rhythms” project. Both tracks, one mixed and co-produced by Mark Ernestus (Rhythm & Sound) and one by Burnt Friedman, testify less to post-processing and editing techniques than to the physicality of the instruments played. The post-Can Liebezeit created his own cycle-based drum system and developed an innovative drumset. Friedman’s percussive, synthetic or acoustic sound sequences adhere to the same understanding of rhythm, allowing the two sound generators to perfectly intermesh. Cover artwork by Theo Altenberg.
MACHINE DRUM: Want To 1 2? 2LP (NRX 001LP) 17.00
“In the early 2000s, Travis Stewart had several releases on Miami electronic/ambient/dub/IDM label MERCK, under aliases Syndrone, Sepalcure and Machinedrum. The label was clearly influenced by UK labels Warp, Skam and Rephlex, and Machine Drum’s soundscape compositions are often compared to fellow Floriadian Prefuse 73, as well as Boards of Canada, Push Button Objects and Autechre . He is now an inspiration/mentor for 2010-era melodic electronic/beats acts such as Lunice, Lazer Sword, Glitch Mob, Siriusmo. This album features guest vocals from Williamsburg neo-soul / new wave hipster Theophilus London (Green Label Sound) and Brooklyn emcee Mickey Factz (Battery Records), known for his ahead-of-the curve blending of lyrics with unlikely beats, Sarah Ruba (previously featured on Giles Peterson’s Brownswood Bubblers Four), Detroit electronic legend Jimmy Edgar (Warp Records), and former battle DJ Ie.Merg_ .” Housed in a hallucinatory holographic gatefold sleeve.
MACHINE DRUM: Late Night Operation 12″ (NRX 002EP) 8.00
“Miami’s Machine Drum gets the acid house remix treatment from Neon Black, (previous remix for Lazer Sword remix work), Body Language (aka The Lovers, Theophilus London’s backing band), and an electro/disco/boogie rework by the UK’s Letherette.”
JOHNSON, SYL: Complete Mythology 6LP+4CD BOX (NUMERO 032LP) 80.00
“In the 40 years since Syl Johnson exited Chicago’s Twinight label for Memphis’ Hi Records concern, the world has been struggling to grasp and package the early years of this legendary soul man’s career. Endless compilations, botched bootlegs, and shabby two-fers litter his section card, ear and eyesores all. Four years in the making, Complete Mythology is by far the most exhaustively researched and meticulously presented work from The Numero Group to date. Encompassing the first fifteen years of a career that spans half a century, Complete Mythology not only covers his obvious hits but shines a light into the dark corners of a true musical visionary. Born Sylvester Thompson in Holly Springs, Mississippi, Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, Junior Wells and Howlin’ Wolf in the 1950’s, before recording with Jimmy Reed for Vee-Jay in 1959. His break was to come recording for Twinight Records of Chicago in 1967. Johnson dominated the label as both a hit maker and producer, providing such hits as ‘Come On Sock It to Me,’ ‘Different Strokes’ (one of the most heavily sampled songs in the history of recorded music — paid homage by N.W.A., Kid Rock, Michael Jackson, J. Dilla and dozens of others), ‘Is It Because I’m Black’ (which reached Number 11 on the Billboard R&B charts in 1969), among many more. Included on the 81-track, 6LP+4CD box (both formats included) are re-mastered versions of no less than twenty-eight singles from the Twinight, Federal, Cha-Cha, Tmp-Ting, Special Agent, and Zachron labels, facsimiles of the Dresses Too Short and Is It Because I’m Black albums, ten previously unreleased tracks and detailed track by track notes from acclaimed music historian Bill Dahl. The fifty-two page booklet contains a thirty-five thousand word essay, scores of previously unpublished photos, a sampling index, and complete discography — all presented in a lavish hard-bound box. For the uninitiated, this is history; for those familiar, this is respect for one the greatest musical artists of our time.”
STELLAR OM SOURCE: Trilogy Select LP (OESB 057LP) 17.00
“Trilogy Select is the second full-length vinyl LP from Netherlands-based electronic musician Christelle Gualdi under her Stellar OM Source moniker. The album consists of a selection of tracks from her CD-R trilogy released last year (2009) (Crusader, Alliance, & Ocean Woman) hence the title Trilogy Select. It was recorded between 2006 and 2009 in a variety of locations including The Hague, Lisbon, Paris, and New York and features the track ‘Rites Of Fusion’ which is a collaboration with Dan Lopatin of Oneohtrix Point Never. The original CD-R tracks were re-edited and meticulously sequenced and then remastered by Carl Saff in Chicago. Packaged in amazing full color high-gloss jackets designed by Christelle along with a double-sided color insert that features the artwork from the original 3-cd set. Also includes an mp3 download coupon.”
WAGONER, PORTER: What Ain’t To Be, Just Might Happen/Sings His Own CD (OMNI 137CD) 18.00
“Presented here for the very first time on CD are Porter’s two greatest LPs from this era, both full of stark autobiographical moments. Most notorious of these is The Rubber Room, a 1971 chart hit over-brimming with pain and insanity. Other highlights abound: ‘If I Lose My Mind’ and ‘Comes And Goes’ both explore similar tortured terrain, while ‘Albert Erving’ describes a broken recluse and ‘Be A Little Quieter’ a man tormented by his ghosts. Remastered with love and care from the original RCA Victor master tapes and presented with exclusive liner notes, rare photos from Porter’s private collection and a generous clutch of extra tracks (including a rare duet with Merle Haggard). Porter Wagoner was a consummate showman, songwriter and performer who clothed the darkest jewels from the human heart in a purple sequined countrypolitan sheen. Remastered in 2010 from the original RCA Victor master tapes. Deluxe packaging, twenty-page full color booklet with scholarly liner notes, rare photos from Porter’s private collection, memorabilia, etc. Thirty-track CD. All original recordings.”
PARTON, DOLLY: The Fairest Of Them All/My Favorite… CD (OMNI 138CD) 18.00
…Songwriter, Porter Wagoner. “Two original LPs from the queen of country music on CD for the very first time. Before Dolly the pop icon. Before Dolly the cultural phenomenon. There was Dolly the most sublime songwriter and performer of her generation. The evidence is right here. The Fairest Of Them All is the greatest Dolly Parton album you’ve never heard, recorded over 1968 and 1969 and never issued in any form, it is a superb recording from start to finish. From the harrowing psychiatric depths of ‘Daddy Come And Get Me’ and the empowering heights of ‘Just The Way I Am’ to the most moving narrative in the Parton canon, ‘Down From Dover.’ ‘Robert’ tells of forbidden love; ‘Chas’ of passion that can never be. Dolly is at her creative peak, always breaking new ground. Also included is the 1972 LP My Favorite Songwriter, Porter Wagoner, a fine tribute to her mentor and companion through these years. Remastered from the original RCA Victor master tapes, both albums appear for the very first time on CD and are presented in a deluxe collector’s edition with exclusive liner notes, unpublished photos and two very rare extra tracks. Twenty-page full color booklet and memorabilia included. Twenty-three-track CD. All original recordings.”
VA: Russkie Wig-Out! CD (OMNI 139CD) 18.00
Subtitled: Demented Surf/Electro/Exotica From Behind The Iron Curtain. “Deep from the darkest heart of Russia comes this terrifying amalgam of B-culture detritus and mutant retro-futurism. As incongruous as they are sublime, these gems of post-Soviet exotica craft the shuddering twangs of surf rock to elastic electro rhythms, rockabilly chops and theremin wails. Imagine Bruce Haack detained at the border by KGB operatives and thrown into the Gulag with the tortured remains of Dick Dale and Les Baxter. Twenty-six-track remastered compilation with deluxe packaging, twenty-page full color booklet with scholarly liner notes, rare photos, posters, original covers, and memorabilia.” Artists include Messer Chups, Oleg Kostrow, Messer Fur Frau Muller, Kim & Buran and Supersonic Future.
VA: The World Is A Monster: Columbia Hillbilly 1948-1958 CD (OMNI 140CD) 18.00
“Out of the ashes of World War II, post-war corporate U.S.A would sully its hands with anything in search of a buck. Heck, even hillbilly music. Here, for the first time, are thirty-two of the grimiest, most delicious slabs of hillbilly misery and mayhem to grace the Columbia Records imprint. From the rhinestone noir of Rocky Porter’s ‘The World Is A Monster’ and Johnny Bond’s ‘All I Can Do Is Cry’ to the proto-feminist declaration of Polly Possum’s ‘Don’t Talk To Me About Men’ and the proto-punk loser’s lament of The Maddox Brothers’ ‘Ugly And Slouchy.’ More tears in your beer than you can count, more kick in your heels than a regiment of cavalry. Remastered with love and care from the original Columbia tapes in a deluxe collector’s edition with rare photos and memorabilia.”
KLOCK, BEN: Compression Session 12″ (OSTGUT 042EP) 12.00
Ben Klock continues his exploration into the many zones and movements within the techno world. Now you have the chance to experience “Compression Session 1” in its full melancholic beauty, along with two other new tracks. Climbing synth themes float amongst a barrage of drums in this rather anthemic yet controlled session from Klock. On “Static Test,” Klock concentrates on some really heavy, prominent raw grooves. “Compression Session 2” blends warm, analog textures, frenetic tones and accurate, intense drum programming.
JOSH: Veeruntwintig 12″ (OW LTD024EP) 11.00
“We are proud to introduce one more Mecklenburg artist from the house of Ostwind. Josh is from our state capital Schwerin, and — as well as ourselves — has been growing up in Mecklenburg’s oldest club, the ‘Gerberei’. According to this, there is only one thing to say about his sound: pushing, Detroit-infected techno with a particular, timeless dub note. Josh’s both tracks are called ‘Uptime’ and ‘Distance’, maddening us and making the dancefloor seem to be endlessly. Who’s been to Gerberei in Schwerin once, will know where Josh got his sense for this great sound from. Josh, welcome on the deck of our sailing boat and thanx for this wonderful record.”
J.B.’S, THE: Hustle With Speed LP (PE 6606LP) 11.00
Exact repro reissue of the J.B.’s 1975 album, released before members Fred Wesley and Maceo Parker left the group. Produced by James Brown, sampled by many.
PURLING HISS: Purling Hiss LP (PERM 010LP) 15.00
Repressed. “Purling Hiss is one of Philly’s Best! Purling Hiss is the side-project of Holy Mountain recording artists, Birds of Maya, guitarist Mike Pollize. Birds of Maya are a full-on psychedelic rock band from Philly. Apparently, Birds just aren’t full-on enough to satisfy Pollize’s far-out tendencies. On his debut solo record, Pollize plays bass, drums, and guitar, relentlessly, as if he’s playing to save his life. This recording is so intense that the pressing plant told us they’d risk breaking their equipment if they cut the lacquers with the original master. We sent ’em a new master and it sounds great! For Fans Of: Birds of Maya, Earthless, Loop, High Rise, Les Rallizes Denudes, and lo-fi blown-out psych.”
RUNNING: Running LP (PERM 018LP) 15.00
“Running is one of America’s best psych/punk bands. Running sounds to us like Clockcleaner, if they played twice as fast and half as long. The vocals are reverbed beyond recognition, the drums are pummeling, and the bass and guitar are abrasive feedback-laden. After pumping out a couple of incredible cassette tape-only releases, Running went into the studio and recorded some of their material (semi) professionally. Those recordings have now been preserved to wax as Running’s debut 12″ EP. This eponymous EP comes housed in a jacket with really interestingly created artwork and contains exactly 13 totally brutal weird punk songs. If these guys were jockier, they’d be a hardcore band. Thankfully, they’re too arty for that ish. This record fucking rips! The first pressing is limited to 500 copies!”
PROMMER AND BARCK: Pictures Of The Sea/Gladys Knight 12″ (PERMVAC 068EP) 12.00
Christian Prommer and Alexander Barck join forces for Permanent Vacation. Deep Kraut music from Berlin via Chicago, Köln, Detroit and Munich. Influences are as varied as: disco, Krautrock, deep house, folk music, spiritual jazz, rock, world music, Chicago house, Detroit techno and ambient sounds. “Pictures Of The Sea” is a beautiful cover version of the Al Di Meola theme, which turns into a lush, deep house groover. “Gladys Knight” is a wonky ’80s boogie jam Larry Levan would be proud of.
GDX/AURA ANTHROPICA: Want You/Drummond II 12″ (PHLOX 001EP) 12.00
Aura Anthropica is a dubwise guise for Hans Platzgumer, sometimes known as Spezial Material’s H.P.Stonji and now flourishing within the terrain of heavy, low-end sounds. “Drummond II” is a dark, brooding bass monster — almost a scene score with colorful synth touches and some edgy paint to add to the tension and the hostility. Mysterious, mystifying and very heavy. GDX aka Gerhard Potuznik aka GD Luxxe presents freestyle-friendly 2-stepper “Want You,” incorporating some tasty ’99-style UKG moves with ample boogie.
GROUP NIOB: Vector/Amber 12″ (PHLOX 002EP) 12.00
Group Niob is the collaborative work of Phlox label heads Gerhard Potuznik and Martin Sovinz. “Vector” continues further with exploratory mining into the 140 bpm-dubbed-into-technoid seam — its low-end is devious and drills itself into the synapses, mirages of dub cascading either side. “Amber” is a writhing dub organism — heavy and grooving, ideal for smoke-machined basements and strobed warehouses. Fans of everything from Scuba, Mike Dehnert, Wax series and Seldom Felt to technological Iration movements should check without delay.
VA: Mit Pauken Und Trompeten Vol. 4 12″ (PLATZ 025EP) 12.00
Platzhirsch hands the techno scene a 4th volume of Mit Pauken Und Trompeten. Gabriel Ananda returns to Platzhirsch armed with “Kota Sur,” a big-room techno tool prepped for DJs who like to knock down walls. Tobias Becker brings us “Knasterhouse.” Apparently, Ricardo Villalobos caught wind of a Tobias Becker 5-way orgy; rumor has it that this dirty little party included Tobi’s 808, 909, Moog Voyager and Yamaha DX100. Villalobos himself dropped it at Timewarp’s 2010 after-hours.
J.B.’S INTERNATIONALS: Jam II Disco Fever LP (PD 6153LP) 11.00
Exact repro reissue, originally released in 1978. Featuring vocals by Martha and the Lazers, plus members Sinclair Pinckney, Jimmy Nolan and Johnny Griggs. The album closer is “I Wanna Hug My Baby At The Disco” and Mr. James Brown is really pulling the strings here.
POM POM: 34 2LP (POM 034LP) 32.00
“POM POM 34 continues where #33 left us off: dark, loud, black, techno!!” Gatefold (black!) sleeve.
VA: Sub Rosa vs. Kompakt 12″ (QU 442EP) 7.00
Rare warehouse stock; 1999 release. As an introduction to the full length release Sub Rosa Versus Kompakt, this is a 12″ with a few teasing elements: Lelonek giving an Indian jungle-like flavor to Thomas/Mayer’s low techno, and Bump & Grind crushing the subtle and melodic sound of OM1 (both only available on this EP). Also features the original Kompakt tracks. When electro meets electro, nothing is really the same.
LUKATRON: Facts Of Life EP / Primitive Series One 12″ (QUINTESSE 017EP) 12.00
This is a Luke Solomon release under his new moniker, Lukatron. The man is classic, the music is classic. Four toolish tracks with an old school house and techno flavor, the way some fellas out there like it. As you can see, this is part 1 of a series of Lukatron releases.
MAHER DANIEL/DANIEL DUBB: 3rd Time Is A Charm/Bring The Heat 12″ (REJ 012EP) 12.00
“After staying on home shores for their previous release, Rejected look much further afield for 012 and welcome two young and exciting Canadian producers in Maher Daniel and Daniel Dubb. With a bumper 2009 under his belt that saw him release music on Get Physical Music, Souvenir and Bedrock, Maher Daniel was in the finest of form leading into 2010. His remix of Tone Depth’s classic ‘Rumblefish’ for John Digweed’s imprint saw him sit pretty at the top of the techno charts for a full two and half months. As resident of Montreal’s world famous ‘Stereo’, Daniel has warmed the floor for many of the world’s biggest names. The success of his cross genre sets have lead to bookings at festivals and clubs right across the world, Creamfield’s Abu Dhabi, Igloo Fest and Watergate being particular highlights. Toronto resident Daniel Dubb is a name to watch closely over the next few months. With releases and remixes lined up for VIVa, 8Bit and Plastic City, Daniel is an artist who will be very much at the forefront of the scene. His release on Supernature has already caught the ear of the world’s finest, finding support from both house and techno DJs alike.”
DE MOOR & GIDEON BOUWENS, WOUTER: I Am A Flirt For You 12″ (REMOTE 029EP) 12.00
DJ/producer Wouter de Moor has an unstoppable appetite for good music that gets people partying. DJ/producer Gideon Bouwens is known for his pumping DJ sets as well as solo tracks on massive compilation albums. Together their collective genius has risen in ranks on labels such as Paco Osuna’s Spanish Mindshake as well as on Remote Area, and now they’re back with four more party tunes for the clubs. These are thumping tunes with soul, bodylicious vocals and deep groove.
DJ MADSKILLZ PRESENTS MORNING GLORY SEEDS: Tramadol 12″ (REMOTE 030EP) 12.00
Remote Area welcomes one of Amsterdam’s most versatile artists — DJ Madskillz as Morning Glory Seeds. The last 2 decades have witnessed Madskillz release more than 90 unique and energetic productions dedicated to the dancefloor. When Morning Glory Seeds appears, it’s not as the heart-shaped plant that induces all manner of hallucinogenic pleasures, but he will take you on a trip to the deeper side of dance life — so hold on tight.
RHYTHM & SOUND W/ PAUL ST. HILAIRE: Music A Fe Rule 12″ (RS 001EP) 10.00
1997 release, available again. After four 10″ singles on Burial Mix, here is the first 12″ on Rhythm & Sound’s own imprint. More exceedingly deep dub excursions with the Basic Channel affiliation, with Tikiman’s echo-scattered vocals on one side, an instrumental version on the other.
RHYTHM & SOUND/CHOSEN BROTHERS: Mango Walk/Mango Drive 12″ (RS 002EP) 10.00
1998 release, available again. “This very special release is a collaboration with the Wackies label. Rhythm & Sound — this Berlin-based techno dub project — offers us this brilliant 3 track release. The A-side features an unreleased track, ‘Mango Walk’ from 1979 by the legendary Chosen Brothers backed by Bullwackie’s Allstars and a dub version. The B-side features a reworked version by Rhythm & Sound.”
RHYTHM & SOUND: Roll Off/B 12″ (RS 003EP) 10.00
1998 release, available again. “As a pretaster for a full length CD, here is a new Rhythm & Sound release. Famous deep dub techno from Berlin. This 12″ features two more experimental instrumentals.”
RHYTHM & SOUND W/SAVAGE: Smile 12″ (RS 004EP) 10.00
1999 release, available again. “Here we have three new tracks by the well known Rhythm & Sound. One side being ‘Smile’ with vocal appearance by Savage, a new artist with a Caribbean background, in a vein similar to Paul St. Hilaire’s performance on the first Rhythm & Sound (‘Music A Fe Rule’). The other side contains the two new tracks: ‘Distance’ and ‘Range.’ These tracks are more in a free, empty and sound-oriented vein similar to their earlier work on Basic Channel.”
RHYTHM & SOUND: Carrier 12″ (RS 005EP) 10.00
1999 release, available again. “Here we have three tracks by well-known Rhythm & Sound. No vocals this time — these tracks are more in a free, empty and sound oriented vein similar to their earlier work on Basic Channel.”
RHYTHM & SOUND: Trace 12″ (RS 006EP) 10.00
2001 release, available again. “Berlin’s Basic Channel Crew has been most influential in the field of minimal techno soundscapes. With the sub-labels Maurizio, Main Street Records, Burial Mix and Rhythm & Sound, Mark Ernestus and Moritz Von Oswald created platforms for different aspects of their own productions, and with Chain Reaction for productions from their musical environment. The present 12″ is a teaser for the Rhythm & Sound compilation CD which contains most of the material released on the 12″ singles on the Rhythm & Sound label so far.”
RHYTHM & SOUND: Aground 12″ (RS 007EP) 10.00
2002 release, available again. “The seventh 12″ single on the Rhythm & Sound label. Within the output range of Rhythm & Sound’s production, this label is the platform for more free or abstract material, with the Burial Mix label focusing on vocal tunes and the respective versions/dubs. With the heavyweight ‘Aground’ and the densely atmospheric ‘Aerial’ (with Tikiman’s superb distant background vocals) this is an excellent start for a new series.”
RHYTHM & SOUND: Rhythm & Sound CD (RSD 001CD) 15.50
2001 release, restocked. “Berlin’s Basic Channel Crew has been most influential in the field of minimal Techno-Soundscapes. With the sub-labels Maurizio, Main Street Records, Burial Mix and Rhythm & Sound Mark Ernestus und Moritz Von Oswald created platforms for different aspects of their own productions, and with Chain Reaction for productions from their musical environment. The present CD contains most of the material released on the Rhythm & Sound label — only on vinyl 12″/10″ so far — since it’s launch in 1998. The material is remastered and partially edited for CD format, to create a continuous flow through the wide spectrum ranging from minimal, abstract electronics to driving uptempo grooves with a stronger influence of classic Jamaican dub elements in the best Basic Channel tradition, including highlights like ‘Smile’, the only vocal track (featuring Savage), ‘Mango Drive’ a re-shape of the Chosen Brothers’ 1979 unreleased Reggae tune ‘Mango Walk’, or ‘No Partial’, inspired by the essential, though never generally released ‘Higher Fieldmarshall Dub’ by the Wailers Band. Packaged in a stunning ‘nature’ digipack again.”
JENIFER, DARRYL: In Search Of Black Judas LP (RUSLP 8306LP) 14.00
“Darryl Jenifer returns to ROIR, home to the Bad Brains’ legendary debut album, to release his solo debut. In Search of Black Judas blasts off with hardcore riffs and monstrous grooves, delivered with classic Bad Brains fire and fury and the quickness to shift into downtempo reggae passages. It’s a heady and intoxicating mix of sounds that continues a quest for innovation and soulful vibes, anchored by Jenifer’s rock steady lines. >From the stripped down rub-a-dub of ‘Babylon Leave Me Alone’ to the dark and ominous ‘Trinity Rub’, an excursion into post-punk-dub akin to PIL or The Ruts, Jenifer’s inventive bass builds a rock-steady foundation on each track. ‘Black Slavery Dayz Mosh’ is a charging reggae groove featuring Bad Brain’s vocalist HR’s twisted and treated vocals. With Intricate, spacious and detailed production In Search of Black Judas is an aural pleasure and long awaited addition to an already grand legacy.”
HUNEE: Bobos Alone In Paradise 12″ (RH 031EP) 12.50
This is Hunee’s debut release for Rush Hour. This four-track EP truly is a deep house delight and shows Hunee’s strong love for disco music. Title track “Bobo” has a hypnotic, deep groove which centers around a catchy vocal sample and comes in two versions, original and dub. “Like Dat” and “Sand Days” further explore Hunee’s hypnotic house grooves. Addictive stuff!
RECLOOSE: Early Works Sampler Part 2/2 12″ (RH 112B-EP) 12.50
This is the second of two samplers celebrating Recloose’s early works from the late-’90s/early ’00s. This 12″ opens with “Mym 230 (RIP),” a track taken from his Planet E debut release from 1998. It also features one of his biggest tracks to-date, “Can’t Take It,” which was the debut recording of soul vocalist Dwele. “Antares” and “Crosstown” are two tracks taken from the artists’ personal vault — tracks which were recorded back in the day, but remained unreleased… until now!
COSMIN TRG: Liebe Suende/Sores Of Attraction 12″ (RH DC4-EP) 12.50
Cosmin TRG is back with his second release in the Direct Current Series on Rush Hour. This time, he loses the steppy beats and turns out two fierce house tracks, yet he keeps his signature cut-up R&B samples and the future attitude. Slowly, TRG is becoming one of Rush Hour’s favorite new house producers.
AWANTO 3: For Five EP 12″ (RH VD2-EP) 12.50
Rush Hour presents a new series of releases entitled Voyage Direct. The saga continues with the second in the series, this time by Awanto 3, which is the new alias for Steven de Peven aka Aliah Poeh aka the founding member of Rednose Distrikt. Awanto 3 delivers two mid-tempo house bangers that are >10 minute-long, hypnotic, joyful builders.
VAINQUEUR: Ranges 12″ (SCION 007EP) 12.00
“René Löwe produced, essential dub techno cuts in unique R.L. chords-driven sound design.”
PIGEONS: Visions Of The Valley 7″ (SAB 043EP) 10.00
“Limited edition of 200!! This 2 song platter find Pigeons pushing farther into tripped out pop songwriting, narrowly clinging to their inner art rock leanings. Dusty, west coast, flowery psyche pop & placid, melancholy blues mysticism fill these grooves. Recorded by Clark & Wednesday in the Bronx & Paris & comes in a hand printed sleeve.”
UNTOLD: Come Follow Me/Fly Girls 12″ (SJR 237EP) 9.00
“Two exclusive tracks on Soul Jazz Records from Untold as part of the Future Bass project. Post-dubstep, post-house, post-everything, Untold is one of the most progressive producers around and this release confirms his position — cutting-edge, forward-looking bass music of the highest order.”
KOLETZKI & FRAN, OLIVER: Echoes 12″ (SVT 052EP) 12.00
The producer and DJ Oliver Koletzki and singer Fran are riding on the fast track to glorious pop music. They now release “Echoes,” from their album Lovestoned with four different remixes. The original, with its groovy loop, some softly-floating pianos and great musical synthesizers reminds of pop tracks by the likes of Mia or Morcheeba. Niko Schwind adds some surrounding percussion, strings and effects. Solomun drops a fat, acid-y bass line onto the sweet vocal, driving everyone wild.
KRAUS, SHARRON: The Woody Nightshade CD (SAAH 063CD) 13.00
“The Woody Nightshade takes an amble down a slightly different route along Sharron Kraus’ musical path. Reminiscent of the expanded instrumentation and compositional arrangements found on The Fox’s Wedding (on David Tibet/Current 93’s Durtro/Jnana label, 2008), gone are the traditional folk tools of the trade, such as the familiar use of banjo and fiddles, in favor of drums, electric guitar and bass. While that may sound as though Kraus has ‘gone electric’, she uses this foray into broader instrumentation as texture and color, wrapping coarse velvet and splashing subtle earth tones over her songs. Kraus’s signature has always been her distinctive vocals, and her idiosyncratic siren sound is in top form throughout.”
TOBIAS: Street Knowledge 12″ (SK EP) 12.00
“Quick white label action reissue with an extended and crispy Villalobos version.”
LOS LOBOS: Tin Can Trust LP (SP 1005LP) 18.00
“Tin Can Trust is Los Lobos’ first collection of new original material in four years. The Grammy-winning East L.A. band’s lineup has remained uninterrupted since 1984, when saxophonist/keyboardist Steve Berlin joined original members Louie Pérez (guitar, drums, vocals), David Hidalgo (guitar, violin, accordion, percussion, vocals), Cesar Rosas (guitar, vocals) and Conrad Lozano (bass, vocals). Seven songs on the album are distinguished and genius Hidalgo-Pérez collaborations, including the opening track ‘I’ll Burn It Down,’ (featuring Susan Tedeschi). Three others were written in whole or in part by Rosas — including the album’s two Spanish-language numbers: the cumbia ‘Yo Canto’ and the norteño ‘Mujer Ingrata’ — and display Los Lobos’ signature seamless infusion of Mexican folk songs into rock music. Also included in Tin Can Trust — a cover of the Grateful Dead’s ‘West L.A. Fadeaway’ — offering a nod to the bands’ shared history that extends back into the 1980s when the Angelenos befriended and opened shows for their northern peers.” Gatefold sleeve.
SCHWEFELGELB: Das Ende Vom Kreis LP (TR 188LP) 17.00
LP version. This is the second full-length album by Germany’s Schwefelgelb. A lot has happened since their acclaimed debut album Alt Und Neu — Sid and Eddy aka Schwefelgelb were invited to the Wire festival in Tokyo, the biggest festival for electronic music in Asia. The picky, well-informed audience went crazy over Schwefelgelb’s mix of electro, new and dark wave, and their eccentric stage performance did the rest. The same happened on tour in England, Spain, and Poland, and during that time, Schwefelgelb found the time to remix a number of other artists. If on their debut Schwefelgelb brilliantly combined brute electronic body music with catchy melodies and melodic detail, they now not only further continue to do so on Das Ende Vom Kreis, but take it to the extreme. On the one hand, a cool elegance, that keeps reminding you of the sound of the Sheffield scene (Human League, Cabaret Voltaire); on the other hand, the hard, but never overly simplistic beats. In this respect, Schwefelgelb have managed to square one and the same: smart music that gives you the chance to pogo dance that nevertheless sounds as fresh and progressive as if the Roland TR-808s had just recently rolled off the assembly line. Das Ende Vom Kreis will cause a stir in the discos around the globe, with the exhilarated, worn-out masses soaked with sweat.
VA: Tempa Allstars Vol. 6 2×12″ (TEMPA 051EP) 18.00
This is the sixth volume in the Tempa Allstars series, providing a trusted filter to bass music enthusiasts in a time where music is so readily available that it’s becoming increasingly more challenging to discover its real highlights, especially in the underground. Skream opens Allstars 6 with “Rollin’ Kicks,” and it does exactly what it says. The payoff here comes with giving yourself over to the progressive nature of the track — long-time followers of Skream’s productions will recognize this as one of the many styles in the pioneer’s arsenal while relative newcomers may be surprised by this progressive and nuanced technique. For those who’ve not kept one eye on the brilliant and diverse output DnB producers such as dBridge and indeed Shogun Audio have been putting out there, this may be your first introduction to Icicle. With “Anything,” wicked production value gives weight to his bass notes and shine to the shuffling metallic percussion. Icicle is joined by fellow samurai from the Shogun camp, Alix Perez, who sends an elastic bass line searching through a corridor of muffled voices, distorted synth lines and seemingly echoing chasms, bringing Allstars 6 to a close with “Untitled.” Also included are three of the most exciting beatsmiths our generation has sprouted so far. Falty DL comes with a short and sweet offering in the form of “Sunday” — a lush riddim perfect for the British BBQ, and at under 3 minutes, the sun may still be shining before it’s time to replace the plates with Benga’s “I Come From London,” swung with the indomitable swagger that oozes from the S. Londoner. Cricket-like whistles add high energy frenzy to the rolling bass and percussion jamboree. Remixer du jour, SBTRKT’s music has found its way into the boxes of electronic music’s most discerning DJs and he doesn’t falter on “Sleep In Tokyo,” an early-hours backdrop for cities that never sleep.
MOUNTAINS: Choral 2LP (THR 211LP) 16.00
3rd pressing now available. Double LP version.
BARN OWL: Ancestral Star CD (THR 253CD) 14.00
“Evan Caminiti (guitars, vocals) and Jon Porras (guitars, vocals, drums, harmonium) met in San Francisco in 2006 and immediately started playing music together. Over the next four years, the two gradually sculpted a vast collection of hazy desert sky meditations — ominous, barren expanses of music for desert walks at dusk, and dark, pastoral passages embellished with psychedelic and atmospheric wash. A mixture between devotional ragas and dusty stomp with atmosphere and production that references shoegaze and black metal influences. Ancestral Star, their third LP, marks the evolution of the Barn Owl sound into a territory where it has become wholly its own, transcending the sum of its influences and taking on a life of its own. At the same time, it is a more realized extension of that sound. Caminiti and Porras paid close attention to the composition of each track and its flow within the album as a whole. Engaging throughout, every moment contributes to an overall feeling of mysterious desert expanse and a sonic narrative that unfurls like a cinematic metaphysical western.”
BARN OWL: Ancestral Star LP (THR 253LP) 14.00
Gatefold LP version.
HOLTKAMP, KOEN: Gravity/Bees LP (THR 254LP) 14.00
“The detailed and resonant music of Koen Holtkamp is disarmingly beautiful. Gravity/Bees is technically a very complex recording, but so directly emotional as to betray its origins, much like Holtkamp’s work in Mountains. Originally spurred by an invitation to take part in the Dissolving Localities Project in Jerusalem in May 2010, Holtkamp’s decision to craft a recording from bees stemmed from a desire to create something he was attracted to from a production standpoint, something extremely detailed and resonant. On one level representing a continuous flow of sound like a drone but also having a familiar association making it human. In the beginning of the piece the instruments are sculpted around the bee recordings; as the piece develops the actual bees gradually become background and the instruments take focus loosely emulating the buzzing resonant characteristics of the hive. ‘Loosely Based On Bees’ is mainly a studio creation with only a few live additions from a 2008 New Year’s performance added on toward the end.”
PRISMA: The Cosmic Coil CD (TLR 050CD) 8.50
“”The feminine entities of Visitations/Attar Cups step forward, duo style, for their debut longplayer — and what a debut it is. These magical ladies have been oh-so-subtly wowing locals with their rare live sets for a few years now, and as hard as it is to imagine, this album manages to surpass their live wonder in both intimacy and intensity. A mesmerizing cycle of ultra-hush dreamtime lullabies, ethereal ghost pop, lost folk, and trance-state sonic whirlpools. The songs are hazy shimmerings of dusty splendor, delivered with utter beauty and fragility, yet shrouded in a thick veil of mystery and sadness. The drones seem to be pulled from between the cracks in silence by some woozy late-night ritual, summoning an edgy and ecstatic presence into the very spirit of the sound. Recorded to analog tape with minimal equipment and much spontaneity, the rural autumn/winter setting of the process has no doubt penetrated the creation, and suits the cozy/lonely vibe perfectly. Nice price digital version of the LP in a two-color, offset-printed, double-sided foldout cover, with woven inner sleeve. Limited to 600 copies.”
PRISMA: The Cosmic Coil LP+CD (TLR 050LP) 31.00
“Packaged in a truly cool and unusual three-color, screen-printed, double-sided foldout art paper cover, with a flocked/screen-printed fuzzy, mini-poster insert. Pressed on highest quality 180 gram vinyl with full-color photo-printed labels. Each copy also includes a bonus CD version of the album in its own metallic-printed cover (different from the standard CD cover) for easy all night repeat-o-play. Edition of 400 copies.”
PHASE: Subtext EP 12″ (TOKEN 016EP) 12.00
“New Phase, new bomb, early support by Ben Klock, Surgeon, Marcel Dettmann, Dave Clarke, James Ruskin etc. Phase is back on track with a new Token EP. It was worth the wait. Honestly, it was a tough call to choose which track should have which side/position on the 12″… On this EP, again it’s safe to say no fillers are present. Let’s keep it with that, it’s a new Phase release on Token, you already know what to expect by now. This formula never failed in the past, it only gets better.”
VA: People Take Warning! Murder Ballads & Disaster Songs 3CD (TSQ 2509CD) 19.00
…1913-1938. “In the late 1920s and early 1930s, the Depression gripped the Nation. It was a time when songs were tools for living. A whole community would turn out to mourn the loss of a member and to sow their songs like seeds. This collection is a wild garden grown from those seeds.” — Tom Waits, from the Introduction. “One of the best selling historical sets of all-time is now available as a specially priced abridged package — most of the photos and notes intact, the same 3CD repertoire, in a rackable digipak! 70 powerful and tragic songs from the Golden Age of American Roots Music. Over 30 never before reissued. Introductory notes By Tom Waits.”
FRESKA: Comanche 12″ (TRAUM 129EP) 12.00
Freska belongs to the new generation of artists not bound by one genre. “Comanche” starts like a New York house record from the ’80s, with Italian house influences, but skips categorization when the melody drops in. What starts like a futuristic Bochum Welt track turns out to bring ancient sounds and colors that would fit in a movie about Rome in 500 B.C. Later, he adds a Spanish snapper to contort the mix a bit further.
SURGEON: Basictonalvocabulary 2LP (TRESOR 10073LP) 23.50
Tresor presents a classic repress on vinyl of a seminal album by Surgeon, originally released in 1997. Surgeon fires up his second album release (following 1996’s Communications LP on Downwards) with his first album on Tresor. Basictonalvocabulary expands from Tony’s more dance-oriented 12″releases via more abstract sound shapes and deft frequency control. Neither total dancefloor nor outright home-listening, this album explores a more nocturnal collage of sound design where rhythms form the underlying framework for subtle twists to accent the sound architecture with depth and feeling. Tony’s work is about universal communication where cultural and social barriers are bridged by personal, raw electronic snapshots set within minimal sonic contexts. Basictonalvocabulary speaks a new global sound language for worldwide interpretation. The machine code is on the tape: open your ears and decipher. Stupefying electro-trance of the most stratospheric order.
SURGEON: Force + Form 2LP (TRESOR 10117LP) 23.50
Tresor represses the third seminal album by the UK’s Surgeon, originally released in 1999. Surgeon’s third Tresor album reinforces the theories communicated in previous releases, drawing carefully on the parallel between loud music’s ability to cross cultural differences. The opposing swing toward experimentally contemplative music is played quietly to produce a different perception. Sentimental with high emotional content while sometimes simultaneously brutal, Force + Form brews a powerful physical experience at club-level decibels.
DREXCIYA: Harnessed The Storm 2LP (TRESOR 10181LP) 23.50
2LP version. Classic repress of Drexciya’s Harnessed The Storm, originally released in 2002 — the armor-plated follow-up to 2001’s Neptune’s Lair (TRESOR 10129CD/LP). Detroit’s best-kept secret reloads the torpedo tubes with 7 tracks of deep water darkness to break up your frozen waters. The vinyl version of Neptune’s Lair begins your journey with the Kraftwerk-ian “Digital Tsunami,” before diving deeper into the classic Motor City elektro of “Song Of The Green Whale,” “Lake Haze” and “Mission To Ociya Syndor And Back.” The final and deepest stage of this dangerous sonic dive ends with the old-skool of “Dr. Blowfins’ Black Storm Stabilizing Spheres” and “Soul Of The Sea.”
VA: It’s Not Over: Compilation Vol. 13 2LP (TRESOR 10220LP) 23.50
Originally released in 2005 on Tresor, now repressed on double vinyl. Tresor Club Berlin: in the first two weeks of April 2005, a techno milestone in the Leipziger Straße was celebrated not only because of its final cut but also because of its lasting treasure: 14 days of closing parties, 14 years of loyalty to the Berlin sound, to the Tresor sound and to club culture itself. Not since the mid-’80s closing of Studio 54 in New York, at the dawn of techno’s birth, has a dance club’s final days received such international attention. And it became a summit for an amazing league of talented friends in the Tresor family who came from around the world to share their respect, rip the sound out of the ground in the Leipziger Straße and move it into the hearts of the clubbers who never wavered in their support. The same Tresor sound lives on without the Leipziger Straße, because one thing is for sure: It’s Not Over. The compilation title speaks for itself, and many of the top international electronic music artists who played at Tresor’s last parties have produced tracks exclusively for the compilation: personal souvenirs in a memorial to a legend. This double vinyl collection is the ultimate frame to a landmark in club history, and the rousing list of friends includes DJ Rush, Joey Beltram, Dave Tarrida, Oscar Mulero, Gary Martin, DisX 3, Surgeon, and Chris Liebing.
AZARI & III: Indigo 12″ (TURBO 085EP) 12.00
“Turbo Recordings is proud to present its latest signing, Azari & III. Azari & III’s first two singles were championed by an impressive cross-section of DJs and artists like Erol Alkan, Hercules & Love Affair, Michael Mayer and Friendly Fires. This broad-spectrum appeal led to Juno Plus featuring them on their ‘Ones to Watch in 2010’ list, while ‘Hungry for the Power’ ranked on Resident Advisor’s ‘Top 50 Tracks of 2009’ poll. They’ve been courted by Trax to become the flag-bearers of a late 80s Chicago revival, made arguably the best 90s dance pop hit of the 2000s with ‘Reckless (For Your Love)’, attracted the attention of Pitchfork and the indie kids, and yet they’ve only released two EPs. What they’ve got in the pipeline is going to blow people away. Their first outing on Turbo showcases a more stripped-down club sound, the pop vocals subdued to lush moans, the tones darker and deeper than what you’ve heard from them before, but every bit as catchy and effective on the dancefloor. The dub is an extended version with 10% more funk, 5% more ‘jack’, and 1% more jazz (our imposed limit).” On blue vinyl.
ZZT (ZOMBIE NATION & TIGA): Zzafrika 12″ (TURBO 090EP) 13.00
“ZZR is Zombie Nation and Tiga. ‘Zzafrika’ is Nature’s Coolest Joke.”
AQUARHYTHMS/JONNY L.: Experience/This Time (Carl Craig Remixes) 12″ (C 002EP) 10.00
“Two of Carl Craig’s finest remixes on one 12″.”
THUNDERS, JOHNNY: Hurt Me LP (VL 901080LP) 24.00
“A collection of rare acoustic tracks recorded in Paris in November 1983 during the period in which Thunders had reformed the Heartbreakers and was recording and touring again all over the world. Hurt Me proved that underneath all the snarl and swagger Thunders could still deliver a brilliant performance.”
VA: Penguin EP 12″ (WG 002EP) 12.00
The Penguin EP perfectly shows the range of the three Parisian guys dOP. From state-of-the-art deep house with Catz & Dogz to their great jam with Wareika over to some freaky session with Nôze, it all comes to a head with a true dancefloor smasher with Daniele Papini. Hotly-tipped by artists such as Mathias Kaden, M.A.N.D.Y., Zander VT, Tiefschwarz, The Mole, etc.
HADDAD, SAED: Deux Visages CD (WER 6578) 24.00
Performed by Ensemble Modern. Featured works: Le Contredésir, Les Deux Visages de l’Orient, Études mystérieuses, The Sublime, On Love I, On Love II. “Saed Haddad views good music as needing, in addition to many intangible elements, a balance of physical and metaphysical traits. In the former category, he includes beauty, energy, magic, tension and virtuosity. In the latter category rest elusive concepts: the existential, the intellectual, the transcendental. The compositions presented on this CD belong to two periods of compositional practices. In the first period (2004-06), Haddad aimed to achieve a synthesis of Arabic and Western music, without the usual Western gimmicks, i.e. tourism, exoticism or even ‘abstraction.’ His goal was true existential and transcendental integration, not a juxtaposition or imposition of one tradition on the other. In the latter period (2007-), the ever-questioning composer has been distancing himself from a direct, existential contact with Arabic culture.”
MUSIKFABRIK: Krönung (Coronation) CD (WER 6855) 24.00
“Wergo’s focus with this new CD entitled Coronation is not on blue blood or kingly power, but in organic processes — the music on this CD sends up its shoots and produces blossoms like crowns. ‘(co)ro(na),’ by Vykintas Baltakas, springs from a cascade of motivic branchings, its roots in a cycle of works named after the alchemical Ouroboros, a snake that swallows its own tail. Its dragon’s blood, so the legends say, is cinnabar red, like the hue that shines in ‘Cinnabar’ by Rebecca Saunders. Magnus Lindberg’s ‘Joy’ expresses itself through its profligacy with spectral harmonies and the resonant snapping of the strings of a demolished piano. ‘Thalleïn’ by Iannis Xenakis creates sieves that proliferate until they transform into archaic dances, refulgent with the brass tones.”
BREN’T LEWIIS ENSEMBLE, THE: At The North Pole, Easter Day, 1982 LP (WHAT 012LP) 16.00
“As part of the 25th anniversary of the Butte County Free Music Society, At The North Pole, Easter Day, 1982 follows The Butte County Free Music Society boxset Induced Musical Spasticity and The Bren’t Lewiis Ensemble’s Three Christs of Ypsilanti. Recording and performing primarily in the mid-to-late 1980s, with sporadic efforts in the early 1990s, this barely organized enclave based in rural Northern California ingests and disgorges outsider free music à la Smegma and other bent LAFMS trippers, the UK’s A Band, 5 Starcle Men, Gastric Female Reflex, Id M Theft Able, and the sort of visionaries currently promoted by labels such as Chocolate Monk, Destijl, and Ultra Eczema. Members of the Bren’t Lewiis Ensemble later migrated to Vomit Launch, Glands of External Secretion, The Idiot, Serious Problmz, and Bananafish magazine. In comparison to the only other available recording of a complete live performance by the group (the side-long ‘Industrial Barbecue,’ on the above-mentioned BUFMS boxset), At The North Pole, Easter Day, 1982 is starker and more minimal overall. Previously released on the Mary Jane cassette in 1983. One-sided LP with silkscreen cover designed by artist Paul Coors, from an idea, along with a BUFMS-supplied glow-in-the-dark mini poster. 129 copies limit on a history which has no.”
HORN, GORDY: The Glue That Holds The Kids Together LP (WHAT 013LP) 16.00
“Vinyl debut of long-running Cincinnati Ohio/Northern Kentucky improv unit circling the center of saxophone/electronics Tim Schwallie (of The Wolverton Brothers) and doublebass/electronics Scott Hisey. Over many many many many years the core remain the same with various collaborators and members walking in and stepping or falling out, but the core remain the same, as they stepped in and fell out of modes such as free improv, free funk, free song, as evidenced in these on record. And included on record is a highly-picked sample of highlights from Gordy line-ups, including involving Clayton ‘Chicken’ Gunnels (RIP, of the JBs, America Eats Its Young-adelic), Mark Perry (Heevahava), C. Spencer Yeh (Burning Star Core) and names here. ‘So Mark Perry ‘discovered Clayton’ wandering Covington streets. Clayton was too well-dressed to be ‘just another homeless dude’ as Mark put it. Mark started a dialogue which turned into sporadic jams with Clayton, then Mark decided that Gordy Horn get-togethers were the best formats for Clayton and you know the rest… ‘Do you know karate?’ Tara was a singer with a very sloppy and very loud noise jam thing in the early nineties that I liked a lot–in particular I liked this pretty quiet small young girl that would transform into a screaming banshee on stage… We talked and then they moved to LA; her boyfriend od’ed, she moved back, and we started talking again. Scott and I were in a collaborative mood. We met up with Aimee who was willing to bring her harp around, and Gordy was a four-piece for 8 months or so around June to Dec 1999… The quartet with Spencer and Adam was really the go-to quartet for a while there (2003-2006) and I am glad we got one of those jams on the record.’ –Tim Schwallie, Spring 2010, Cincinnati Ohio. One-sided LP with silkscreen cover designed by artist Paul Coors. 130 copies limit.”
AMRO, BAS: Le Huitieme Arrondissement 12″ (WLTD 012EP) 12.00
The Netherlands’ Bas Amro has been DJing and making music since the age of 14 and has an extremely talented ear. The title track is a classic example of his talent. A meeting of Jimpster and Pépé Bradock with organs, a disco-esque bass line and a solid house groove. Pitto reinterprets this tune, giving the original moody vibe a dark little twist. “Sunday Rut” is a no-nonsense tech-house roller with a melodic surprise in the break.
ERRAJI, HASSAN: Awal Mara CD (WORLD 450007) 19.00
Moroccan master musician “Hassan Erraji’s stunning World Village album Awal Mara is a comeback disc of pure excellence. It is sure to re-ignite his army of dedicated admirers around the world as well as recruit new legions of music aficionados about to experience the aural delights and charm of his creations for the first time. The album is packed full of compelling new songs fashioned from Erraji’s immense classical musical knowledge, absorbed into a contemporary music sensibility which has most certainly been given a veritable Yorkshire twist by the highly esteemed personnel involved with the project. Meticulously recorded by the widely respected producer Dave Creffield whose exhaustive list of credits include Kaiser Chiefs and Embrace, the album was actually recorded at the Leeds studio owned by one of the Kaiser Chiefs themselves. The recordings then remained in Yorkshire to be mixed and mastered in Leeds by another highly regarded producer, Carl Rosamond, who has worked with many seminal Leeds bands such as Cud and The Wedding Present. Add to the Erraji recipe an exciting new dynamic young band including the extravagantly gifted rhythm team of Kenny Higgins and Ben Stevens and all the ingredients are there to once again establish Hassan as one of the most important, charismatic, fascinating and influential artists on the world music stage today.”
THE ORB & YOUTH: Impossible Oddities: From Underground To Overground 2LP (YZLDV 006LP) 21.00
2LP format features the 15 rare and club-friendly cuts from the 3CD package plus a download code insert to the full album. Featuring rare and influential cuts across acid house, ambient soundscapes & dub from the W.A.U.! Mr. Modo catalog. Cover art image designed by Jimmy Cauty of sonic anarchists The KLF. Features a previously-unheard demo version of The Orb’s “Little Fluffy Clouds” and an unreleased version of Zoe’s “Sunshine On A Rainy Day.” Includes an extensive “scrapbook” fold-out poster of original W.A.U.! cuttings from ’80s and ’90s music press unearthed from The Orb’s personal archive.
SOFT BOYS, THE: A Can Of Bees CD (YEP 2627CD) 13.50
“Swarming hymns of second generation psychedelic pop mastery, The Soft Boys’ two most influential and groundbreaking albums are finally back in print via Yep Roc Records. Main man Robyn Hitchcock, along with demon guitarist Kimberley Rew, bassist Matthew Seligman and drummer Morris Windsor manage to bottle ’60s guitar pop, shake it up with caged teenage fury and cut it all with a healthy dose of lyrical levity. A Can of Bees and Underwater Moonlight — seen as fatally un-hip when originally released — would go on to be seen as seminal albums and become catalysts for ’80s jangle pop and college rock, directly inspiring band’s like R.E.M. and The Flaming Lips.”
SOFT BOYS, THE: Underwater Moonlight CD (YEP 2628CD) 13.50
“Swarming hymns of second generation psychedelic pop mastery, The Soft Boys’ two most influential and groundbreaking albums are finally back in print via Yep Roc Records. Main man Robyn Hitchcock, along with demon guitarist Kimberley Rew, bassist Matthew Seligman and drummer Morris Windsor manage to bottle ’60s guitar pop, shake it up with caged teenage fury and cut it all with a healthy dose of lyrical levity. A Can of Bees and Underwater Moonlight — seen as fatally un-hip when originally released — would go on to be seen as seminal albums and become catalysts for ’80s jangle pop and college rock, directly inspiring band’s like R.E.M. and The Flaming Lips.”
AKABU: The Phuture Ain’t What It Used To Be CD (ZEDD 020CD) 15.50
The debut album from Akabu is a retrospective yet futuristic delivery from Dave Lee, inspired by over 20 years in dance music’s history and touching on live instrumentation, contemporary sounds and dexterous electronic craftsmanship. Akabu is the deep house pseudonym of British DJ/producer/remixer Dave Lee, who has released under a plethora of other monikers, including Joey Negro, Jakatta, Doug Willis, Raven Maize, The Sunburst Band, Sessomatto, and Z Factor. Dave was one of the first artists to incorporate disco samples in house music when he began his production career in 1990. Fast forward 20 years and little has changed — Dave is still experimenting with new techniques, taking inspiration from new artists and using this knowledge of the past in new, original creations. The Phuture Ain’t What It Used To Be is an ode to an inert love of electronica, “I wanted to call on the first wave of deep, warm, acidic house like Marshall Jefferson and Larry Heard as an influence, combined with some of the contemporary stuff I like such as Carl Craig, Jimpster, Martin Buttrich,” explains Dave. Revisiting the sound of some of his first productions back in the late ’80s, such as “Ride The Storm” and “Phuture Bound,” whose Âme remix took the track to a new level, Akabu’s The Phuture Ain’t What It Used To Be explores the electrifying analog sounds of Dave Lee. The album features collaborations with Norway’s Boomclap Bachelors on “You Want It All” which has been supported by everyone from Gilles Peterson and Ewan Pearson to Groove Armada and Laurent Garnier. André Lodemann gets involved on the cinematic “Another World” while Johnny Dangerous aka Foremost Poets adds his quirky vocals to “Crystalized.” Incognito front-man Tony Momrelle features on the beautiful, deep Stevie Wonder-ish “Life Is So Strange,” Paris-based Canadian blues singer Tanya Michelle features on “Behind The Mask” and Joel Edwards guests on the title track. Expect this album to appeal to lovers of more musical house music, those who want a modern-sounding CD that stands up at home or in the car as well as on the dancefloor.
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