FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 03/14/2011
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BERG/OLIVIA BLOCK/STEVE RODEN/STEPHEN VITIELLO, MOLLY: Moss CD (12K 2020CD) 10.00
“Moss, is a live recording from a unique collaboration by sound artists/musicians Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello. This was a midnight concert at the beautiful Trinity Cathedral in San Jose, CA which was part of the 01SJ Biennial. Olivia and Steve had performed solo sets on the previous nights. The final night was meant to be a duo with Molly and Stephen but the opportunity to play with musicians/friends who we admire so much called out for an invitation to play together. As the set was entirely improvised, the billing really changed in our minds from being a duo with guests to becoming a quartet. The church itself was certainly inspiring, it’s dark wood and clean dry acoustics. There was a very small but dedicated audience. No one slept and the church crew were able to amazingly quiet the rowdy revelers on the street for the duration of our set. Anyone familiar with any of the four musicians involved in this recording will know the level of craftsmanship and attention to sonic tactility that can be found within. They each exercise such incredible restraint, a feat difficult to pull off in an impromptu improvised session where musicians are often found competing for space, and allow for a sense of place to work its way through the quiet recording. ‘Moss’ breathes like a living being lying down to sleep — a delicate wave of hushed field recordings, tape tracks and subtle electronics provides a bed for which Molly Berg’s clarinet and voice (joined at times by Steve Roden) ebb and sway, allowed center- stage, in movements across the piece’s 24+ minutes. Steve Roden and Stephen Vitiello provide guitar (lap steel and electric, respectively) while Olivia Block manipulates the tapes, field recordings and electronics. Moss is a perfect example of how four like-minded friends and musicians can come together at a moment’s notice and create, unrehearsed, a captivating and beautiful sonic landscape. The connection between them as artists is completely evident while at the same time disappearing into the background to allow the piece move like a singular body.” Approx. 25 minute run time.
HELIXIR: Undivided CD (7EVEN 002CD) 14.50
7even Recordings is proud to present the debut album from French electronic music explorer Helixir. Back in his early days, Kevin Martin aka Helixir was affected by his first strong musical experiences listening to Frank Zappa, AFX, Quasimoto and Plastikman. A drummer, bassist and guitarist, in 1997 he founded the experimental jazz rock combo Maelstrom, and soon became interested in working on sound montage on a Tascam mag-tape. Kevin also discovered the computer universe and started to explore new possibilities for his music. A new world appeared, a natural extension of the instrumental world, where Kevin could experiment with many new techniques to blend seamlessly and creatively. Kevin cuts, pastes and distorts notes, beats, waves, genres and effects. He explores these concepts further also as part of Strasbourg’s Sens Inverse Crew, playing live at parties in the east of France and in Germany. Recognized for the quality and versatility of these productions, his style is impossible to label — it is known simply as the “Helixir” style. A master of programming, sound mixing, bass science and EQ, Kevin always surprises and never does the same thing twice. Just listen to his four prior 12″s on 7even Recordings and you’ll find different tempos and genres at work: dub, breakbeat, dubstep, drum & bass, indo and techno flavors. Mala, Untold, Mary Anne Hobbs, 2562, F, Ramadanman and Brendon Moeller all support his music. With Undivided, Helixir takes us on board for a deep sonic exploration. This album is not a mere compilation of tracks: this is a story, a musical trip, a vehicle to bring you somewhere else altogether. Press play and let yourself be transported. Two tracks are exclusive to this CD.
ZIAD, KARIM & HAMID EL KASRI: Yobadi CD (AC 138CD) 22.00
“Yobadi is the fruit of a close collaboration between Karim Ziad and Hamid El Kasri. After playing together in Morocco numerous times as well as on the international stage, El Kasri voiced the desire to sing on Karim’s arrangements. On Yobadi, these long-time companions create new rhythmic dynamics and harmonious colors, with their roots in traditional gnawa music.” Packaged in a CD-sized hardbound book.
SHANKAR, RAVI: The Extraordinary Lesson DVD (AC 141DVD) 36.00
“Virtuoso sitar player Ravi Shankar was the first ambassador of Indian music, which he popularized in the West starting in 1956. Throughout his long career he has raised the question of the transmission of his art. Unlike Western classical music, Indian music is transmitted orally. This documentary shows Shankar on his last visit to Europe, where he chose to give for the first time a music lesson to the public of the Salle Pleyel. The director has also filmed his daily work at the Ravi Shankar Center in Delhi, India, with his followers and his daughter Anoushka. This young modern woman, living alternately in India and America, shares her father’s purpose with equal conviction: to respect the essence of classical Indian music while also opening new horizons. The perspectives of a musicologist also illuminate this fascinating lesson.” NTSC All Region format; 139 minutes. Includes pictures and liner notes in French and English, housed in a hardbound cover.
BALLETTO DI BRONZO, IL: On The Road To YS LP (AMS 042LP) 34.00
“First time ever vinyl release of two extraordinary documents, dated 1971, by the legendary Balletto di Bronzo. On the Road to YS, is a landmark in Balletto di Bronzo’s history, because it is the demo recording made by the band in 1971 at Phonogram studios Milan, featuring the embryonic versions of two songs that would later be merged into YS (‘Introduzione’ and ‘Secondo Incontro’), with English vocals, and arrangements that are quite different than the final tracks. However, these demos will convince Phonogram to offer the band a record deal. In 1972 they released YS. The rest is history. Taken from master tapes, and remastered by Gianni Leone and Nicola di Gia in 2010. Also featuring a bonus track: an unreleased live version of ‘La tua casa comoda ‘” Gatefold sleeve.
BEY, ANDY: Experience And Judgment LP (SD 1654LP) 11.50
After departing jazz group Andy & The Bey Sisters, Andy Bey’s 1974 solo outing recalls his work with Gary Bartz on the 1971 album Harlem Bush Music – Uhuru, featuring a remake of that record’s “Celestial Blues.” Bey also previously played with Horace Silver. Exact repro, manufactured by Rhino.
MOTORHEAD: Overkill 3LP (BOBV 112LP) 21.00
Deluxe 180 gram limited edition tri-fold vinyl reissue of Motorhead’s second album, originally released in 1979 on Bronze Records. Pressed on green, red, and yellow vinyl. Features a total of 19 bonus tracks from alternate versions and B-sides, including four different versions of “Louie Louie.”
EKEROTH, DANIEL: Swedish Sensationsfilms Book (BAZ SWE) 17.00
Subtitled: A Clandestine History of Sex, Thrillers, and Kicker Cinema. “A lavish and fiery 328pp retrospective of over 200 banned and cut films produced during the golden age of Swedish sin. ‘I was born into a rising whirlwind of madness,’ says author Daniel Ekeroth. ‘As the ’70s came along, all limits were forgotten. Sweden was flooded with sexually explicit and violent films of every kind, and all morals were gone.’ Sweden’s sexy reputation was sealed the moment Ulla Jacobsson bared her breasts for One Summer of Happiness in 1951, crushing the Hays Code and igniting a mad race to make sensationsfilms! Produced in the backyard of the Swedish film industry, these sexually daring films form a canon of countless movies dealing with shocking or taboo subjects: street punks, sadistic mobsters, space aliens, unruly housewives, ruthless drug pushers, bloodthirsty ninjas, teen temptresses, lingonberry cowboys, bearded perverts, and drunken vikings. Working far from the confines of Hollywood, the exploits of young director Ingmar Bergman, actress Christina Lindberg, ultra-villain Heinz Hopf, free-spirited Stellan Skarsgard, and American expats like Dennis Hopper, David Carradine, and Troy Donahue have spawned a legacy that inspired Stieg Larsson’s The Girl With the Dragon Tattoo, Wes Craven’s The Last House on the Left, and Quentin Tarantino’s Kill Bill. With dark humor and an eye for cultural quirks that will leave readers wondering whether these films are even real, Ekeroth paints the portrait of a national cinema run amok. Special sections include two historical overviews, a recollection by starlet Christina Lindberg, and a list of essential sensationsfilms, a rogue’s gallery of directors and cast, and a hilarious guide to curious Swedish customs. Why does John Waters cite Ingmar Bergman as a role model? What are raggare, and why do they hate punk rockers? Can taking the name ‘Marquis de Sade’ really change a bachelor’s luck with women instantly? Why won’t France or Germany make films with Sweden anymore? Ekeroth reveals all…in Swedish Sensationsfilms.” Soft cover; 6.5″x9″; list price: $19.95.
KRYPTIC MINDS: Can’t Sleep 12″ (BLACKBOX 010EP) 9.00
“To prime listeners, Black Box is pleased to announce ‘Can’t Sleep,’ the title track and their most in-demand dubplate. The track opens in classic Kryptic Minds style, with moody strings and synths setting the vibe before the entrance of vocalist Alys Blaze — her powerful voice belying the fragility of the lyrics, her vocals circling like a moth around some unseen flame. Coupled with the sheer force of the crisp beats and truly thunderous bass, ‘Can’t Sleep’ is both a powerful modern anthem and a tender song of heartbreak. To accompany the original track, Berlin-based sound designer and Ninja Tunes’ hottest signing Emika has provided not a remix, but a reinterpretation and response. ‘Make You Sleep’ inverts the mood and aesthetic of the original, creating instead a low-slung anti-love song, full of quiet menace and veiled eroticism — all delicately poised over Emika’s sultry late-night beats.”
F.A.T.: Funky And Tough LP (BOLD 305LP) 11.00
Exact repro of session drummer Eric “Fat” Gallon’s solo album. Warm soul funk and mid-tempo bangers. Tracks include “How Can I Explain,” “Life Is A Beautiful Thing,” “Feelings” and “Satan’s Dream.” Originally released in 1977. Produced by Willie Clarke.
CHAIM: Alive 12″ (BPC 229EP) 12.00
This is the second single from Chaim’s album Alive (BPC 230CD). The title track is a true love anthem with elegant, ephemeral sounds that smooth out the track’s rawness. Echoes reminiscent of dub clash with dramatic, exotic sounds, while Meital De Razon rounds out the song with her heartfelt vocals. Kiki reshapes the original’s graceful house groove into a demanding electro beat. Also on remix duty are Arto Mwambe (Christian Beißwenger and Phillip Lauer) and Deniz Kurtel.
KREIDLER: Tank CD (BB 070CD) 17.00
Bureau B presents a new album by Germany’s legendary Kreidler. “A simple plan: five days recording, three days mixing. One would hope that after over fifteen years of playing together, we might have acquired a certain degree of dexterity. Even for the last album Mosaik 2014 (Italic, 2009) we shut ourselves into Kreidler’s own Shed In The Park studio in Cologne for five days without any warm-up and began recording. The band was geographically divided equally between Berlin (Alex Paulick, Andreas Reihse) and Düsseldorf (Thomas Klein, Detlef Weinrich). The actual recordings took place in September 2010 at Tobias Levin’s Electric Avenue Studio in Hamburg. The idea behind the simple plan, of course, is rock’n’roll — the energy of a live show captured on record. But it must sound good. Especially the drums. And Tobias Levin was the man for the job, a master of miking and a multiplier of the moment. We knew what we wanted: first take, no shake, followed directly by mixing in Kreuzberg with Hannes Bieger, namely analog, on tape. A bit of editing work was needed nevertheless, and in the end the post-production lasted eight days. So what do the pieces mean? Well, the titles may offer a few hints. A dystopia? In some places, perhaps. A positive utopia? In other places, for certain. A description of the present time? Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums, or the unpolished wildness in Tobias Levin’s studio met with the controlled artificiality of Hannes Bieger, all mastered to the appropriate dimensions by Bo Kondren and the unsettling sublimity of Andro Wekua’s cover painting. Indeed, Tank does relate to the narrative of Mosaik 2014, but Tank also deals with the break from that narrative. And in some respects, the album recalls our very first effort, Riva from 1994, which may lie in the pace of its development, or the fact that we have tried to keep the structure of the pieces simple and direct, that we used the computer more as a canister, a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronics.” –Kreidler
ASHBY, DOROTHY: The Rubaiyat Of Dorothy Ashby LP (CADET 841LP) 11.50
Exact repro of this 1970 album from jazz harpist-turned-koto player Dorothy Ashby. Inspired by Persian poet Omar Khayyam. Otherworldly and way ahead of its time.
LUMUMBA, DUKE: Jungle Funk LP (ST 284LP) 11.00
Exact repro reissue of trumpeter Duke Lumumba’s soul-jazz-African-influenced record. Featuring The Crusaders’ Wilton Felder on bass. Hugh Masekela is a point of reference here.
BROTHERS UNLIMITED: Who’s For The Young LP (ST 600LP) 11.00
Exact repro of this 1970 release of “real fine, funky, hard-driving, up-tempo, contemporary, down-home, nitty-gritty solid soul from Muscle Shoals and Memphis.” Recorded by a 14-strong collective, this is psych-tinged soul with strong melodies, tight rhythms, fuzzy guitars and superb organ work.
VA: Frank Zappa’s Classical Selection 2CD (CHROME 5049CD) 18.00
Subtitled: The Dissonant Classics That Informed And Inspired Zappa. “A man of hugely eclectic tastes, Frank Zappa was a lover of everything from doo-wop to heavy metal and from jazz-funk to new wave. Indeed a radio show he produced for the BBC in 1980 found him playing records by Edgar Varese and Igor Stravinsky, representing his love of modern classical music. Featuring nineteenth and twentieth century mavericks as diverse as Wagner, Holst, Ravel, Boulez, Stockhausen, Schoenberg, Penderecki, Harry Partch and John Cage – in addition to the aforementioned Stravinsky and Varese – this collection illustrates the impulse for many of Zappa’s own compositions and as a guide to the music Frank Vincent took to his heart and cherished throughout the major part of his tragically short life. Including fully illustrated 16 page booklet with extensive notes by music historian Derek Barker, this delightful package finally reveals what it was that informed so much of Frank Zappa’s extraordinary music.”
OUTCASTS/S.J. & THE CROSSROADS, THE: Route 1966 CD (CIC 1066CD) 15.00
“The Outcasts (of San Antonio) whose signature song ‘I’m In Pittsburgh (And It’s Raining)’ has been covered by numerous neo-60s bands and is just one of their 12 great recordings on Route 1966, and all of them have been re-mixed from the original four track masters for the first time. These recordings reflect the short-lived era, when the Farfisa or Vox Continental was a mainstay for a rock and roll band from Texas, just before the psychedelic music craze got underway, led by The Psychedelic Sounds of the 13th Floor Elevators. Also included on this album is S.J & The Crossroads (of Beaumont) with six of their best and rarest tracks from 1966, issued together for the first time on CD.”
FALLEN ANGELS, THE: The Great Society Sucks – Halloween 1968 CD (CIC 1068CD) 15.00
“‘We’re not evil, but we do evil things. Anything to blow society’s mind. When we play, we take people’s brains out and then put them back in. A dry-cleaning job,’ said the Fallen Angels lead singer and songwriter, Jack Bryan, in an interview with the short-lived Dapper Magazine in 1968. Since that time there has never been a live performance from the 60s of the Fallen Angels released. This album seeks to rectify that situation and is a time capsule of that turbulent year. Since Washington DC was the home for the Fallen Angels, the band did not miss out on radicalizing the 1968 presidential elections by letting their disparaging views on the LBJ and his ‘Great Society’ be aired. Amidst all the politics is a great live performance by the Fallen Angels, combining original songs from their two psychedelic albums (‘No Way Out’ and ‘Poor Old Man’) with a previously unreleased song (‘Everything Would Be Fine’), along with covers of Dylan (done acid-rock style), Donovan (raga-rock style), and Love (the highlight of the show, ‘Signed DC’ is a nine minute tour de force interrupted by a fist fight in the audience. The Fallen Angels broke up a year later in 1969, but not before blowing many a mind on the east coast during their glorious reign in Washington DC.”
AURA: Sativa CD (CIC 1076CD) 14.00
“Aura was a San Francisco psych-funk band that formed in 1974 and played extensively throughout Northern California. By 1976, the band recorded their first and only album at Pacific Recording Studio in San Mateo. The original title of the album was Sativa, but out of fear that promoting the joys of marijuana would be too controversial, the band omitted the title and just left it as Aura. Over the ensuing decades though the Aura album has grown in stature to become a collector’s item. In 1991, the Oakland hip-hop band, Oaktown’s 357 (MC Hammer’s Salt-N-Pepa type band) sampled ‘Mess Up Your Mind’ for their song ‘Turn It Up,’ which raised the Aura album to cult status. The Lemon Drops producer Reggie Weiss wrote the psych-funk title track, ‘Sativa’ (a parody of The Champs hit song ‘Tequila,’ with water pipe sound effects and blistering guitar leads by former Lemon Drops guitarist, Eddie Weiss) and ‘Skyrocket’ (with manic fuzz guitar). The lead singer in Aura was Paulette Collins who still performs around the Bay Area today with an all-girl group called The Taylor P. Collins Band. Replete with rare band memorabilia and previously unreleased bonus tracks, Aura is now available from the original master tapes for the first time on CD. The album is a piece of Bay Area history and a psych-funk masterpiece that cannot be overlooked in today’s pervasive hip-hop world.”
SEUIL: The Nightwalker’s Discovery 12″ (CCS 054EP) 12.00
This is Seuil’s debut on Circus Company, showcasing his versatile approach. “Rain On The Circus” a has moody, slow house vibe. The complex drumming of the futuristic “Nightwalker” reaches deep into sonic space, where daunting bass lines produce a pulsating rhythm. “Heartbreaker” moves into a different emotional direction: with its light and diaphanous melodies, the track is full of hope and optimism. As a perfect conclusion to the EP, “Nazareth” feels like sound fragments waving from a distant party.
LUCY & XHIN: LX2/LX3 12″ (CLR 044EP) 12.50
This 12″ features two tracks by Lucy & Xhin, both individually outstanding artists and together one of the truly interesting production teams of our time. Their music has been described as deep and hypnotic, energetic and gliding, artistic and experimental. CLR is very happy to release two absolutely faultless and haunting tracks from this highly promising production team. Prepare for cutting edge techno somewhere between creative chaos and futuristic genius.
OWENS, ROBERT: Art Remixes EP 1 12″ (COMP 375EP) 12.00
Supreme deep house and uplifting acid house rise to the top with tunes remixed by Steve Bug, DJ Le Roi, Migumatix, Tom Taylor (20:20 Vision) and Gareth Whitehead.
CHOI, JIN: Use Your Mouth 12″ (CNTXT 046EP) 12.00
Jin Choi is a truly remarkable artist hitting the experimental tweek house scene. “Use Your Mouth” features guest vocals from Pablo Beaner over a catchy, grab-assing groove while on the flip is the deep, after hour sleaziness of “Black Dot.” Baby-making techno from Berlin — what more can you ask for?
VA: Vampyros Lesbos (Sexadelic Dance Party) CD (CDHW 102CD) 15.50
2011 repress. Crippled Dick Hot Wax presents a very special and delicious re-release of the nearly-lost soundtrack recordings to Jess Franco’s cult films Vampyros Lesbos, She Kills In Ecstasy and The Devil Came From Akasava. The songs from the hard-to-find LPs Psychedelic Dance Party and Sexadelic were written in 1969 and released in 1970. They were composed by Manfred Hübler and Siegfried Schwab, and this release is a compilation that includes the best songs from these titles. The red-light swing, sleazy psychedelic and strip ballads inspired wild parties around the 1995 re-release, also inspiring renewed interest in the cult of Vampyros Lesbos and schlocky/great filmmaker Jess Franco. After all, how can you go wrong with sexy vampiresses, fuzz guitar, groovy sitar jams, funky beats and Bloody Marys? This essential release is pretty much the standard by which all other cult soundtracks are measured. The CD includes three bonus tracks.
VA: Vampyros Lesbos (Sexadelic Dance Party) 2LP (CDHW 102LP) 20.00
Double LP version housed in a gatefold sleeve.
MANDELBROT & SKYY: OD-Axis LP (DIGI 027LP) 14.00
“M&S is the duo of Jeff Witscher (Rene Hell, Secret Abuse, etc) and Daren Ho (Driphouse, ex-Raccoo-oo-oon, etc) and OD-Axis is the synth-laden dreamscape you would hope for. There are heavy sci-fi leanings and sharp rhythmic backbones but what comes through most clear is Witscher & Ho’s sense of pop melodicism. Underneath all the weirdness and all the debris, OD-Axis is one hell of a catchy record. All three pieces are just a setup for the side-long journey that is ‘Monte Carlo,’ however. This 18-minute opus an ice-cold killer that leaves little doubt that Mandelbrot & Skyy is more than your typical collaboration. Calculated beats underline the movement as Witscher & Ho lace a dozen sonic ideas around a central, slow moving design. The ride starts off ominous as it traverses through an aural wormhole with no specific destination in mind.”
FAITH/VOID, THE: Faith/Void LP (DIS 008LP) 13.00
Seminal D.C. hardcore LP, originally released in 1982. On purple vinyl; includes 11″x17″ glossy insert. “This 12″ LP was recut from the Silver Sonya re-masters in November 2008 at Chicago Mastering Service and comes with a free MP3 download of the album.”
FUGAZI: End Hits LP (DIS 110LP) 13.00
Fugazi’s fifth studio album from 1998. This is the 2009 reissue, remastered from the original source tapes. Includes a full-color printed inner sleeve and MP3 download coupon.
GOVERNMENT ISSUE: Boycott Stabb Complete Session LP (DIS 166LP) 13.00
“When Government Issue recorded Boycott Stabb in November 1982 they initially tracked twenty songs, including several older previously recorded songs. The band had been through a major line-up change and finally decided to release only the newest songs. The outtakes have remained un-mixed and unreleased until now. Side A of this 12″ LP features the original Boycott Stabb songs and side B features the outtakes.” Includes printed inner sleeve and download coupon.
LARRY TIGER: Alone On The Green EP 12″ (TAIN 006EP) 12.00
What happened? We don’t know! All we know is that once in a while every successful couple — and even passionate lovers — needs a break from each other. So you get Larry Tiger alone on the green this time. No Woods around. Just one man and his caddy. Still, he is able to perform a perfect “Albatross” as well as a textbook “Eagle.” Extended disco power play versions for daft punks and silent rockers. Limited unlimited.
AKITA/GUSTAFFSON/O’ROURKE: One Bird Two Bird LP (DEMEGO 016LP) 19.50
Masami Akita!! Mats Gustafsson!! Jim O’Rourke!! Three titans of experimental music with more than three decades of experience clashing together for a monster studio session in Tokyo, 2009, resulting in two blistering sides of wax full of face-melting intensity. Fuck yeah!!! Limited edition of 500 copies only.
HASWELL, RUSSELL: In It (Immersive Live Salvage) LP/DVD (EMEGO 115LP) 29.00
A 5.1 Surround DVD (Dolby Digital + DTS, “audio only”) + Ambisonic UHJ vinyl LP (an LP that can play surround when playing through an ambisonic encoder. It can also be played on a regular stereo). Following an invitation from Autechre to support them on their 2010 European “Overstepper” tour (30 concerts, 15 countries), UK experimental multidisciplinary artist Russell Haswell filled a Pelicase with a contact mic, crystal mic, electronics w/light sensors, fx pedals, SOS whistle, various multi-color headlamps w/flashing modes, and boarded the tour bus. Each night, while performing his solo free improvisation, Haswell also recorded as many gigs as possible with a surround recorder. Selections from these live recordings are presented in Surround on this unique package containing a UHJ LP and 5.1 DVD, housed in a 12″ sleeve. UHJ vinyl LP cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2011.
CADIZ & ADRIANO FILIPPUCCI, ALDO: All In One EP 12″ (EINMAL 059EP) 12.00
Aldo Cadiz is without a doubt one of the leading producers of the electronic underground in Chile. His productions have been published worldwide on international labels like OFF, Hoehenregler, Desolat, and Safari Electronique. Adriano Filippucci started his musical career at the age of 6 and has released on labels such as Highgrade, Musik Gewinnt Freunde, and Monique Speciale.
CARTER, SUSAN: Wonderful Deeds And Adventures LP (BN 26510LP) 9.00
Exact repro of this 1970 debut, arranged by Dick Halligan (Blood, Sweat & Tears). Covers of Donovan’s “Young Girl Blues” and James Taylor’s “Brighten Your Day.” File next to Joni Mitchell, Nancy Priddy and that other stuff in your “hippie femme vocals” section.
VALENTIN, BOBBY: Young Man With A Horn LP (FANIA 332LP) 11.50
The late ’60s album from Spanish Harlem scene trumpeter features a “bugaloo” style cover of the Batman theme and a Latin jazz remake of “Song For My Father.” Exact repro reissue.
CYRKLE, THE: The Minx Soundtrack LP (AMS 12007LP) 11.50
Exact repro reissue of a clean-cut pop rock band’s 1967 soundtrack to a porn movie. After mainstream hits like “Red Rubber Ball” and “Turn Down Day,” this sort of thing would appear to be when their career took a dive, but this is actually the coolest thing Tom Dawes was ever involved in before writing commercial jingles for 7Up and Alka-Seltzer.
DJ MADSKILLZ: Carnival Chaos 12″ (FMK 006EP) 12.00
DJ Madskillz presents the bottom of a noble carnival-wagon, which drills itself through the castle walls of lethargy like a Trojan horse. Behind it, the client in person jumps out of the belly’s strong vehicle and brings the Format:B remix. The communal phenomenon that DJ Madskillz describes as “carnival chaos” is also picked up by Ramon Tapia, who (as usual) bites the horse from behind, making it spit fire in front during peak-time.
SCOTT WITH THE CALIFORNIA DREAMERS, TOM: The Honeysuckle Breeze LP (GET 54037LP) 21.00
LP version. “Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players — Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them — through warm, smooth versions of songs by The Beatles (‘She’s Leaving Home’), Donovan (‘Mellow Yellow’), Joan Baez (‘North’) and Jefferson Airplane (‘Today’), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic ‘T.R.O.Y.’ Resurrected, refurbished and remastered by the talented folks at Get On Down, this special release is pressed on 150 gram vinyl for optimum audio quality and is presented in a paste-on gatefold packaging featuring high-gloss artwork reproduced from the original jacket design.”
POWER OF ZEUS, THE: The Gospel According To Zeus CD (GET 54039CD) 15.00
“When one thinks of Motown Records, heavy guitar riffs and psychedelic rock is not the first thing that comes to mind. Perhaps that’s why Power of Zeus’s The Gospel According to Zeus, the debut rock release by Motown subsidiary Rare Earth Records and the Detroit band’s first and only full-length album, has achieved mythological status in the years since its release in 1970. Marked by the virtuoso guitar work of Joe Periano, Power of Zeus create an album that merges the high-concept songwriting of Pink Floyd with the tight, powerful arrangements of Black Sabbath; see the slow psychedelic dirge ‘Green Grass & Clover’ or the raw energy of ‘Sorcerer of Isis’ for examples. Initially disregarded by critics and audiences, Gospel has since been recognized as a classic album and become a much sought-after collector’s piece, representing the lone, great effort from a band later torn apart by drug abuse and in-fighting. Get On Down is proud to present this forgotten gem as it was intended to be heard, with a new digital audio transfer from the original analog tapes.”
HUMAN INSTINCT: Kiwi Psych Heads: Singles 1966-1971 LP (GROO 029LP) 29.00
“One of New Zealand’s most popular rock/psychedelic bands of the mid 1960s and early 1970s, the Human Instinct never broke into the international market, despite a couple of concerted attempts to do so in England. The group evolved from the Four Fours, which had some hits in New Zealand in the mid-1960’s, including ‘Go Go.’ This tune was a fair beat number that made #12 in New Zealand in September 1966, the same year the Four Fours supported the Rolling Stones on the visiting superstars’ second New Zealand tour. This LP has the band’s most garage and psych moments, all of them with the psychedelic touch of the Human Instinct. These twelve tracks have never been compiled on vinyl before, and include ‘Black Sally’ and the Kinks hit ‘You Really Got Me.’ And now, more than forty years later, here they are to let your psych instinct free. The LP includes full text about the band and some rare photos on the back cover.”
TAPE: Revelationes CD (HAPNA 044CD) 15.50
This is the eagerly-awaited fifth full-length album from Sweden’s Tape. Tape has been around since 2000, making music in between experimentalism, pop and folk. Their first album Opera was released in 2002 by Häpna and in 2003 they did their first Japanese tour. Since then, they have toured the U.S., many European countries, China, Japan and Taiwan. They’ve toured together with people like Bill Wells, David Grubbs, Tenniscoats, Ass, Efterklang, and many others. This is Revelationes: Register. A. Obstinate. Pyramid-shaped body. A scent of camphor around him. Prefers mashed food to firmer consistencies. Thrives in the evenings. B. Past occupation as deckhand. Odd first look. Rests during daytime if given the opportunity. Kind but has high demands concerning one’s friendship even in, to him, less flattering circumstances. C. Tubby and lively, gleeful — but with sad false bottoms. Carries untreated ballast that rolls when the light is put out, screamed wildly in sleep once. Unexplainable interest in fruit cultivation. Applied working method. Information is written to the environment. Stimuli, atmosphere, delicate movements. A few channels are recorded, these trigger reactions, semi-automatic overdubs, complementary actions from others. Carried-out work seems to define new building structures. Instincts, learned patterns and responses, spontaneous additions and supplements. Two chords are played, then two again, four, they are lust-permuted, four, a metal whistle, a faint howl is cut in, the elements are permuted, permuted, lust-permuted.
TRAVIS, DAVE: A History Lesson Part 1: Punk Rock in Los Angeles in 1984 DVD (H 1001DVD) 14.00
“In 1984, a teenage Dave Travis decided to capture punk rock in Los Angeles on video tape, a fascination and hobby that he would continue until 1997, logging in hundreds of hours of Los Angeles area shows and interviews. In A History Lesson Part 1, Travis presents live footage filmed in the spring of 1984 featuring the Meat Puppets, Minutemen, Twisted Roots and Redd Kross interspersed with interviews of members from each group which examines and puts a perspective on the early years of ‘psychedelic’ punk rock in Los Angeles and Phoenix, AZ. Each song by each group is presented from start to finish. Rare interviews with Mike Watt (Minutemen), Jeff and Steve McDonald (Redd Kross), Cris and Curt Kirkwood (Meat Puppets), Paul Roessler (Screamers, Twisted Roots, DC3) and Hellin (Killer) Roessler.” 57 mins; color; all-region format.
VON OSWALD TRIO, MORITZ: Horizontal Structures CD (HJR 054CD) 17.00
This is the third album by The Moritz von Oswald Trio, comprised of members Moritz von Oswald (Basic Channel, Rhythm & Sound), Max Loderbauer (NSI, Sun Electric), and Sasu Ripatti (Vladislav Delay, Luomo). This time, the album is enriched and expanded by guitar contributions from Paul St. Hilaire (also known as Tikiman), and double bass courtesy of Marc Muellbauer (via ECM). Horizontal Structures is palpably a more open, more expressive album than the previous studio recording, Vertical Ascent. There is more contrast, more light and shade. St. Hilaire and Muellbauer add fresh drama and swing to the intimate tonal and rhythmic interactions of the core grouping. The coherence of the five-piece is remarkable; the boundary between acoustic and electronic undone. The group’s evolution is firmly signaled in the opener, “Structure 1.” There’s a lush, romantic quality to the playing and arrangement that has not been heard before: the guitar licks have a bluesy lilt, the bass imparts melody as well as physical presence, the synth sequences are more painterly, looser somehow, and Ripatti’s percussion roams feelingly. “Structure 2” is like ’70s spy-flick jazz or groove-heavy Krautrock stripped to its barest essence, Loderbauer and von Oswald’s electronics glistening in a sticky cobweb of reverb and delay. The languidly stepping “Structure 3” faintly recalls von Oswald’s work with Mark Ernestus as Rhythm & Sound, with St. Hilaire’s chords hanging thick above bone-dry drum machine drift. Lastly, “Structure 4,” the track structurally closest to techno, is pervaded by a sense of mischief, with Muellbauer’s strings — plucked, bowed, scraped — coming to the fore. For all its complexity, this is also a very playful album, and the Trio’s increased confidence and empathy as improvisers allow them to indulge flights of percussive fancy, sudden about-turns, and vectors into the unknown. Horizontal Structures sounds, above all else, free.
TAHITI 80: The Past, The Present & The Possible CD (HS 003CD) 15.50
French indie-rockers Tahiti 80 have proven themselves true originals who’ve touched souls with carefully-crafted delights for over fifteen years. Their latest offering however, is their most radical departure yet. Comparable to Blur’s transition from Leisure to Modern Life Is Rubbish or perhaps clutching towards Bowie’s chameleon-like early day personas, the entitlement of the word “rebirth” stands evident. Released as the first full-length on their self-owned label Human Sounds, boundaries are finally limitless. For starters, Tahiti 80 is now a six-piece unit. The additions include long-time touring members Julien Barbagallo and Raphaël Léger on backing vocals, keyboards, and percussions/drums changing the position of co-writer Sylvain Marchand due to chronic ear damage. The album was produced by Xavier Boyer and Pedro Resende; mixed by Tahiti alumni Tony Lash (Wallpaper For The Soul, Axe Riverboy, Cardinal, Eric Matthews) and Tore Johansson (Puzzle, Cardigans, Franz Ferdinand). Their influences seemed to align, leaving them to call The Past, The Present & The Possible both willingly and reluctantly “our ’80s postmodern album,” noting a mixtape Xavier made with bands such as Wire, New Order, The The, Andy Weatherall ’90s productions and Squeeze (or something more modern, like Cornelius). While both The Past and The Present have taught us what to expect from the Tahiti lads, The Possible is by far the tightest, most complex and thoughtful instrumentation of the band’s career. Many first time occurrences include Xavier programming beats for a record and Médéric Gontier singing lead on the warm, acoustic breezes of “Want Some?” “Defender” shows no mercy, building a new layer of infectiousness every thirty seconds. In the same breath, the lyrics deliver the emotional content to either sing along or just soulfully listen. Tahiti 80 have always been and will continue as a “musical” band giving the fans the best of their industry.
MEMORY BAND, THE: Oh My Days CD (TMB 003CD) 15.50
This is the third album by Stephen Cracknell’s The Memory Band. In a decade which has seen a wide ranging and fruitful revival of interest in folk music, The Memory Band has established itself in that fine English tradition of slightly schizophrenic projects pointing in several directions at once. From the outset, The Memory Band has embraced change and for Oh My Days, the ever-fluid line-up of the band has shifted once more, with a fresh emphasis on rhythm courtesy of the powerhouse team of bassist Jon Thorne from Lamb and drummer Tom Page of Rocketnumbernine, as well as an all-new vocal frontline featuring Jess Roberts, Jenny McCormick, Hannah Caughlin and Liam Bailey. Sam Carter, winner of the Horizon award at the Radio 2 Folk Awards, plays and sings on a number of songs, while there are contributions from names new and old; Nancy Wallace, Dot Allison, Sam Genders on vocals, guitarists John Smith and Pete Greenwood, bassist Jonny Bridgwood, string players Quinta, Rob Spriggs, Jennymay Logan and Laura Moody, Sarah Scutt on accordion and recorder, and Serafina Steer on harp. Oh My Days is a warmly-textured, delicately-balanced blend of the best elements from its predecessors. Low-key electronic pulses and loops purr away gently beneath material that radiates a quiet strength, having expanded its palette to embrace soul, gospel, Laurel Canyon rock and country blues alongside the folk and jazz elements of the earlier albums. It’s a beautifully-poised piece of work, with the usual handful of inspired covers: Sandy Denny’s “By The Time It Gets Dark,” Graham Bond’s “Love Is The Law” and Jeff Alexander’s “Come Wander With Me” nestling amongst ten originals, several of which are already live favorites.
TAPE: Revelationes LP (IMMUNE 015LP) 16.00
“Revelationes is the 5th studio album from Tape, their first since 2008’s Luminarium and the follow-up to their collaboration LP with Bill Wells (Fugue, Immune 008, 2010). The LP is co-released with Häpna in an edition of 1,000 copies worldwide and pressed on high-quality virgin vinyl at RTI with free MP3 download coupon. (CD version also available on Häpna). Tape have been playing their unique blend of pop, experimentalism, and minimalism since 2000; having released four full-length albums and collaborative recordings with Tenniscoats, Bill Wells, and Minamo.”
LIL TONY: Anton’s Groove EP 12″ (IV 032EP) 14.00
The next release on Innervisions comes from icy Finland, home of Säkhö and so much other great music. Mr. Rantanen aka Lil’ Tony is not only a close friend of the Innervisions label, but also an artist they really like. A good way to start 2011.
NASRAOUI, ABIR: Heyma CD (IDMA 321089) 20.00
“Heyma or ‘Wanderings,’ is an album born of the collaboration between a group of Tunisian friends who have spent their lives traveling between several cultures. Leïla El Mekki Skander Guetari and Abir Nasraoui take the listener on a journey through a colorful musical universe, created by more than a dozen musicians from East and West.”
VON SPAR: Soarex 12″ (IRR 008EP) 12.00
International Records is honored to release this fantastic track by Von Spar, a track that might as well be found on their outstanding album Foreigner from 2010. Maybe it is because International Records is such a big label and the crude, elegiac, and emotionally mighty sound of these guys fits just perfectly. And whoever would like to get out of this tunnel of infinite deepness should rely on the remix Ada comes up with.
ERRANTE, EMANUELE: Time Elapsing Handheld CD (KK 057CD) 15.50
This is the third full-length album by Italian experimental musician and sound artist Emanuele Errante. His debut album Migrations came out in 2007 on Apegenine to great acclaim. Along with Hauschka, Peter Broderick and The Books, Errante remixed his Karaoke Kalk label-mates Dakota Suite for their album The Night Just Keeps Coming In. This stunning album kicks off with the appropriately-titled opening track “Leaving To Nowhere,” and immediately, the listener is captivated by the many layers Errante’s delicately-interwoven soundscapes. What’s fascinating about Emanuele Errante’s work is the way he combines acoustic sounds and electronic production methods to great effect. “Made To Give” was written in collaboration with English sound artist Simon Scott who was formerly in Slowdive, and is now one member of Seavault (with Antony Ryan from ISAN) and has also worked with Brian Eno, Machinefabriek, Jasper TX and Nils Frahm, amongst others. Errante walks a fine line between an organic, analog timbre on one hand and the modern digital world on the other. While the guitar, piano and harp all play a great role, it’s never too long before these instantly-recognizable acoustic tones become engulfed by synthesized strings, sampled noise or digital effects. Time Elapsing Handheld plays with our preconceived perception of music and temporality allowing us a refreshingly positive new outlook. The album is illustrated beautifully in Valentina Russo’s stunning cover artwork, and with one amazing video for “Dorian’s Mirror” already finished by director Mélanie Skriabine plus Errante’s collaboration with Italian experimental theater group Acchiappastorie, there is no lack of visual stimulus to accompany the recordings contained within. Time Elapsing Handheld will appeal to anyone interested in serious new music and might be especially interesting for fans of artists such as Arvo Pärt, Marsen Jules or Deaf Center. This is definitely ideal music for contemplation while listening from the comfortable solitude of headphones. The calm and tranquil atmospheres that Emanuele Errante evokes lend themselves perfectly to sitting back and letting the music sweep you along on a sonic journey.
ERRANTE, EMANUELE: Time Elapsing Handheld LP (KK 061LP) 15.50
LP version with free download voucher with two extra tracks.
VA: Groove Club Vol. 2: Cambodia Rock Spectacular! 2LP (LION 112LP) 21.00
“Recorded in raw, bare bones conditions, mostly live and with traditional Cambodian instruments finding their place alongside found keyboards or guitars, the music of the Khmer rock musicians transformed the nightlife of the Cambodian capital, Phnom Penh — and many years later seduced countless listeners around the world with their groovy sound. The rise to power of the anti-Western, fanatical Khmer Rouge in 1975 caused drastic and permanent changes for Cambodia. These years saw social upheaval in the form of massive famines, selective executions and a brutal campaign of genocide responsible for the deaths of an estimated two million Cambodians, many in the notorious ‘killing fields.’ Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth (‘the Emperor of Khmer Music’), Ros Sereysothea (‘The Golden Voice of the Royal Capital’), and Pan Ron met their deaths at the hands of the Khmer Rouge. The music of these honored musicians and others live on in this exclusive 2xLP edition, assembled with much love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. The music is wild and anarchic, rhythmic and undulating, sometimes sweet and lyrical, but always moving. Cambodia Rock Spectacular! captures that deep soulfulness ingrained in the best music; perhaps the most definitive collection of classic Cambodian rock music to appear on the scene to date.” Housed in a gatefold sleeve with extensive liner notes.
VA: Groove Club Vol. 3: Cambodia Rock Intensified! 2LP (LION 113LP) 21.00
Sister album to Cambodia Rock Spectacular! (LION 112LP). “Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an Ethiopiques way) or sweet and lyrical, but always moving and with that deep soulfulness, regardless of actual musical genre or style, that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far: crucial Khmer rock tracks, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. Without further ado, welcome to Cambodia Rock Intensified.” Housed in a gatefold sleeve with extensive liner notes.
LOS DUG DUG’S: Dug Dug’s CD (LION 649CD) 15.00
“Here it is – Los Dug Dug’s self titled debut (also known as ‘Lost in My World’): the ‘must have’ first album (1971) from psychedelic guru Armando Nava and his band, recorded after their failed trip to NYC did not produce the stardom they had been promised–pain and disappointment sparking great song-writing on this, the first Mexican psych album in English. After an extended stint as the house band at Tijuana strip joint Fantasitas, Los Dug Dug’s relocated to Mexico City in 1966. They quickly garnered a rabid fan following there, which resulted in the Dug Dug’s signing to RCA Records and cutting a series of singles (the band also headlined a pair of 1967 films, El Mundo Loco de los Jovenes and Cinco de Chocolate y Una de Fresa). Upon returning to Tijuana in 1968, Los Dug Dug’s took up residence at the popular Sans Sous Ci club. An American tourist was so impressed that he offered to bankroll a trip for the band to New York City. The group played a handful of live dates and recorded a few demos, but having no money to pay the union fees necessary to earn them the opportunity to play NYC’s larger venues left them with little choice but to return to Mexico. Los Dug Dug’s immediately began work on their first LP for RCA Mexico, little knowing at the time that it would become a classic of psychedelia. Long-simmering creative differences between band leaders Nava and Jorge de la Torre forced the latter’s resignation after the album was completed; by the time the resulting psychedelic opus appeared in 1971, the first incarnation of Los Dug Dug’s was essentially no more. All that remained was this heavy, explosive album, a record which captures the fever/dream humidity of flower children running amok on a July afternoon. Essential.” Packaged in a paste-on mini-LP sleeve with a dust sleeve and obi strip.
LOS DUG DUG’S: Dug Dug’s LP (LION 649LP) 20.00
B.H.F.V: ET 01-06 12″ (PLAYRJC 010EP) 12.00
B.H.F.V is the collaborative effort of Arto Mwambe’s CB Funk and the Live At Robert Johnson label manager Oliver Hafenbauer. Originating from a cross-pollination of graffiti, train stations, red light districts and Frankfurt’s club music roots, “ET 01” and “ET 06” feature blue-eyed electro-funk with sharp snares, jeep-boomin’ bass and haunting melody lines. Retro-fascists beware! This ain’t a historically-correct or nerdy carbon copy, but a blast from the future’s past. Fresh as champagne morning dew.
VA: Cote D’Ivoire 50 ans Indépendance Musicale 3CD (LUSA 562562) 57.00
“Lusafrica presents a showcase of fifty tracks of the best in Ivorian music to celebrate the country’s fiftieth anniversary of Independence. All the great names are represented — from Jimmy Hyacinthe, Djinns Music and Ernesto Djedje to Aicha Kone, Meiway and Magic System. Also featured are Alpha Blondy and Tiken Jah Fakoly — two powerhouse reggae artists that have been a major Ivorian contribution to modern African music. The set has only one track per artist though, so there is plenty of room for the lesser known acts to shine on this superb intro to one of West Africa’s most musical nations. The set is beautifully packaged and illustrated.”
CANTU, D’MARC: Set Free 10″ (MOSDEEP 005EP) 12.50
Next up in the 10” series on M>O>S Recordings is the solo project of D’Marc Cantu. D’ Marc delivers two melodic, sexy and hypnotizing house tracks. “Set Free” opens with a hard-hitting, flanged bass sound and a devastating kick, slowly evolving into a dreamy, mysterious, atmospheric track. “Tonight” is a hypnotic and haunting late-night dancefloor track, combining stretched melodic stabs, an ultra-deep bass line and D’ Marc’s whispering vocals taking you down into the eerie underworld of his soul.
DER PLAN: Geri Reig LP (MEDICAL 005LP) 19.00
“Debut full length album originally released in 1980 on Der Plan’s own Warning (later known as Ata Tak) label. Der Plan is widely acknowledged as the pioneers of the Neue Deutsche Welle (New German Wave) movement which was the transformation of punk rock and new wave into an entity of distinct form and style. The movement spawned other notable acts as Grauzone, Deutsch Amerikanische Freundschaft (in fact Robert Görl and Chrislo Haas were early members of Der Plan on their debut single Das Fleisch), and Xmal Deutschland. Der Plan originated from Düsseldorf and consisted of Moritz Reichelt (aka Moritz R®), Frank Fenstermacher, and Kurt Dahlke (aka Pyrolator — ex DAF) on this recording. Geri Reig is a very diverse album consisting of tracks reminiscent of the early Der Plan avant-garde period contrasted with more musical and catchy songs geared more towards minimal synthetic pop and experimental minimal synth. It has not been available on vinyl since its original release in 1980. The opener ‘Adrenalin Lässt Das Blut Kochen’ is a hypnotic, pulsing ride interspersed with freeform synth textures. Vocal pitch-shifting makes it presence on Geri Reig and its style is detectable in a number of Der Plan songs. ‘Gefährliche Clowns’ is a rather minimal number with an infectious melody. ‘Commerce Extérieur Mondial Sentimental’ was featured on the New Deutsch compilation and is a wonderfully sequenced piece with a melodic lead intertwined. The album is also intermixed with multiple experimental tracks which in composite result in a ground-breaking and pioneering document of the Neue Deutsche Welle scene. Medical Records is proud to present Geri Reig with original cover art (enhanced and overseen by Moritz R himself ). This masterpiece is presented on 180 gram olive green colored vinyl in a limited edition of 550 hand-numbered copies.”
DER PLAN: Normalette Surprise LP (MEDICAL 006LP) 19.00
“Normalette Surprise is the equally important and ground-breaking follow-up album to Geri Reig and was released in 1981. It is generally considered the ‘sister album’ to Geri Reig. It has not been available on vinyl since its original release in 1981. On Normalette Surprise, Der Plan further evolved their unique style of Neue Deutsche Welle into an ever-so-slightly more accessible record yet not abandoning their roots as evidenced by hints of experimental sound textures and their characteristic quirky yet undeniable sound collages and pre-industrial notions. ‘Lebdoch’ opens the record and is a marvelous and infectious pop ditty complete with catchy bassline and pitch-shifted vocals. ‘Generäle Essen Erdbeereis’ is a stripped down electro number adorned with a pitch-bending freakout. Other standout tracks are ‘Meine Freunde’ and ‘Das Insekt’. For this special reissue, the hit-single ‘Da Vorne Steht Ne Ampel’ and B-side ‘Rot- Grün-Tot’ will is included at the start of side 2 of the record. The single was originally released in the time gap between Geri Reig and Normalette Surprise and both songs are phenomenal additions to an already intriguing and landmark album. Normalette Surprise will appeal to devoted followers of this unique genre and fans of contemporary artists (DAF, Saal, Liaison Dangereuses, etc). Similar to Geri Reig, cover and back artwork have been restored by Moritz R. Together, with Geri Reig, this album is an essential document for any fan or collector of the fascinating Neue Deutsche Welle period. This record is lovingly presented on 180 gram dark blue vinyl in a limited edition of 550 hand-numbered copies.”
BLUES MAGOOS: Electric Comic Book LP (MG 21104LP) 11.50
Exact repro of the band’s second album. “The Blues Magoos’ first album, Psychedelic Lollipop, earned the band a major hit single, ‘(We Ain’t Got) Nothin’ Yet,’ and in the grand tradition of striking while the iron was hot, the New York-based quintet were back with their second LP, 1967’s Electric Comic Book, less than five months later. The sophomore effort is a noticeably more ambitious piece of work than the Magoos’ debut, and while psychedelia was a catchphrase more than anything else on the first record, Electric Comic Book sounds trippier and a bit more expansive by comparison.” –All Music Guide
NEW YORK DOLLS: Too Much Too Soon LP (SRM 1001LP) 11.50
Exact repro reissue of their second album, originally released in 1974. Produced by Shadow Morton and featuring the songs “Babylon,” “Stranded In The Jungle,” “It’s Too Late” and “Human Being.”
NEW YORK DOLLS: New York Dolls LP (SRM 675LP) 11.50
Exact repro reissue of this 1973 debut. Punk rock dudes dressed up like non-dudes. “We took a lot from the New York Dolls… we took a lot.” –Mick Jones
JUV: Juv CD (MIA 014CD) 15.50
Hailing from Norway, the duo Juv is comprised of members Are Mokkelbost and Maruis Von Der Fehr. They recorded these tracks in Norway between 1996 and 1998 and Erik Skodvin’s Miasmah imprint finally gives this lost gem its first official release. According to the band, “Juv” is similar to the English word “abyss” — it means a sort of bottomless hole, that deep space between two mountain walls or inside a deep underground cave. It also brings to mind the echoing and reverberation of sound. From its icy opening tones, something at once familiar and unsettling rises from this sound; the stark, doom-laden ambience of Juv’s desolate sonic landscapes transport the listener to an altogether darker world. Soon after recording these tracks, however, the pair’s friendship abruptly ended and the planned Juv album was never finished. Only recently did the duo return to complete the work, dissecting and selecting pieces and excerpts from the recordings, finally bringing closure to the project, and in the process rekindling their friendship. Juv create a stunning sound of desolation — not so much melancholy, but more a sinister, oppressive undertone. It seems to communicate some form of approaching menace, via transmissions (or warning signals perhaps), from another bleak dimension. A combination of instruments were used, treated and mutated from their former recognizable sounds, added to which were excerpts from hours of field recordings made throughout Europe, completing the body of the work. The pieces were recorded with a multi-tracker and sampler, mixed down straight to tape, with little in the way of additional finessing. Sombre tones flow like lifeblood through Juv’s work; underlying squeals of pain, abrasive bursts of metallic guitar drones, atonal lo-fi meanderings, the occasional cosmic chant, all blurred by a rumbling dirge of noise. The coldness of the recordings do indeed recall the approaches of Norway’s most controversial musical export, black metal. Other reference points brought to mind (which Juv’s work either predates, ignores, or at least without acknowledgement, runs in parallel with), might be the New York no-wave noise of Carlos Giffoni’s solo outbursts, the guitar mangling of GOWN (Sunburned/Bark Haze), the experimentation of Sunn O))), and as always, the suitably understated musical narrative which flows throughout Miasmah releases to date. The stark front cover image of a mountain on the Lofoten islands in the far north of Norway, in the process of being eclipsed by another mountain, conveys the weight and perhaps the intent of Juv in creating these tracks. Given part of the album was recorded on location here, the music certainly seems reflective of this environment — monolithic and enshrouded in black.
CZUBALA, MARCIN: Back To Back Vol. Five 2CD (MOBILEE 012CD) 21.00
Mobilee’s Back To Back compilation series has been a staple part of the imprint’s release schedule over the years. Originally started by Anja Schneider, it has since been presented by GummiHz, Miss Jools, and most recently, And.id. For the fifth installment, The long-time label member and leading artist Marcin Czubala is at the helm. In addition to being a compilation of some of their favorite Mobilee releases, the format of the Back To Back series is intended to give the curating artist a whole CD’s-worth of creative space which they can use entirely in their own way. Naturally, this has paved the way for an interestingly diverse compilation series, each served with an individual twist. In this case, you are really getting your money’s worth as CD2 is comprised of a whole album’s worth of brand new material from Marcin Czubala. CD1 features a selection of Marcin Czubala’s favorite recent and upcoming Mobilee releases, and he has had an impressive array to choose from. While selecting label hits from And.id, Sebo K, and Pan-Pot, he also includes a track from Dan Curtin’s album, Free, and a couple from the Hi Five Mobilee compilation by label guests and friends Vincenzo and Daniel Stefanik with Tripiando Los Colores. Upcoming releases from Anja Schneider and Miss Kittin also make the cut, so there is plenty to get through and the diversity certainly does justice to Mobilee’s extensive output over the past year. On CD2, once again diversity is the key, as Marcin Czubala demonstrates the complete breadth of his musical talents with this collection of nine tracks, from dancefloor groovers to more ambient soundscapes, as well as classic pop cuts. Along the way, he invites other artists to join him including fellow countrymen Catz ‘N’ Dogz as well as Anthony Collins, Metrobox, Jozif, Affkt and Polish vocalist and producer Novika, all of whom bring their personal touch to the productions. The album as a whole also comes with a lot of genuine instrumental recordings and vocals, giving a welcome live touch to some of the tracks. Other artists include Rodriguez Jr. and Czubala & Hugo.
BERIDZE AKA TBA, NATALIE: Forgetfulness CD (MONIKA 072CD) 15.50
Georgian musician Natalie Beridze aka TBA first came to Monika through her contribution to Volume 1 of the popular 4 Women No Cry series. Following a 5-track EP, Monika is proud to present Natalie Beridze’s stunning new full-length album, Forgetfulness. While these are her first solo releases on Monika, Beridze is certainly no newcomer. With output on labels such as Max Ernst, her ongoing collaboration with the Goslab collective, and a release on Laboratory Instinct, TBA’s sound is both rich in texture and depth of vision. From the industrial beats of “What About Things Like Bullets” to the club-friendly electroambience of “The Face We Choose To Miss,” the cutting-edge production gains warmth and a personal touch throughout from the presence of TBA’s voice. As well as Natalie’s phenomenal solo compositions, Forgetfulness contains a collaboration with Academy-Award winning Japanese musician, composer and pianist Ryuichi Sakamoto, on the meditative “Blue Shadow.” The album invokes harsh winter wastelands and a depth of emotion that is sadly lacking in much of the pop we hear: two prime examples are “In The White” and “Silently” — which are nothing short of breathtaking. This fine album ends with the cryptically-titled “Half This Game Is Ninety Percent Mental,” an epic instrumental ambient odyssey. Natalie Beridze’s music is captivating and yet at the same time leaves enough room to let the listeners’ imagination run off in its own direction. Forgetfulness is a journey through serious electronic soundscapes, but thanks to the constant presence of her sensitive lyrics and gentle vocal tones, Beridze never loses that personal touch.
SIN FANG: Summer Echoes CD (MORR 104CD) 15.50
This is the second album by Iceland’s new king of lo-fi layered lushness Sindri Már Sigfússon and his solo-project Sin Fang (he dropped the “Bous”). Sigfússon is now already his 4th album release (including 2 records from his other musical outlet Seabear) since 2007. The album oscillates wildly, unearthing glimpses of familiarity — vintage Flying Nun here, Paw Tracks there and a Belle And Sebastian pop sensibility — while retaining the stark originality of this uber-talented artist and producer. After having set himself the task of playing all instruments on his debut solo album Clangour (MORR 088CD/LP), this time around Sigfússon wanted to move closer to the sound of a live band and recruited a number of his friends from múm, Amiina and Seabear to record Summer Echoes in his own studio and Sigur Rós’ Sundlaugin studio. The arrangements are more band-oriented, grander in scope and more transparent than their predecessor’s and there is a diverse breadth of sounds across Summer Echoes’ dozen songs, reaching from a heartbreaking intimate piano ballad like “Two Boys” to sudden outbursts of guitar noise in “Bruises.” Not even the one-off appearance of synthetic beats in “Sing For A Dream” sound out of place when drenched in Sin Fang’s signature layered wash of sound and it is the album’s first single, “Because Of The Blood” that encapsulates the essence of this album in a euphoric orchestral pop song that manages to merge epic tune-sculpting with several layers of choir abundance. The fact that Sigfússon did not only write all the music but also was doing most of the recording and production promises a lot for his future and Summer Echoes conveys the feeling that the real story has only just begun: and in fact, a next Sin Fang album is already fully written and Sigfússon shows no willingness to slow down. The artwork for the release was done together with Sigfússon’s partner Inga Birgisdóttir.
SIN FANG: Summer Echoes LP (MORR 104LP) 17.00
Gatefold LP version. Includes a download code.
GARNETT, CARLOS: Black Love LP (MR 5040LP) 11.50
Saxophonist Carlos Garnett recorded with Pharoah Sanders, Miles Davis and Art Blakey. His 1974 spiritual jazz album features an amazing line-up of Reggie Lucas (Miles Davis, Sonny Rollins), Buster Williams, Dee Dee Bridgewater, Alex Blake (Sun Ra), Charles Sullivan, Mauricio Smith (Tito Puente), Norman Connors, and Billy Hart. Exact repro reissue.
RESIDENTS, THE: Randy’s Ghost Stories DVD (MVD 5137DVD) 16.00
“Eight animated videos with new music of ghost stories from Randy and the Residents, documenting some of the mythical madness of the Talking Light tour from 2010. Also 2 bonus videos and one Easter Egg. Strange, melancholic and beyond.” 80 mins; color; NTSC all-region format.
NOUVELLE VAGUE: The Singers CD (NSD 015CD) 15.50
Nouvelle Vague is one of the most interesting projects performing covers. Now they present a collection of original songs, most exclusive and unreleased, by the Nouvelle Vague singers! The simple formula of recreating famous pop/wave songs from bands in the ’80s was so genius and perfect that Nouvelle Vague became a huge success worldwide with hundred of thousands of records sold and six years of continuous extensive touring. The Singers project originally started to be planned in 2007, but at the time most of the singers who worked with the band didn’t have songs of their own so it was not possible to do it at that time. During the past three years, more new singers joined the band and the compilation gained form and the final result for 2011 is a high quality selection of music with exclusive and unreleased songs. Olivier Libaux and Marc Collin aka Nouvelle Vague have worked over the years with various high profile singers. The Singers features the voices of Melanie Pain, Phoebe Killdeer, Marina Celeste, Sophie Delila, Eloisia Camille, Nadeah Miranda, Gerald Toto, Karina Zeviani, Shane Halligan, and Helena Noguerra. New Sound Dimensions is a label from Portugal and is heavily associated with Nouvelle Vague and their special fan and limited editions. Housed in a CD digipack.
BEYER, JOHANNA: Restless, Endless, Tactless CD (NW 80711CD) 15.00
Subtitled: Johanna Beyer And The Birth Of American Percussion Music. Music by John J. Becker, Johanna Beyer, Henry Cowell, Harold Davidson, Ray Green, Doris Humphrey, and Gerald Strang; performed by Meehan/Perkins Duo & the Baylor Percussion Group. “The radical changes in Western music in the 20th century took many forms. While tonality was recast in the 1920s, it was in the 1930s that a pivotal step in the ‘liberation of sound’ occurred, with composers experimenting with percussion instruments as if they were a new discovery. A genre was born — the percussion ensemble — that by its nature was a pliable idiom, clear and free for exploration. After the premiere of Varèse’s Ionisation in New York in 1933, the ‘percussion orchestra’ became the new avant-garde. Percussion was seen as not only the last frontier of traditional instrumentation, but also as expressive of the machine age and the rhythm of modern life. American composers saw it as especially their own: a music of American energy and experimentation, as well as a revolution in music not derived from European ideas. This historic recording at last presents some of the most overlooked efforts from the early period of percussion music (only Johanna Beyer’s IV and Henry Cowell’s Return are known to have been previously recorded). All from the 1930s, these works are connected through the activity of Cowell. It spotlights the surprisingly different directions composers took in this new idiom. Some works are overtly programmatic and even satiric (Davidson, Green, and Russell), yet they experiment with unconventional playing techniques, found objects as instruments, and the playful contortion of traditional musical forms. The inclusion of the Humphrey exhibits the beginning of a long relationship between modern dance and percussion, which became furthered in the work of John Cage after he became acquainted with these pieces. Perhaps most striking are the works by Beyer, whose conceptual and process-based aesthetic presaged the most daring American experimental music for years to come. Her complete works for percussion form the core of this collection of seminal works.”
NEWTON, JAMES: Sacred Works CD (NW 80714CD) 15.00
“This is the first recording devoted to James Newton’s (b. 1953) sacred works. Among his influences, Newton cites Bach and Stravinsky’s masses and cantatas, as well as the operas of Messiaen, Puccini and Verdi as touchstones. While Newton does not appropriate materials from European composers, he does occasionally utilize their methods, his use of Bach-derived counterpoint in the ‘Kyrie’ being a salient example in his Mass (2006-7). However, its usage here should not be considered in isolation, but in juxtaposition with those passages of the ‘Kyrie’ that draw on the harmonic contours of Billy Strayhorn’s ‘Chelsea Bridge.’ Newton does not attempt an overt synthesis of the two traditions; rather, he lets their colors reverberate against each other like the heraldic stripes of a Kenneth Noland chevron. Between the Cherubim (2007) for solo piano and the song In a Moment, in the Twinkling of an Eye (2004, rev. 2009) complement Newton’s Mass both in terms of musical statements and messages of faith. Newton’s writing for piano in the Mass is flecked with flourishes that exude the spontaneity of improvisation, a quality present throughout Between the Cherubim. Inspired by Bach, who incorporated English, French and Italian dances into his sacred music, and Thomas A. Dorsey, who shaped gospel music out of the blues, In a Moment, in the Twinkling of an Eye is a stand-alone example of Newton’s transformations of secular materials through the use of sacred texts, in this case a passage from 1st Corinthians. Newton’s writing for voice in the initial passages of the song resembles that of his Mass, his emphasis on diction and dynamics echoing the African-American tradition of concert singing, a historically busy intersection between sacred and secular forms of music.”
MODERN AMUSEMENT: Cold As Ice EP 12″ (NO19 016EP) 12.00
Modern Amusement is an established L.A. recording artist known best for his hot creations. The release also features GSP, a moniker taken on by a highly-respected producer who has recorded for No.19 and Wolf + Lamb. The Cold As Ice EP features 3 stunning tracks that cut up some rather distinctive vocal tracks in a trio of brilliant original recordings. The opening and closing recordings are Modern Amusement solo tracks and nestled between is a collaborative cut from Modern Amusement and GSP.
NATURAL YOGURT BAND, THE: Tuck In With… 2×10″ (NA 5078LP) 21.00
Limited gatefold 2×10″ version. “Now-Again Records presents Tuck in With…, the follow-up album from the best band with the weirdest name. In 2009 Now-Again Records reissued the Natural Yogurt Band’s first platter — Away With Melancholy. In keeping with the rarity of the experimental records that inspired the Band, the original Jazzman Records issue of the album — from just the year before — had been limited to a run of 1000 pieces. Those records quickly disappeared and the Jazzman himself had no plans to offer another helping. The result? An audience searching for psychedelic ‘music library’ vibes from the golden era of the 60s and 70s meticulously recreated in the new millennium were left starved. Well, we fed ’em, and they asked for the next course. Two years later, the Band (really former Little Barrie drummer Wayne Fullwood and Miles Newbold) presents to you another platter of delights. With their sophomore album, Fullwood and Newbold serve up more of what made the Natural Yogurt Band’s debut so special: quirky irreverence abounds, but the band has expanded their menu to include influences from around the globe.”
ALIENS, THE: Who Run It/wOt? 12″ (OGS 004EP) 9.00
“One Gun Salute is a label with a quality first ethos celebrating dubstep’s vibrant dubplate culture. Each release comes on deluxe 180g vinyl with exclusively produced and hand screened authentic yellow paper dubplate bags. Following the titanic anthem ‘Xterminate’ with consummate ease the extra-terrestrial brothers return with phazers set to kill! First up ‘Who Run It’ lays down the mission statement ripping straight into anthemic riffage, swinging drums and pulse cannon interludes. In a true double A side release the flip side sports the massive ‘wOt?’. Here a warrior chant ushers in the Aliens trademarked woozy repeat blasts of cosmic bass and slinky drums. Just huge.”
GLASS, PHILIP: Glassworks: Live at Le Poisson Rouge CD (OMM 073CD) 19.00
“Glassworks had never been performed live in its entirety in New York City until the fast-rising new music ensemble Signal asked Philip Glass Ensemble music director Michael Riesman to arrange the classic album for live performance. The concert took place at New York’s hottest new music venue [le] Poisson Rouge with Riesman and Signal on April 12, 2010. This recording features a new version of the entire score, also paired with Signal’s riveting performance of Glass’s early score ‘Music in Similar Motion.'”
NORMAN NODGE: The Happenstance 12″ (OSTGUT 045EP) 12.00
Norman Nodge offers up his first full EP for Ostgut Ton with three contemplative tracks.”The Happenstance” is a warm and fresh embodiment of ’80s wave electronic, like a classic Carpenter score. “Body To Body” floats into spacious, acidic zones, taking us in a very different yet equally rewarding direction. An ornate exercise in reduction, “Breakdown” is a slow and measured display of Nodge’s unique synthesized visions — a hint of what’s to come next from this talented producer.
AGARIC: Who Made Up The Rules 12″ (OVM 9011EP) 11.00
Patrik Skoog is one of the most interesting and inspired veteran techno and house producers from Sweden. He has released on his own We Are label, Drumcode, Truesoul, Mad Eye, Raum…Musik, Sunset Diskos, Nummer, Kontra Musik, Treibstoff and *Liebe Detail. He is a technical DJ with a magical sense for momentum and selection, and his stellar live sets are one of the few that can rock a crowd throughout its duration.
ISOLEE: Rest CD (PAMPA 003CD) 14.00
Finally reissued and at a mid-line price! Pampa re-releases Isolée’s debut 2000 album Rest, newly-remastered and including two bonus tracks previously only available on vinyl. Dancefloors worldwide went up in flames and still do so when they hear Rajko Müller’s electronic trips. With “Beau Mot Plage,” Müller imposed himself on the international auditory consciousness. This track hit the roof shortly after its release in 1999 as one of the most influential German musical productions since Kraftwerk. Isolée’s debut album brings this track down from its pedestal and puts it back where it belongs along with the other exceptional harmonious tunes throughout the whole album. Basses drip out of the speakers in a seemingly unpretentious way, only to conquer slowly but steadily all the hidden angles of a room. With a kind of fragile charm, the music here isolates you from the rest of the world — just you, your headphones and your thoughts. With Rest, Isolée accomplished the feat of winning the hearts of club people and critics of every shade alike, the latter paying homage with rave reviews. For the first time enriched with two very rare pearls from Isolée’s treasure chest: “Krypt” is from Isolée’s 1998 third Playhouse 12″ Initiate, and “Raum2″ is a track from his 1997 second Playhouse 12” Raum1/Raum2.
KACIREK, SVEN: The Kenya Sessions CD (PING 020CD) 15.50
This is the second album on Pingipung by German drummer/percussionist Sven Kacirek. The Kenya Sessions is an enchanting cooperative mission featuring Kacirek, an experimental drummer and electronic producer, and musicians from Kenya. This album is the result of Sven’s extended visit to the country with live and fieldrec sessions which he later processed in his studio in Hamburg. Sven Kacirek plays with local Kenyan stars such as 80 year-old female vocalist Ogoya Nengo, and with Joseph Oganga, who delivers amazing patterns with his nyatiti, a traditional string instrument. It’s sometimes difficult to tell the parts recorded in Kenya from those overdubbed by Sven Kacirek himself. His own compilation of marimba, bass drums and brush patterns forms a musical thread that he weaves skillfully into the live sessions — at times joyfully straight, at times mellow and melancholy. The liner notes by Goetz Steeger illustrate the detailed recording process of this record. Kacirek has a background as a virtuoso jazz drummer. He studied at Drummer’s Collective in New York, played several solo shows at the World Drum Festival and has written books on the experimental use of electronics on the drum set. On his solo debut The Palmin Sessions in 2007, he presented his original ambient aesthetics made from silent patterns recorded on paper, wood, or glass surfaces.
HAWKS, BILLY: More Heavy Soul! LP (PRESTIGE 7556LP) 11.50
Organist Billy Hawks 1968 jazz-influenced ’60s soul album featuring Buddy Terry (tenor sax), Maynard Parker (guitar) and Henry Terrell (drums). Exact repro reissue.
CRITTERS, THE: Touch’N Go With The Critters LP (PR 4001LP) 11.00
Exact repro reissue of the 1967 second album from this New Jersey quintet, released on Enoch Light’s “total sound stereo” Project 3 label. First-rate harmony pop, with a cover of the Lovin’ Spoonful’s “Younger Generation” and Tim Hardin’s “Reason To Believe.” The title track was written by Alan Gordon and Gary Bonner (The Turtles’ “Happy Together”). Originals of this record are highly sought-after by the most fashionable collectors.
BLACK ARTISTS GROUP: In Paris, Aries 1973 LP (RFS 002LP) 26.00
“First ever reissue of this free jazz classic. Limited edition of 500 copies. Comes with an extensive essay on the Black Artists Group, printed on the inner sleeve. Written by Benjamin Looker, author of Point From Which Creation Starts: The Black Artists’ Group Of St. Louis.”The Black Artists Group was an unit not unlike that of The Art Ensemble of Chicago. Except they only recorded this one document and it only came out in France on a label named after the group. This is squeaky, spindly stuff and very OPEN and a good indication of what was happening in the early 70s with members Oliver Lake (later of the World Saxophone Quartet) and Joseph Bowie (Art Ensemble’s Lester Bowie’s bro, later to start Defunkt). If you like Art Ensemble of Chicago (circa the 1970s) and the Human Arts Ensemble, you’ll like this recording.” –Thurston Moore
MELON: Money (Sascha Dive’s 15 Minutes Melodrama Remix) 12″ (RTS 003EP) 12.50
One-sided 12″ featuring an epic Sascha Dive remix, on Melon’s Ratio? imprint. Melon’s original version of “Money” has been saved for his forthcoming debut album. In the meantime, Sascha Dive already delivers a 15-minute long rework that is a pure trip into deepness and can’t be kept a secret from the world for much longer.
HIGUMA: Pacific Fog Dreams LP (RS 073LP) 16.00
“Over the past few years Higuma’s Evan Caminiti (of Barn Owl) and Lisa McGee have slowly evolved their sound from shamanistic acoustic dirges into shimmering metallic blast-off hymns, hair-raising eulogies to the cosmos. Pacific Fog Dreams is a set of seven such songs, all beautifully distant and drenched in layers of earth-toned echo, balanced in dream time between melodies and all out electric whitewash. Delayed strums hang in a beyond background, a ghost world of songs from some other place and time, channeled onto the hiss of a cassette tape to remind you. Caminiti’s guitar is often on the verge of taking the whole thing down, sporadically billowing into colorful feedback, huge blocks of impenetrable sound. McGee’s vocals are sometimes discovered, but just as distant smears, or riding the peaks, coaxing out phrases of hidden origin, maybe singing of intimacy, memory, nature or magic.”
FALLEN ANGELS, THE: It’s A Long Way Down LP (SR 42011LP) 13.00
1968 album from the Baltimore psych group. Exact repro, manufactured by Rhino. “The opener ‘Poor Old Man’ is an inspired leadoff track that features a strong west coast influence, both Love & The Doors immediately come to mind, it sports a killer bass riff along with loose, John Densmore style percussion and a myriad of psychedelic effects, about midway in, the whole piece breaks down and singer Jack Bryant does this totally off the wall jazz type scat vocal that completely derails the song, luckily it doesn’t last long as the group leap back into the opening riff and it’s back to the races. ‘A Horn Playing On My Thin Wall’ is next and it is a dead ringer for Da Capo era Love (both ‘Orange Skies’ & ‘Que Vida’), this track becomes better as it rolls along, it ends with a rush of great harmony vocals. ‘Something You Can Hide In’ is full tilt psychedelia that features every psychedelic trick in the book with fabulous results, this number reminds me a great deal of Love’s underrated Four Sail album.” –Head Heritage
VIRGO FOUR: Resurrection 5LP BOX (RH 113BOX) 68.00
The vinyl set comes in a silkscreen printed box, which holds 5 LPs each containing six tracks (30 in total) and an 30×30 cm insert with photo and sleeve notes. Resurrection is the follow-up to the reissue of Virgo Four’s self-titled album, which was released by Rush Hour in 2010. This album is a collection of unreleased tracks that were produced over a 6 year period between 1984 and 1990 in various home studios around Chicago. These tracks were selected from hundreds of 4-track tapes that had been untouched and unreleased all these years due to local record business politics and disinterest. These demo recordings have been restored and mastered for release. Resurrection really shows the rich, diverse and unique quality of Virgo Four, which leaves you wondering what impact they would have made on the (Chicago) house scene if they would have gotten released back in the day. For now, Rush Hour is really glad these gems have been unearthed and are proud to give Virgo Four the spotlight they so much deserve.
BNJMN: Plastic World 2×12″ (RH DC7-EP) 21.00
Rush Hour is pleased to announce the debut release of a young producer from the UK, BNJMN. His adventurous electronic sound is one not heard in a while. While on one hand his music has a traditional sound (early ’90s UK), BNJMN does create a world of his own due to the versatility in his productions. It is this versatility that creates an exciting hybrid sound, therefore pushing the envelope and making it sound very current — futuristic, even.
GRUPO OZ: Miss Thing LP (SSR 277LP) 17.00
“In 1971 a group of studio musicians calling themselves Grupo Oz in Mexico City got together and recorded a collection of original psych-funk tunes in their home town. They called the album, Miss Thing. Their label, Discos Raff (Three Souls In My Mind, La Cosa Nostra, El Ritual) had high hopes for the skilled players. Not only were they some of the most solid players in Mexico at the time, but they created their own sound rooted deeply in American funk and soul. Their songs were all in English and they actually sounded natural singing in English. Discos Raff orchestrated the release of the record in Latin America as well as Spain, but always kept the US market its top priority. In fact, most of the 1,500 units that were pressed ended up in the US. By early 1972 the band’s crossover success hadn’t materialized and the label seized all promotional efforts for the record. All of the players went back to their usual studio work and Grupo Oz disappeared forever. Today however, the legend of the psych-funk band from Mexico City has spread throughout the world. Now, original pressings of their one and only LP sell for $200+ on ebay. This high quality reissue comes with a free download of the entire album plus two bonus tracks. It is wrapped in a custom die cut obi to add a new design element without compromising the integrity of the original design and comes sealed in a resealable dust bag.”
BRETSCHNEIDER, FRANK: Komet CD (STRIKE 124CD) 15.50
It’s fun to chat with Frank Bretschneider — about musical concepts, generated wave formats, abstractions, ideas and all the nonsense that comes up when talking about music. It’s also fun to just sit there with him, having a cigarette and a couple of drinks. And it’s both of these things that contribute to his art, which always has a special groove, no matter how elaborate its concept. This is true not only for his early productions for Mille Plateaux, but also for his publications on Raster-Noton (since 1996, Frank aka Komet has been releasing stuff on Raster-Noton — the preceding label he founded with Olaf Bender). This album for Shitkatapult is completely dedicated to the flow. Seven tracks, which have been recorded and arranged live at the studio. Seven tracks with an enormous depth and passion and love for detail on a straight beat, manifesting their own version of club music. Basically, Komet is a techno record, but it has been transported into Bretschneider’s cosmos. Komet exudes a light and feathery flow, neither pushy nor notchy. It wins you over with its groove, while cheeping, fluttering and whooshing at the same time. An album of action, worlds apart from all the painful worries about referencing and zeitgeist. Free music. Shitkatapult manages to show how passionate a label can treat electronic music. Komet is another one of these albums, fitting into the circle of favorite producers like Soul Center, Fenin, Tom Thiel and into the label’s history of uncompromising records by Sun Electric, Apparat, T.Raumschmiere and many more.
THIEL, TOM: Tom Thiel CD (STRIKE 125CD) 15.50
Tom Thiel seems to be unflappable. On his solo debut album (released quite late in his career), he doesn’t make too much of an effort regarding zeitgeist and trends. And why should he? He has been a part of it all since forever, no need to prove anything to anyone. And “Pulse” is the beginning of a great album, located somewhere in the warm regions of the genre. Like a sine wave, the record swerves from house to electronica and even touches the latitudes of pure ambient. Apart from a couple of short pieces, there are nine-minute songs and psychedelic guitar compositions, rummaging around in the depths of music, all the while self-confident and playful. The songs are characterized not only by Tom’s special musical handwriting, they also always ring of his previous productions (when he was with Sun Electric or Bus), mirroring those times. The past seems to be just a little while ago as well as now and soon. The alleged contradictions disappear in favor of more important, crucial elements of music, without ever sounding moldy or even out-dated. Wide melody lines, soft, complex beats or direct, simple beats: they speak a timeless language and thus represent the most modern side of electronic music.
MAMIFFER: Mare Decendrii CD (SIGE 006CD) 15.00
“The process of experiencing a musical composition is like decoding a puzzle. The mind registers the emotional implications within a melody, the timbre of the instrumentation, the tempo of the music, and the subject matter of lyrics. Listeners then must decipher this relatively complex code and project their own meanings and feelings to that particular pattern of sound. As a culture, we’ve also come to ascribe connotations to formulas and clichés. These are reference points, a context, and a shorthand method of leading the listener to a certain conclusion. The compositions are malleable and organic, taking on a multiple forms. A song takes a fixed and permanent shape on record, and assumes a completely different incarnation in the live setting. Over the course of Mare Dencendrii’s five songs, Mamiffer travels between moments of minimalist tone worship, choral meditations, syncopated funeral marches, elaborate odd-time classical passages, and deconstructed doom metal. At its core, it’s a melancholic and occasionally vengeful exploration of texture and melody. It’s a sonic journey, a dynamic, living, breathing experience, a labor of love, and a bold new language.”
SKUDGE: Remixes Part 3 12″ (SKUDGE 003R-EP) 12.50
Rolando and 2562 on Skudge remix duty this time… and both delivering! TIP!
LAWRENCE: Sorry Sun 12″ (SMALL 022EP) 12.00
With his first release on his co-owned Smallville label, Lawrence aka Peter M. Kersten celebrates another tribute to more than 20 years of house music. Beyond his club influences, Kersten was mainly driven by slow Detroit jazz from the early ’70s and classical minimal music which colors the palette of this EP. With “Sorry Sun” Lawrence invites us on another adventure into the miracle of a cozy dancefloor, letting only the music shine and the people close their eyes and smile.
KING, ANNA: Back To Soul LP (SRS 67059LP) 11.50
Anna King’s 1964 album is produced by James Brown and features Bobby Byrd as a guest vocalist on “Baby Baby Baby.” Exact repro reissue.
STONEFIELD TRAMP: Dreaming Again… LP (SOMM 001LP) 30.00
“Extremely rare 1974 British album, first time ever reissued. Lovely amateurish folk and folk-rock, including the 9 minute psych-folk track ‘Bitter World’ as well as some other stand out songs like the trippy ‘Oh Mothers Tell Your Children’. 180 gram vinyl with unbeatable remastered sound. Includes a big insert with lyrics and photos. 500 copies only pressing.”
SABATINI, DINO: Small Steps EP 12″ (SG 1145EP) 12.00
Sonic Groove welcomes Dino Sabatini to its family of artists. Dino’s brand of hypnotic industrial tech-noise hits the spot with many. Now, for his first release of 2011, Dino continues his exploration into the dark side of the industrial techno Sonic Groove with the Small Steps EP, a masterpiece of deep, dark electronic music ranging from peak floor burners to dark, deep mind-burners that techno & industrial lovers from around the universe will surely adore.
BERMUDEZ Y SU ORQUESTA, LUCHO: Lucho Bermúdez y Su Orquesta 3×7″ (SNDW 7012EP) 23.50
A national treasure in Colombia, Lucho Bermúdez y Su Orquesta became famed for their intricate arrangements, mixing the big band music from the U.S. with cumbia and porro. Their career spanned from the 1930s through to the 1960s and in cumbia’s heyday in the 1950s, the band toured throughout the U.S. and Cuba. This mini EP features 6 of his tracks on a triple 7″ vinyl. Limited edition of 1,000 pressed; includes a free mp3 download. Includes 4 exclusive tracks.
VA: Colombia 45 3×7″ (SNDW 7013EP) 23.50
Colombia 45 presents three different Colombian artists on a triple 7″ vinyl. From the authentic countryside porro of the “Colombian cowboys” Banda 20 De Julio De Repelón, to the legendary Discos Fuentes bass player and his group Pedro Laza Y Sus Pelayeros, whose fame stretched through Colombia, Peru and Venezuela, Colombia 45 sees Soundway delve deeper into Colombia’s rich musical history. Limited edition of 1,000 pressed; includes a free mp3 download. All tracks are exclusive to this release.
FABRIC: A Sort Of Radiance LP (SP 001LP) 19.50
Edition of 500. Matthew Mullane is a Chicago multi-instrumentalist performing under the guise of Fabric. Here we have a fine suite of compositions which embark on a voyage through darkness of night and the brightness of day. Washed-out dark colors and static pulses sweep across your stereo painting a portrait of intense yearning and determination. Recorded over the course of a year, Matthew has constructed a multi-dimensional organism of sound that has perplexing depth and astounding detail. The album reveals new shapes and sizes with repeat listens and is truly a work which you can submerge yourself in to get lost. “Leaving The House” is an energetic workout with its dense, ultraviolet fog and stream-like melodies. Then there’s the vignettes such as “Orange And Red” or “Containers,” that branch out into unfamiliar territory in their own special ways, synthesizing a journey far from home. So far, Fabric releases have appeared in very small editions including a split with Sparkling Wide Pressure and a practically non-existent cassette on Fairchild Tapes. Spectrum Spools is proud to kick off the label by presenting the debut Fabric album. Cut by Rashad Becker at Dubplates & Mastering, January 2011.
BEE MASK: Canzoni Dal Laboratorio Del Silenzio Cosmico LP (SP 002LP) 19.50
Edition of 500. In the nu-world order of neo-kosmiche “one man, a synth and a looper pedal” musicians, Chris Madak rises above the rest with an astounding body of work that has been brewing since the later half of the ’00s. Canzoni Dal Laboratorio Del Silenzio Cosmico is an outstanding document in the long, complex, and complicated discography that is the Bee Mask project. A carefully and meticulously-composed album that’s on par with the greats of electronic’s Lovely Music or INA-GRM catalogs. Straying from the current nature of improvised “one take” synthesizer music flooding the underground electronic community today, Chris has created an elaborate narrative which captivates and inspires the listener’s imagination. “Canzoni” is a piece of work that soundtracks an event that’s shrouded in mystery and beauty, at once larger than life in its grandeur and yet somewhat cryptic. Released as a limited edition cassette on Gift Tapes in 2010 and now where it should be on the longest surviving recorded format. Cut by Rashad Becker at Dubplates & Mastering, January 2011.
SPERM WAILS: Lady Chatterley 7″ (SS 051EP) 6.50
“The band is the Sperm Wails. While prominent in England’s ‘Camden Noise-core Scene’ and having toured with the legendary My Bloody Valentine, the Wail’s ‘sister band,’ the SW didn’t get much of a listen outside of Merry ‘Ol. Their three records (Boy Hairdresser 12″, Carry-On 7″, and Grim/Stroke flexi disc) were self-released and never got the run they deserved. And as far as I know, they never made their way off of Monkey Island. If you would have asked the S.S. Records brain trust about the Sperm Wails, you would have gotten a blank stare. That is until the Lady Chatterley surfaced. Propulsive punk rock with post-punk chops and one hell of an edge, ‘Lady C.’ showed a band that could have held their own to any of the era’s heavyweights (Big Black, UT, Sonic Youth, etc.). S.S. figured ‘Gotta have record.’ Problem was finding it. ‘Lady C.’ had been released but in short run as a freebie with some obscure fanzine. The song was crammed on the record with three tunes by others and that was not right! Former members of the band were tracked down and begged for the right to release ‘Lady Chatterley’ in proper form, as the A-side of a 7″. After much searching some Wails dug up an unreleased gem called ‘Mr. Wonderful,’ a twisted piece of Fall-pop. And that we called the B-side.”
LOS LLAMARADA: The Restless Night 7″ (SS 057EP) 6.50
“To start, Llamarada gives us their jump on ‘Rezo Por Voz’, a classic by Argentinian rock legends Luis Alberto Spinetta and Charly Garcia. In the Llamarada way, what you hear of ‘Rezo Por Voz’ in ‘The Restless Light’ are hints and dustings of the original. This is no straight cover, but a psych punk romp of claustrophobic proportions. Flip the single over and we have ‘A Current,’ an original taut and moody, a guitar drones spaghetti western style over a tense plain. Drop this into the opening scene in El Topo and I wouldn’t complain. Cover art by Herla Alarcon. 500 pressed.”
DUCHESS OF SAIGON: Duchess Of Saigon LP (SS 058LP) 16.00
“Formed in 2001, the Duchess of Saigon were Mary and Richard. Two artists, they met at UC Davis, started seeing each other and then formed a band. Though Richard had been in a handful of Sacramento bands (Rick & the Young Rogues, Sir & the Young Men), Duchess was Mary’s first band. She was handed the drum duties…and good thing, too! Because she was unencumbered by formal lessons, Mary developed a unique drumming style in which she would keep the beat with her feet and play the melody with her hands. The unconventional approach to percussion, as well as her ethereal backing vocals, gave Richard’s VU-influenced garage-pop songs an excellent twist. Byron Coley of The Wire likened them to the Carpenters if played by the Shaggs. This limited edition contains 16 songs culled from sessions recorded by Chris Woodhouse from 2002 to 2005. 300 pressed.”
FELDMAN, MORTON: Triadic Memories CD (SR 280CD) 15.50
“In the summer of 1990, I released on Sub Rosa a recording of Triadic Memories by Morton Feldman (1926-1987). It was one of the first recordings of this long work for solo piano completed on July 23, 1981. The score I used had been published by Universal as number UE17326 in 1987. Shortly after my CD came out, Universal published a new edition. At the bottom of page 2, under a dedication to Aki Takahashi and Roger Woodward, is a small-print mention: ‘corrected edition: 14.2.1991.’ I disregarded it for a long time. I had carefully read, annotated, analyzed, labored over, performed live, and recorded my 1987 score. The work sounded great, the design of the edition was flawless, the composition was coherent from A to Z, and no erratum had been published. In my eyes, that score was the work. Many listeners said they liked my meditative album, and I was pretty proud of it. But there was something lingering in my mind… I went on to several other projects, and I considered the matter closed. However, much later, due to a few incomprehensible exterior signs, I decided to order a new score of Triadic Memories. I immediately noticed the ‘corrected edition’ mention. The score’s layout looked exactly the same — except for a tiny detail: starting on page 5, small digits start to appear above most of the repeat marks. These numbers, which were omitted in ‘my’ score, obviously indicate the number of times some passages should be played – not twice, but 3, 4, 5, 7, up to 11 times! This tiny notation detail has tremendous consequences on the form of the composition. Universal had not even cared to inform me of this issue. I was mortified. With incredible generosity, Sub Rosa offered me the chance to produce a new recording of this work, exactly 20 years after the first one. So here it is. I did everything possible to tap into the spirit of the 1990 recording: same piano, same recording engineer, same working method, same approach to the keyboard, but now with the right score: my own ‘corrected version.’ The truth is, it’s all different. To me, there is no possible ‘corrected version.’ The 1987-1991 edition was simply a different work, one that had not been completely drawn by its maker, and which presented different issues to its performer.” –Jean-Luc Fafchamps Morton Feldman was born in New York on January 12, 1926. In 1949 the most significant meeting up to that time took place — Feldman met John Cage, commencing an artistic association of crucial importance to music in America in the 1950s. Cage was instrumental in encouraging Feldman to have confidence in his instincts, which resulted in totally intuitive compositions. He never worked with any systems that anyone has been able to identify, working from moment to moment, from one sound to the next. His friends during the 1950s in New York included the composers Earle Brown and Christian Wolff; painters Mark Rothko, Philip Guston, Franz Kline, Jackson Pollock and Robert Rauschenberg; and pianist David Tudor. Today he is considered one of the most important composers of the century.
LOPEZ, FRANCISCO: Untitled #244 CD (SR 304CD) 15.50
Part 3 in Sub Rosa’s new series Framework is an extension of their Concrete Electronics Noise series, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old but clever composers. Limited to 700 copies.Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years, he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 200 record labels worldwide, and he has been awarded three times with honorary mentions at the Ars Electronica Festival. Untitled #244 was created with the evolution of original environmental recordings done at multiple underwater and abovewater locations in the Paraná and Paraguay rivers (Argentina and Paraguay).
KEBNEKAJSE: Idioten CD (SUBL 080CD) 17.00
Kebnekajse takes folk rock to new heights on Idioten. Forty years after their debut, the Swedish ’70s folk rock pioneers have gathered no moss. A short biography for new listeners: During the 1970s, Kebnekajse was known as Sweden’s highest band, pioneering and leading the Swedish instrumental psych/progressive groups. They electrified folk music and made six albums from their inception in 1971 to 1978, after which they split up. Kebnekajse reunited during the summer of 2001 and in the early spring of 2009, they released their critically-acclaimed comeback album Kebnekajse (SUBL 026CD/LP), filled with pure Swedish folk songs. Two years later, and proven by countless tours, they now present what is perhaps their strongest recording ever. On this album, Kebnekajse widens views and lets the folk music tone find new forms, free from any tightly-held reins. As the band themselves explain: “We wanted to give the folk music new feet. From the vast canon of ancient Swedish folk songs we wanted to highlight songs that stand out, rare songs that leave room for improvisation and debauchery in the spirit of the psychedelic ’70s.” With these resolutions, the band got into the studio (the same one used for recording Dungen) for three sessions of four days each, from May to September. The result was 10 new tracks. This is unlimited music where intricate melodies and distinctive rhythms take unexpected turns — electrical and eclectic while unified in a dynamic drive. Kebnekajse have deepened their interplay in their last years of touring. On the initial track “Barfota” (trans. “Barefoot”) the electric guitar and violin weaves melody over pulsating drums, percussion and double basses — heavy and soft at the same time. “Fäbodpslam” (trans. “Mountain Shack Psalm”) breathes beautiful melancholy before the great polska “From-Olle” (trans. “Pious-Olle”) whips up a furious pace. “Hans & Greta” is tight like a music box in its melody interplay while “Senpolska” (trans. “Late Polska”) from Hälsingland becomes a drawn-out, distorted drone piece (“like a grunt from the deepest of halls of the mountain king”). The musicians also break up the action with jam trips and let loose the love of their musical roots. The title track “Idioten” (trans. “The Fool”) madly mixes a Hälsingland polska with hard progressive rock. “Stockholmpolka” has a snorting, country feel mixed with dream-like Afro-funk psych and an Alpine feel. The closing Norwegian “walking tune” “Sangenuten” (trans. “The Song Without”) is connected with a long tail of psychedelia. With Idioten, Kebnekajse lifts Swedish folk rock to new heights and new psychedelic overtones.
KALKBRENNER, FRITZ: Kings In Exile 12″ (SUOL 024EP) 12.00
This is the second single and THE “rave monster” from Fritz Kalkbrenner’s album Here Today Gone Tomorrow, and Booka Shade are on board to do one of their ultra-rare remix appearances. Suol head-honchos Chopstick & Johnjon remix the shit out of it on A2 into a very slow groover and it’s surprising how well that original sequence works on 110 bpm. Booka bases their mix on a more minimalistic beat, building it up and… taking it away again. What a tease.
BODZIN VS. MARC ROMBOY, STEPHAN: Luna 3CD BOX (SYST 013CD) 23.50
Marc Romboy and Stephan Bodzin ain’t no astronauts. They are first and foremost musicians, producers and long-time friends. Together with their own long-running imprints, Systematic Recordings and Herzblut Recordings, they have proven how to build up a distinct label sound. However, similar to some well-known astronauts, the word “Luna” has a very special meaning to the musicians because it’s the name of Marc Romboy’s daughter and that of Stephan Bodzin’s wife as well, so it was an obvious choice when they were looking for a fitting title name back in 2005. Six years on, and the project nears its final touchdown with this triple CD set. For the past few years, track names like “Callisto,” “Puck,” “Atlas” and “Phobos” have been regular listings inside various playlists and DJ charts. And similar to the nearly eternal footprints on the moon, these tracks have proven how to set up an acoustic milestone, which is why some special “synthapella” versions (without beats or percussion parts) pay tribute to the concept of “less is more.” This 3CD package compiles tracks previously only available on vinyl, plus two brand-new productions (“Triton” & “Oberon”). CD1 contains album tracks as well as edits and synthapella versions. The stylistic range is additionally highlighted on CD2 by an 80-minute mix of versions and remixes, ranging somewhere between a truly modern club sound and bold electronic experiments. It is this range of possibilities, backed by the love for certain sound worlds originating from vintage synthesizers such as Moog and Arp or drum computers like the ones from Roland and Vermona, that has worked like a magnet for other producers to ardently work on these remixes. In addition to the remixes on CD2, the third CD is comprised of downloadable mp3s with more than 20 different producers from all over the world taking you on a musical orbit, starting in Germany with Moritz Von Oswald (Basic Channel, Rhythm & Sound), Pan-Pot, Dominik Eulberg, Chris Liebing, Martin Buttrich, Roman Flügel and Robag Wruhme, continuing with Gui Boratto from Brazil, Speedy J and Joris Voorn from The Netherlands, Minilogue from Sweden and even Abe Duque from New York. An electronic transmission from the moon to the earth takes a little more than one second to cover the distance. Other artists include: Stimming, Ribn, Gorge, Gregor Tresher, Mutant Clan, Oliver Huntemann, Brendon Moeller, Oxia & Nicolas Masseyeff and Gaiser.
BAMBI KINO: Bambi Kino CD (TR 202CD) 17.00
New York City, summer 2009: Four young Beatles and Hamburg aficionados from New York form a band, naming themselves after the first lodgings of The Beatles during their first string of Hamburg shows, the Bambi Kino in Paul-Roosen-Straße in St. Pauli. Their plan: to play the Indra on the 50th anniversary of the Beatles’ premiere. Hamburg, August 2010: In cooperation with their label Tapete Records, who are also based in Hamburg, Bambi Kino play a four-day residency at the Indra (August 17-20, 2010). Bambi Kino are: Ira Elliot, drums (Nada Surf), Erik Paparazzi, bass (Cat Power), Mark Rozzo, guitar and vocals (Maplewood) and Doug Gillard, guitar (Guided By Voices). The band revive the sound and spirit of those August days in 1960, playing the exact set the Beatles played for the Indra crowd 50 years ago. Sleep was not an issue on those hot and humid August days and nights in Hamburg as Bambi Kino played three sets, averaging around five hours of show time every night. Rehearsals in the afternoon further extended their repertoire of rock’n’roll classics, obscure R&B tracks, standards and even some country songs to play at the shows. This album was also recorded during afternoon sessions at the historic venue. Out of over 12 hours of material, the band selected these 12 songs. And a treasure trove it is: a long-forgotten episode of musical history, the sounds and songs of the Hamburg Beatles are finally given the respect they deserve, and Bambi Kino are nothing like a conventional cover band. Knowledgeable, passionate and highly original, the band makes these early masterpieces accessible to the general public once again. The tough, driving beat, rough and soulful harmony vocals and the rockin’ guitars take the listener back to the dark alleyways and side streets of London, Liverpool and, naturally, Hamburg where in 1960, thin young men in black leather jackets re-interpreted American rock’n’roll, giving it a whole new lease on life.
JUNE: Cytheria (Album Sampler) 12″ (TD 009EP) 12.00
Here is a 12″ sampler of June’s debut album Cytheria with two tracks and two remixes by critically-acclaimed Terre Thaemlitz aka DJ Sprinkles of one of June’s older tracks “Lost Area.” Sprinkles delivers epic remixes that take one to a forgotten musical territory somewhere between early Warp Records, Hacienda, ’80s New York club sounds and older Balearic music. On the whole, this EP is a great balance between dancefloor-oriented tracks and synth-pop.
MI AMI: Dolphins 12″ (THR 012.47EP) 14.00
“Dolphins is a melting, dystopian refraction of left-field new age, lush soundscapes and Italo daydreams overlapping with slaughtered dolphins and the heartbreak of ‘Hard Up.’ Simultaneously ingesting and rejecting pop pleasure, wide-eyed optimism and modern despair, it is equal parts improvisatory winging it and forceful, fully-realized vision. Blurring the line between the tainted and the sublime, Dolphins is the sound of a band thrillingly re-imagining itself.”
ETERNAL TAPESTRY: Beyond The 4th Door CD (THR 252CD) 14.00
“On their Thrill Jockey debut Eternal Tapestry have delivered an album not unlike their epic live shows. Beyond the 4th Door contains long stretches of melodic guitar improvisations, dark brooding songs that slowly build and expand to allow in layers of light. The album was recorded in their home studio and was created by recording more than two hours of material, mostly live, and hand picking what you hold in your hands. There is a free and open nature to their structure creating for the listener a spacious environment to explore. Harkening back to the early ’70s experimental rock that inspired them, such as Popol Vuh, Cluster and Träd Gräs och Stenar, Beyond the 4th Door is an album meant to be listened to in its entirety. Beyond The 4th Door is Eternal Tapestry’s debut multi-format release, following sold-out vinyl-only albums on the highly influential Three Lobed and Not Not Fun labels, and many sold out cassettes and CDrs on imprints such as Night People and Digitalis Limited.”
ETERNAL TAPESTRY: Beyond The 4th Door LP (THR 252LP) 16.00
ELEVENTH DREAM DAY: Riot Now! LP (THR 261LP) 15.00
LP version. “Riot Now!, Eleventh Dream Day’s 10th album, is a call back to the urgency of 1988’s Prairie School Freakout, with a string of mostly first takes tracked in one session with few overdubs. Eleventh Dream Day, a Chicago treasure, have been active in the rock underground for a staggering 25 years.” “Eleventh Dream Day have forged one of the most durable sounds to emerge from the indie-rock underground. Balancing ragged guitars against fragile melodies and sweet vocal harmonies, the Chicago group’s three late ’80s/early ’90s albums perfectly encapsulated the promise — both artistic and commercial — of post-punk alternative rock.” — Rolling Stone
FRIEDBERGER, MATTHEW: Meet Me In Miramas LP (THR 262B-LP) 15.00
“Matthew Friedberger is one half of The Fiery Furnaces. Mr. Friedberger is at work on a book called The Progressive Use of Popular Culture 1: Music. In this work, about the same length as Jason Alexander’s non-existent Acting without Acting, he attempts to advance– or exaggerate — the egalitarian potential of the irreducibly esoteric nature of the popular arts. He considers Rock-n-Roll, or Rock ‘n Roll, or Rock, or This Thing, to be the Queen, or King, or Tyrant of Indeterminate Gender, of the Popular Arts. The word Tyrant in the last sentence is meant to include a sense of necessary illegitimacy.”
SPEER, D. CHARLES: Arghiledes LP (THR 263LP) 15.00
“D. Charles Speer aka Dave Shuford is a founding member of the long running No Neck Blues Band and also known for his work with Enos Slaughter, The Suntanama, Egypt Is The Magick #, and Coach Fingers. Arghiledes is the second Speer solo album and is a vinyl only release limited to 500 copies with free download coupon. Arghiledes is greatly influenced by Shuford’s Greek heritage and will appeal to fans of early 20th century Greek music as well as recent archival Arabic and Greek recordings reissued on labels such as Mississippi and Honest Jon’s, and to those following modern takes on Arabic music (i.e. Sir Richard Bishop’s Freak Of Araby).”
MICROTRAUMA: Colorblind EP 12″ (TRAUM 135EP) 12.00
Microtrauma present their debut on Traum. “Saturation” makes a spiritual link to electronic avant-garde of the ’70s, still feeding the techno corpus with enough heavy bass line and kick to tweak dancefloors. “Diffusion” is soulful as well, maybe more linear and even more ghostly and haunting, spiced up with electronic-sounding bass lines, filtered voices from the distance, heavy delays and a pounding techno beat. “Contrast” relies on a breakbeat and steers different levels at each time — gloomy yet bright.
YELLO: Bostich 12″ (Y 1576EP) 10.00
“Bostich” was originally released on Do It Records in 1981. This is the “Fullengthmix”; one-sided released, pressed on yello(w)-colored vinyl.
TYRANNOSAURUS REX: My People Were Fair And Had Sky In Their Hair… LP (VL 900204LP) 17.00
…But Now They’re Content To Wear Stars On Their Brows. Restocked, lower pricing. “Before Marc Bolan became the glam rock superstar behind T-Rex, he was just a hippy boy with a guitar, writing fantastical Tolkien-inspired folk songs populated by fairies and ogres. But thanks to producer Tony Visconti, this boy & his trusty drum-playing friend Steve Peregrine Took soon had a record contract and this, their debut album, actually made it to the top of the British charts in 1967 when it was released. Stereo version with 1 bonus track and lyrics insert.” 180 gram virgin vinyl.
JOHN’S CHILDREN: Jagged Time Lapse LP (VL 900700LP) 15.00
Restocked, lower pricing. “The band that was ‘louder than the Who’ and who became one of the earliest examples of psychedelic flower power. You will find Marc Bolan (T.Rex) at his loudest all over this. Everything you’ll want from one of Britain’s most rambunctious bands. In fact, the band’s stage show, which included band members fighting each other and Bolan whipping the stage with a chain, was a huge influence on punk rock. Many cuts are penned (and performed) by Marc Bolan. Bonus tracks include a cover of The Beatles’ ‘Help.’ Includes J. C. favorites such as: ‘Desdemona’ (which was banned by the BBC due to its ‘controversial lyrics’), ‘Midsummer Night’s Scene’ and ‘Go-Go Girl.'”
JOHN’S CHILDREN: Smashed Blocked! LP (VL 900717LP) 15.00
Restocked, lower pricing; 180 gram vinyl. “An album collecting the material Marc Bolan recorded during his brief stint as lead singer of the short-lived (1966-68) mod psych band John’s Children, although perhaps better known for their image and stage antics than their actual music (apparently managing to upstage the kings of stage antics, the Who, and inspire generations of punk rockers). Their debut single ‘Smashed Blocked’ was recorded by session men due to their lack of proficiency on their instruments, but by the time their second single ‘Just What You’ll Get’ was released things were looking considerably up, featuring a solo by Jeff Beck on ‘But She’s Mine,’ the single’s B-side. Bolan joined the group soon after and recorded the single ‘Desdemona’ (banned by the BBC for its controversial lyrics). Of the 17 tracks present, a full 9 are either penned or performed by Marc Bolan. Although this band may only be a footnote in the annals of British freakbeat, original copies of the ‘Midsummer’s Night Scene’ single have sold for $4,000! Includes printed innersleeve with liner notes.”
BIRMINGHAM SUNDAY: A Message From Birmingham Sunday LP (VL 900830LP) 15.00
Restocked, lower pricing. “Formed by some high-school friends from Carson City, Nevada, the band began playing clubs around the state in the late sixties, and soon landed a contract with Bill Holmes’ (Strawberry Alarm Clock’s producer) label, All American. This teenage band played mostly folk-influenced psych, with beautiful male/female vocal harmonies rising above the music (which featured Doors-influenced organ playing and some wind instruments as well). The album was originally released as a test pressing, and the impossibly-rare original copies have been known to sell for mind-boggling prices.” 180 gram vinyl.
MINUTEMEN/SACCHARINE TRUST: Split 7″ (WUB 005EP) 8.50
“Volume one of the early Sand Pedro split 7-inch series. Three songs from each band. Rare songs that were only available on early ’80s compilations and are now out of print and only available on this 45. Some of the first recordings (1980-1981) from these two awesome and unique L.A. harbor area pioneering punk bands.” Includes insert.
PATTON, CHARLEY: Founder Of The Delta Blues 2LP (YAZ 1020HLP) 29.00
“Charley (a.k.a. Charlie) Patton was the most powerful blues recording artist of all time, considered by many to be the single most important figure in the history of traditional blues. He was a profound shaper and a giant figure in early Mississippi Delta music. The combined power of his vocal and guitar dynamics is unparalleled and he was the Delta’s first blues celebrity.” This reissue reproduces the front and back cover of Yazoo’s original 1970 release. Pressed on 180 gram vinyl.
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