May 302010

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ATPR 039CD SLEEPY SUN: Fever CD (ATPR 039CD) 14.00
“Sleepy Sun is a California band from many Californias. They hail from the rolling oak and sage hills of Sierra Gold Country, The San Francisco Peninsula, where Kesey raged and the Dead were once Warlocks, and the forever-sunshine climes of the Southland. They came together — young and garage strutting — in the coastal Northern California crucible of Santa Cruz. And there they birthed the Sleepy sound — dead blues shaken alive, razor sharp and ramblin’, soul, sonic science and dead-on pop surgery. Wooden, earthy, stratospheric, and swinging California music of beautiful contrasts for conflicted times. Now, two records into a frighteningly fast-blossoming evolution, Sleepy Sun are a living machine of fire and focus. Their first release on ATP records Embrace illuminated the golden path to Sleepy land — hard-riffing, delicate, dreamy and cultivated. The latest ATP release, Fever, is arrival at the palace the path promised. Fever is the honey harmonies and danger wailing of Bret Constantino and Rachel Williams pulled from a tender tangle into steel-strong braid; the wing-on-wing guitars of Matt Holliman and Even Reiss in screaming dives and sweet ascending circles; the lowdown served up tough and thundering from drum and bass authorities Brian Tice and Jack Allen.”
ATPR 039LP SLEEPY SUN: Fever LP (ATPR 039LP) 17.00
LP version with full-color printed inner sleeve.
AG 121LP SIGNALDRIFT: Two Agents 2LP (AG 121LP) 17.00
“Signaldrift is an electronic music duo from Milwaukee, Wisconsin. Originally started by Franz Buchholtz as a solo project in 1998, Signaldrift released several records on various labels before being joined by John Goelzer in 2005. Being not only from the same city but practically the same age and sharing many common influences, the two fell into an easy collaboration through a rigorous gigging schedule during which they started and refined the tracks that comprise Two Agents, their debut album as a duo. Upon a foundation of their favorite film score composers, the duo bolts on diverse styles such as motorik, dub, shoegaze, disco, post-punk, balearic and ’80s pop over the course of these eight songs. Limited to 500 copies.” Gatefold sleeve.
BSR 003LP KOMATSIOULIS, SOTIRIS: San Ton Anemo (Like The Wind) LP (BSR 003LP) 42.00
“Sotiris Komatsioulis is one of the best kept secrets of the early ’70s Greek psychedelic era. He made an ultra rare single in 1971, enjoyed some media exposure at the time and came close to a successful career. In 1973 he moved to England. This compilation contains the 2 tracks of his impossible to find single, and presents, for the first time ever, 6 unreleased tracks recorded in 1972-73, when he was trying to secure a contract with Columbia records in Greece and 3 tracks with English lyrics, that have been recorded in the UK in 1974. Some of the best early ’70s Greek psychedelic tracks ever recorded with great fuzz guitars, hammond organ and haunting vocals. 500 limited deluxe hand-numbered edition, 180 gram vinyl, heavy gatefold cover with history and photos.”
BPC 217CD ALLIEN, ELLEN: Dust CD (BPC 217CD) 14.50
Ellen Allien, owner of the BPitch Control label and Fairy Queen of Berlin’s more delicately-woven rave music, has been tinkering with the sound of the city for over a decade now. What has remained from all these years — packed with great releases, highly original remixes and exploratory mix CDs — are her monolithic albums, each the condensed result of a completely different creative phase. It already seems an eternity since Ellen Allien last remodelled her own sound with the sharp-edged diamond Sool in 2008 — a release which opened the gates to a far-off parallel world where minimalist artifacts float through the room with a cool elegance and distanced allure. With Dust, Ellen removes the sense of remoteness entirely, and a warm immediacy takes center. On “My Tree” your eyes will be dazzled by the light shining through a canopy of leaves. And while the bleeps prance on by, the introduction of the clarinet, as a classical element, ensures that some order presides over all the endlessness behind the clouds. “Huibuh” feeds off a similar feeling, a perfectly tranquil synth-pop song which pays tribute to the most chilled of all Sunday afternoons. Melodic, sexy and self-content. On “Ever” the plucked synths and glockenspiels float over an unobtrusive beat framework. And despite their rich variety, these sounds are blended into a funky groove of life-affirming bliss. “Dream” makes a more twisted entrance where synths scale the walls while the trailing female vocals float through unconscious depths. Ellen prefers to sing a duet with her pitched-down alter ego under the pleasant glare of the “Flashy Flashy” disco lights — a house track that trots along with a light and breezy gait. “Our Utopie” is the soundtrack to a sunrise with sounds that ring and reverberate through the air. Beneath the old school analog synth of “Schlumi” is a kick drum and a rave siren that winds its way up to the surface until the walls start to ripple and there are no more right angles in sight. Then there’s “You,” a completely unexpected indie-pop track with a beguiling guitar loop like something halfway between Zoot Woman and Phoenix, with a Joy Division bass line, and then Ellen’s bright voice, singing with a cool fragility. “Sun The Rain” is the second synth-pop song on Dust, and “Should We Go Home” thrills with hushed voices, involuntary rushes of goosebumps and a few melodic fragments, arranged here as ambient phase shifts pile on top of one another. What now? You’d better dust yourself off. It’s time to start all over again.
BPC 217LP ALLIEN, ELLEN: Dust 2LP (BPC 217LP) 23.00
Gatefold double vinyl version.
CADENZA 050EP REBOOT: Rambon EP 12″ (CADENZA 050EP) 14.00
Reboot’s “Rambon” is crafted with a DJ in mind, with a perfect groove assembling itself almost magically, with every percussive line snapping right into place. But for all the naturalism of the rhythm, there’s a strangeness, a kind of ambient undertow, as sounds from the real world color the background. It feels less like a composition than a DJ mix, the kind where the parts combine to create something far greater than their sum. Also includes Luciano’s remix of “Uruana.”
SNAD 557CD VAN ZANDT, TOWNES: Legend: The Very Best Of Townes Van Zandt 2CD (SNAD 557CD) 14.50
“46 tracks representing the very best of the work of the late lamented singer-songwriter on the Poppy and Tomato labels. Includes such classic tracks as ‘Pancho And Lefty’ and ‘If I Need You’ and duets with the likes of Willie Nelson and Emmylou Harris.”
CYH 002EP KADAR, OLENE: Kadar’s Bitter 12″ (CYH 002EP) 12.00
Get ready for some ass-shaking! Number 2 by he Netherlands’ hottest newcomer, Olene Kadar. After releases on Mo’s Ferry Prod., Hey Records and Bla Bla Records, Olene shows us his house-y experiments on Clap Your Hands, featuring D-Low.
COR 075EP VOORN, JORIS: The Secret 12″ (COR 075EP) 12.50
Joris Voorn effortlessly combines the best elements of classic techno from Detroit with the European historicity of electronic dance music. No surprise that his releases have been permanent guests in the record cases of DJ icons like Laurent Garnier, Carl Craig or Sven Väth. No different is the sensibility of The Secret — once more, Voorn enchants us with futuristic disco tech and a bass line with an amazing pull. Booked your flights to Ibiza yet?
CONSIST 002EP RESIAK, SANTOS: Carnival EP 12″ (CONSIST 002EP) 12.00
Argentinean talent Santos Resiak has already created a valued position amongst a fresh wave of house producers, and now offers 3 fresh, summery cuts. “Venezuela” is a straight-up house bomb that combines heavy drums, hypnotic keys and just the right measure of playful funk to keep the tension on fire. Carefully sequenced, it really sums up the warm, feel-good attitude presented throughout the EP.
“Sam Shalabi’s Land of Kush project returns: his psych-Arabic jazz orchestra has produced a second album of intensely genre-defying, polymorphic, big band madness. Where Shalabi structured last year’s mesmerizing Against The Day album around the Thomas Pynchon novel of the same name, this time Shalabi tackles concepts of shame, sexuality and society in a new multi-movement work entitled Monogamy. Rounding up many of the same Montreal-based improv and experimental players featured on Against The Day, Shalabi deploys a cast of two dozen musicians and sound artists to realize this fantastic new compositional hybrid of Middle Eastern tropes and Western vocabularies of jazz, psychedelia and experimental/free music. For the Monogamy album, the group has been given its own sub-moniker as The Egyptian Light Orchestra. The band is a truly hydra-headed beast on this recording; string, brass and woodwinds careen around the drone/backbeat of the major movements, shifting between short melodic punctuations, free excursions, and consolidated unison lines. Dissonant piano, synth and electronics bubble below, above and at the outer limits of the mix. Several transitions also allow for various players to stretch out in some lovely virtuosic solo passages. Shalabi’s oud anchors the album’s opening and closing pieces, as well as the glorious ‘Tunnel Visions’ piece at the album’s midpoint. The rhythm section — comprising standard trap kits, upright basses and traditional Eastern percussion — holds down one hypnotic groove after another. Shalabi has once again structured his orchestral work to feature primarily female vocalists who further challenge the categorization of the music, conjuring everything from Galas- or Ono-style ululation (‘The 1st And The Last’) to cabaret/jazz (‘Scars’) to ethereal psych-folk (‘Tunnel Visions’).”
Deluxe 2LP version on 180 gram vinyl. Includes CD version, poster and insert.
RUNE 296CD IDEAL BREAD: Transmit – Vol. 2 Of The Music Of Steve Lacy CD (RUNE 296CD) 15.00
“Ideal Bread was started to perform the idiosyncratic (and underplayed) compositions of Steve Lacy. Using these pieces as a starting point, the group has blossomed into a dynamic and charismatic band. They demonstrate respect for Lacy’s work by investigating its compositional implications every time they step up to play. Ideal Bread’s music is an exciting demonstration of the possibilities of interpretation and improvisation; this is ‘free-bop’ at its very best! If anyone deserves such a project, it is soprano saxophone innovator Steve Lacy (1930-2004). He was an integral component of Cecil Taylor’s first unit, starting in 1955, and he would then go on to liberate the soprano saxophone and reform the landscape of composition in improvised music. The group was formed in 2005 by Josh Sinton(baritone saxophone) with Kirk Knuffke (trumpet), Reuben Radding(bass) and Tomas Fujiwara (drums), all of whom are rising stars on their instruments and important contributors to today’s modern/avant jazz scene.”
RUNE 305/06CD SOFT MACHINE: NDR Jazz Workshop, Germany, May 17, 1973 CD/DVD (RUNE 305/06CD) 21.00
“By the time this remarkable document was recorded, Soft Machine were hugely appreciated in Europe for their unique sound. This previously unreleased show was recorded for Germany’s famous NDR Jazz Workshop series and it features Mike Ratledge (electric piano, organ), Karl Jenkins (oboe, baritone sax, soprano sax, electric piano), Roy Babbington(bass) and John Marshall (drums) joined by two special guests for the majority of the performance: Art Themen (tenor and soprano sax) and Gary Boyle(electric guitar). This long sought-after performance has never been seen since its original broadcast over 35 years ago — not even in poor quality bootlegs. It is the best quality video document that exists of the group, featuring clear and beautiful visuals and superb live stereo sound! Soft Machine were one of the classic UK avant/jazz-rock bands of all time, and their work continues to be name-checked by today’s hip experimentalists, such as Tortoise, Jaga Jazzist, Jim O’Rourke and others. Will appeal to fans of: Dennis Chambers, Miles Davis, Allan Holdsworth, Jaga Jazzist, Mahavishnu Orchestra, John McLaughlin, Pat Metheny, Niacin, Nucleus, Passport, Return To Forever, Weather Report.” NTSC all-region format DVD.
DESTIJL 077EP HYPE WILLIAMS: Han Dynasty I 7″ (DESTIJL 077EP) 5.50
“Hype Williams is an eighteen year ‘relay project’ conceived in 2005 by husband and wife motivational speakers Father Ronnie Krayola and Denna Frances Glass. Every three years it’s been passed on to someone else to ‘look after’. Recordings from the first three years were stuffed into a pinata and will be put out at the end of the project. In May 2008 it was passed on to a heckler called Roy Bundy who, along with Karen Glass and a string of collaborators, have released numerous CDRs and VHS tapes. On the rare occasion of them showing up as themselves for shows (in the past, children, chickens and foil statues have been seen on stage in their place), they have a large rotating cast of deviants they play with under the moniker ‘Bo Khat Eternal Troof Family Band’.”
DESTIJL 081EP PENS: Love Rules/You Only Like Me When I Tell You I’m Wrong 7″ (DESTIJL 081EP) 5.50
“Pens are three girls that take an old-school approach to a hum and riff and add their own who-gives-a-fuck homemade panache. Tuck yrself into bed with some warm milk and cookies and throw this new single on the platter in repeat mode. Nighty night! What more is there to say? It’s better than most of the shit that gets the rave up.”
DESTIJL 083EP FUCKIN FLYIN A-HEADS: Swiss-Cheese Back/Watching T.V. 7″ (DESTIJL 083EP) 5.50
“The Fuckin’ Flyin’ A-Heads were a band from Hawaii most commonly construed as ‘punk’, tho they might provide one of the more exciting links between a more typified conception of ‘punk’, and that of ‘noise’. If the A side of this hybrid genre is the final aggregate regimented elements of deconstructed hard core that Harry Pussy by way of Magic Band displayed, the flip is the excess of Experience inspired freedom and recklessly abandons anything that even vaguely resemble ‘form’. Perhaps the most radically mixed recording, ever (to the extent that you might wonder if they just fucked up, or were working with a broken machine). A completely astounding spin. Their first review is a riot : from Damage Magazine, DEC 1980: ‘White noise this pure must take lots of to work to perfect. Somewhere far away there is a 60s endless guitar solo, bass playing 2 notes, a cymbal being hit at a constant 2 / 4 beat, and a distorted voice talking. But mostly there is white noise, simultaneously complex and simple. It’s quite disturbing when cranked up. I like to play this record and watch TV. It instantly gives a surreal sense to the most mundane images. Not recommended for anyone with high blood pressure.’ — M.C. Parker”
DESTIJL 084CS NOTHING, CHARLIE: Charlie Nothing & Dingulator Cassette (DESTIJL 084CS) 5.50
“Charlie Nothing & Dingulator was one of the seemingly myriad ’80s Charlie Nothing cassettes and its inclusion was, in part, intended within a 2CD anthology that we’d planned but the amount of material is too great and the moments therein are too grand to even dream of an edit. Although this is fairly late in Mr Nothing’s oeuvre, we can’t think of a more fully realized statement regarding the scope of his playing recycled automotive steel guitars and the performing of his Big Dingulator Song Sweet (or Suite, as it were, a concept of his that implied all songs were but one song) than a reissue of this 1985 manifesto-like piece. What you are about to hear is… Dingulation.”
DIAL 021LP EFDEMIN: Chicago 2LP (DIAL 021LP) 18.00
2LP version. Featuring 8 tracks from the CD: A1. “Cowbell,” A2. “Shoeshine,” B1. “Oh My God,” B2. “There Will Be Singing,” C1. “Night Train,” C2. “Le Grand Voyage,” D1. “Wonderland (The Race For Space),” D2. “Oh My God (Reprise).” After the huge success of his self-titled debut in 2007, Chicago is the second album by Berlin-based producer/DJ Efdemin. Chicago, the artist’s contribution to urban blues, contains 10 tracks as a result of Phillip Sollmann’s immersion into his own archives and experiences — may it be as a singer in a band years ago, composing theatre-music or playing as a DJ in clubs all over the globe. Each incarnation deals with various influences, although always expressing his unique sense for deepness and his love for dance music. There is jazz, there is house, there is techno and there are his instruments: cello, zither, drums, percussion, organ, synths, drum-machines and several small things like flutes and pipes. Besides techno itself, there are many important influences in Efdemin’s music, from different sources and other times — a cosmos of music that has followed him for a long time and influenced his drifting and melancholic approach to producing electronic dance music, be it the otherworldly music of Chicago-based Sun Ra, the minimalistic jazz/world-music-studies of Don Cherry, the enterprising tape music of Basil Kirchin or the microtonal instruments of Harry Partch. Is this a Chicago house record? No! But the Windy City was the starting point to blow the cosmos with such abstract, lovely music developed in a thousand directions. Arts, literature, architecture, jazz, American folk music, hip-hop, Chicago seems to be the source of reference for so many important movements crossing Efdemin’s work.
ACE 023CD ACRE: Sacrifice CD (ACE 023CD) 12.00
“This album has been a long, long time coming but the wait has most certainly been worth it. Aaron Davis has been firing missile after missile as Acre for some years now, but nothing else stands out as his defining moment quite like Sacrifice. This opus has been in the pipeline for years, being etched out of silver and rising from pile of ash after pile of ash. It’s absolutely monumental, totally epic in scope. Each thick slab of heavy droning sibilance is a testament to Davis’ vision and attention to detail. It will suck you in immediately and stick to you like glue. Notably there are no synthesizers or guitars anywhere on Sacrifice. When you hear the density of sound and variety in the sonic textures blowing out your speakers it seems utterly impossible. Yet, here we are. As the opening blasts of ‘Badland'” echo through your skull at 100 mph, the horizon seems lost in a thick, white haze. Everything else stops and shuts down. Subtle shifts in trajectory are barely noticeable at first, but by the end of the journey you’ve landed on a completely different plane. Surface to air, infinite flight; all achieved in just over 14 minutes. It’s not all a blown-out, straight-to-the-skull masterpiece. ‘Live Take’ feels positively smooth and silky in comparison. Reverberating tones drenched in pure light bleed nothing but effervescence and life. Everything feels exactly in the spot it should be, there’s no detritus or collateral damage to speak of. Davis runs a tight ship, only letting things bolt for the door and scream over the edge when its absolutely necessary. In the end, the biggest thing about Sacrifice is just how massive it feels. From the beginning, it’s a string of endless symphonic hypnosis. Acre’s compositions are as precise as ever here, each note and each path carefully chosen and dropped into place. No synths. No guitars. No laptops. No looping. Yeah. It’s time to start dropping bombs.”
ACE 031CD HANSON, J.: Boolean Blues CD (ACE 031CD) 12.00
“Josh Hanson is another of Portland, Oregon’s underappreciated sons. Having come up through the ranks of longtime, long forgotten faves Hochenkeit, he also spent time as a member of The Davis Redford Trio. But Hanson’s path diverges into a totally different sphere nowadays, spinning solo modular synth exploits to the stars. Influenced not just by the likes of Subotnick and Cluster but also various types of Eastern sounds, Hanson is looking forward, trying to find new pathways in electronic music. Using a homebuilt synth, Hanson is like a magician that keeps you looking one direction while he’s cooking up something special from out of left field. Boolean Blues is psychedelic and mathematical all once. Starting with the pulsing and surprisingly catchy ‘Shut Your Fucking Krout,’ you are instantly sucked in as a listener. The revolving synth melodies are in your face, never trying to hide behind a veil of reverb of fuzz. ‘Catshit and Sandalwood’ works as two separate tracks, conjoined at birth and held together through piercing synthetic bleeps. Again, there’s a softness and melody here that hook you straight off, but the heavy doses of electronic mayhem that go along with it are what keep things uneasy. It’s like a warning bell going off so often you have no idea if there’s hell on the way. That feeling comes to a head on the centerpiece, ‘Swat Valley Driver.’ This is where the psychedelia really kicks in. After a methodic exercise in control backed by a minimal analog beat, you are greeted with heavy Indian influences. No, of course there’s no sitars or tanpuras, but Hanson twists his synth into spitting out racing analog ragas. It’s fucking exquisite, all the while backed by black bass lines. ‘Peace in Sumeria’ continues the theme but moves a little bit West, getting lost in translation all the way. What is perhaps most amazing about Boolean Blues is that even though at its heart it’s a synth album, wholly electronic, it feels like so much more. It’s full of warm tones and rich visions. It’s a trip in every sense of the word.”
EAR 023CD STOOGES, THE: You Don’t Want My Name You Want My Action 4CD (EAR 023CD) 75.00
“The only recorded document of the Stooges incredibly short lived 2 guitarist line-up of James Williamson & the late Ron Asheton. Only 10 shows were played of the 1971 tour; there’s four of them here. These recordings are all audience recordings and therefore suffer from non perfect sonic sound reproduction but show the band in an extraordinary full on aural assault. The electric circus & Detroit tapes recorded by then manager Danny Fields and purchased by Easy Action. The packaging will include a booklet with unpublished photographs from the tour. The front cover image is from the archives of the late New York photographer Peter Hujar and has never been seen before. It is one of the only images of this 5 piece line up. Included in the package are replica polaroids, a photograph of Iggy Pop and a replica ticket. 1000 only & will not be repressed. No one believed any of these shows was ever recorded some people didn’t even know this line up of the Stooges even existed!” Tracklist: CD1: The Electric Circus – St. Mark’s Place, NYC(14.5.71) 1. I Got A Right ( False Start) 2. You Don’t Want My Name 3. The Shadow Of Your Smile(Iggy Solo) 4. Fresh Rag 5. Dead Body/ Who Do You Love 6. Big Time Bum 7. Do You Want My Love? 8. The Children Of The Night. CD2: The Electric Circus – St. Mark’s Place, NYC (15.5.71) 1. I Got A Right 2.You Don’t Want My Name 3. Fresh Rag 4. Dead Body/Who Do You Love? 5. Big Time Bum (Or Over My Dead Cock) 6. Do You Want My Love? CD3: The Factory – St Charles, St Louis (27.5.71) (Last Stooges gig on the ’71 tour) 1. I Got A Right 2.You Don’t Want My Name 3. Fresh Rag 4. Dead Body-Who Do You Love? 5. Big Time Bum 6. Do You Want My Love? CD4: Vanity Ballroom – East Jefferson Detroit (13.4.71) (First show of the tour) 1. I Got A Right 2.You Don’t Want My Name 3.Fresh Rag 4. Dead Body-Who Do You Love? 5. Big Time Bum 6. Do You Want My Love? Final Show Pavilion, Wampler’s Lake, MI July 1971: Ron , Scott, Jimmy Recca 7. Track One – Ron, Scott And Jimmy Recca Play Instrumental 8. Track Two- Band Talk With The Audience – Scott And Jimmy 9. Track Three – What You Gonna Do
EAR 028LP STOOGES, THE: The Electric Circus LP (EAR 028LP) 25.50
“There are at least two persuasive reasons to hear these recordings: firstly, you have never heard this group before, and secondly, you have never heard these songs before (with one exception). The Stooges that went out on tour in spring 1971 were quite a different group to any version to have entered a studio. Joining the remaining Fun House veterans — Iggy on vocals, Ron Asheton on guitar and Scott Asheton on drums — were new boys Jimmy Recca on bass and James Williamson on guitar — yes indeed! – a dual guitar Stooges!! … and Jools Thurston nowhere in sight!!! You don’t really need me to tell you what this line-up sounded like… you know (don’t you?) — suffice to say they rocked!” — Alan Holmes “…the most important Stooges artefact since Metallic K.O.” — Record Collector Tracklist: A1. I Got A Right; A2. You Don’t Want My Name; A3. The Shadow Of Your Smile; A4.Fresh Rag; B1. Dead Body/Who Do You Love?; B2. Big Time Bum; B3. Do You Want My Love?; B4. Children Of The Night
Gatefold LP version. Returnal is the fourth album from Daniel Lopatin’s Oneohtrix Point Never project, after Betrayed In The Octagon (Deception Island, 2007), Zones Without People (Arbor, 2009) and Russian Mind (No Fun, 2009). All 3 albums being superbly compiled on the Rifts double CD set (No Fun, 2009). It sees Lopatin fine-tune his craft for the creation of deep atmospheres and textures even further. Starting off with the mind-blowing triptych of “Nil Admiari”/”Describing Bodies”/”Stress Waves,” which fires off into a noise/rhythm excess before entering a zone of relative calm, building to the melancholy of the final part. This sets the tone perfectly for the album’s title track, a stunning, out-of-this-world ballad featuring Lopatin’s near-desperate vocal delivery, ending what could be seen as one of his most chilling and thought-provoking sides to-date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on “Pelham Island Road” and “Where Does Time Go,” with the album closing with edgy broken beats and the fourth-world possible landscapes of “Preyouandi,” which fades into the distance with echoes of the “Returnal” chorus closing the loop. What’s burnt into memory here is Lopatin’s love affair with the long, slow path back home… the cycle… the hypnotic sector… the ghost in the machine… and whether people are making dance music or hip-hop or space head-music or metal, the ouroboros is present in every sector — as it was in Bach’s study, and in the elephant songs of the Ituri forests. Instrumentation: Akai AX-60, Roland Juno-60, Roland MSQ-700, Korg Electribe ES-1, Voice. Recorded using a personal computer. Mastered by James Plotkin. Tape-op & additional engineering by Al Carlson. Awesome spot-varnished cover design by Stephen O’Malley.
ERATP 022LP ARNALDS, OLAFUR: …And They Have Escaped The Weight Of Darkness LP (ERATP 022LP) 25.00
Limited edition gatefold vinyl version. Ólafur Arnalds’ highly-anticipated second full-length album …And They Have Escaped The Weight Of Darkness continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate, classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Barði Jóhannsson of eccentric pop/rock/electronica-formation Bang Gang. Barði has successfully colored the brittle minimalism of previous releases through the addition of an array of new instruments. Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly-orchestrated work of his career. When Ólafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film’s introductory monologue. Born in the suburban Icelandic town of Mosfellsbær, a few kilometers outside of Reykjavík, the composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Several of these pieces were written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road. On the other hand, it is the result of meticulous studio work, of refining compositions in close co-operation with compatriot Barði Johannsson, known for his eccentric personality and unique electro-acoustic sound. The enthusiasm translates to arrangements displaying a new sense of sonic diversity. Ólafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, …And They Have Escaped The Weight Of Darkness makes use of diverse instrumentation — drums, guitars, voice, Rhodes, a selection of subtle synthesizers, alongside Arnalds’ trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind. Arnalds’ fusion of 21st-century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music. Includes full-color 8-panel insert and MP3 download code.
LP version. “Best known for his collaborations with people like Paul Flaherty, Michael Flower and Thurston Moore as well as a year-and-a-half stint as the drummer for Björk’s Volta tour, Chris Corsano is widely considered to be one of the best and most adaptive drummers of his generation. Equally adaptive is UK saxophone giant, Paul Dunmall, who has worked disparately with jazz greats like Alice Coltrane and Evan Parker as well as funk and folk acts like Johnny Guitar Watson and Dando Shaft. After a chance meeting in a taxi line at the Lisbon Airport, a surreal intertwining of tours emanated. In between the lasers, confetti and face-painted fans at Plymouth Pavillions and Wolverhampton Civic Hall, Chris left the Björk mega-tour to get down to business alongside the prolific and imaginative Dunmall for some vital improvisation at Slak Bar in Cheltenham, England. This wonderfully recorded live set begins with Dunmall swirling away on the border pipes (he may be the preeminent improvisor using bagpipes). What follows is an impulsive and lyrical improvisation, alternatingly sparse and impossibly textured. Corsano’s skittering marries perfectly with Dunmall’s rapid-fire lines. The melodies are expertly uncoiled so that they remain charged whether the tempo is at full speed or crawling. The set ends furiously and with the impression that this duo was fated to work together. Personnel: Paul Dunmall ( tenor saxophone, border pipes); Chris Corsano (drums).”
FCL 043EP SIDWHO: Pay For Love 12″ (FCL 043EP) 12.00
Last year’s Vote Bowie For President by Sidwho freaked out Todd Terje, Tim Sweeney invited him to do Beats In Space while Prins Thomas named it his favorite track of the year. In between recording and touring with The Swiss and Empire Of The Sun, Sid is back with another low-slung disco weapon, remixed by Jamie Paton and Azari & III.
HDB 034EP LV & QUARTA 330/DONG: Hylo/Suzuran (LV & Quarta 330 Remix) 12″ (HDB 034EP) 12.50
“Two collaborative tracks from Quarta 330 and LV, made when the pair met the day after Hyperdub’s fifth anniversary party in November 2009. These tunes exemplify the kind of meeting of minds where the best of both producers comes to the surface, as Quarta 330’s 8-bit abstraction and melodic sense contrasts nicely with LV’s characteristic lush figures and shuffling rhythms.”
INV 100LP BEAK: Beak 2LP (INV 100LP) 36.00
“Beak were formed in January 2009 by three Bristol musicians, Billy Fuller, Matt Williams and Geoff Barrow. The band have very strict guidelines governing the recording and writing process of their work. The music was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in SOA Studio’s, Bristol. Sometimes a band can be no more than the sum of its parts, but Beak are an equation in which it’s impossible to define equivalents or totals. Instead the meeting of three talents form a foundation from which ideas assimilate and propagate. Now available as a limited edition heavyweight double vinyl in gatefold sleeve.”
“The multi artist Marco Evaristti, and the producers Pablo Bolivar (Regular, Barcelona) and Mikkel Metal (Kompakt, Copenhagen) have collaborated on this EP. Marco Evaristti, known for his provocative artworks such as the goldfish in the blender and the Ferrari sarcophagus, has explored our inner world of demons, illustrated through grotesque distortion and satire. According to the artist, satire is the strongest instrument communicating serious subjects of existentialistic character. On this release, the musicians had to musically interpret the issue regarding capital punishment. Be it the melancholy of life or the sunrise after death. The A-side of this release is occupied by Pablo Bolivar a frequent player on the Jato-Unit imprint. Pablo is known for his works on Regular and his performance in the duo Pulshar. The track on this release tell us a story of a time after death. Big endless chords, deep reverberation and pulsing sines. Brightness is the main theme and it shines clearly through in this production. While keeping the groove going with a deep smooth pulse bass, you will experience that time stops around you for as long as the track is playing. The B-side is held by Mikkel Metal, known for his productions on Kompakt and Echochord. A real bohemian in the realm of techno. The track rises like the phoenix bird, from silent crackling to a blazing blizard of echoing guitars. While the endless bass keeps the ongoing groove alive, you are not doubting the misery and loneliness awaiting the death row inmates.” Limited picture disc, numbered edition of 200 copies housed in a gatefold sleeve; comes in 3 different LP covers with original signatures from Mikkel Metal and Pablo Bolivar glued inside with a unique insert.
JM 073EP SUN RA: The Shadows Cast By Tomorrow 3×7″ (JM 073EP) 29.00
Boldly going where no other label has gone before, Jazzman sets a course for deep space with The Shadows Cast By Tomorrow, the first collection ever to reissue Sun Ra’s 7″ singles in their original format. Jazzman has selected six otherworldly songs from Sun Ra’s back catalog of incredibly rare singles. Originally issued in tiny runs of as few as 50 copies on his own Saturn label, these 45s were often hand-distributed by Ra and his legendary Arkestra, meaning that only the most seasoned collectors have ever laid hands on an original Saturn 45. This set of 3 x 45rpm singles pressed onto luminous, glow-in-the-dark vinyl and packaged in a unique, custom-made triple gatefold screen-printed sleeve, contains a cross-section of Sun Ra’s visionary space-jazz that stretches from the 1950s to the 1970s. Featuring the mystical doo-wop of the Cosmic Rays’ “Dreaming”; wild man Yochannan’s RnB solar flare “The Sun Man Speaks”; the intense Moog-rock of “The Perfect Man” and mega-rare versions of classic Ra rockers “Love In Outer Space,” “Rocket No. 9” and “Enlightenment,” The Shadows Cast By Tomorrow is an overdue message to Earth straight from Saturn, delivered to you direct by Jazzman Records.
JM 074EP CAPANNI, MARK: I Believe In Miracles 7″ (JM 074EP) 8.00
Here is this incredible song at long last, with the blessing of Mark Capanni himself, as it should be — the original 1973 version of the Jackson Sisters classic rare groove anthem “I Believe In Miracles,” on DJ-friendly vinyl. Sublime Axelrod-style folk-jazz orchestration backs Capanni’s carefree yet poignant vocals. This recording was completed and ready to go a full 14 months before the Jackson Sisters’ version hit the streets, but despite this, it failed to make an impact — too soulful for rock radio but not soulful enough for R’nB radio — and the record was pulled. It was the Jackson Sisters with their full-on dancefloor funk that did the business, released in 1974. It’s since gained legendary status, a musical definition of the rare groove era and with a multitude of versions and remixes. With original copies of the 45 practically impossible to find, this Jazzman release can only be described as being utterly essential to all DJs, dancers and music lovers, everywhere. In a stereo and mono mix.
JM 075EP PATTERSON, KELLEE: I’m Gonna Love You Just A Little More, Baby/Mister Magic 7″ (JM 075EP) 8.00
As covers go, Kellee Patterson’s versions of the Barry White-penned classic and the theme made famous by Grover Washington Jr. don’t fall far short of spectacular! Recorded back in sunny ’76, this is sublime femme-soul with impeccable production, a classy double-sider that cannot fail to please. Here for the first time is the full-length version of “I’m Gonna Love You” and a stunning vocal rendition of “Mister Magic” that’s too good to ignore. DJs watch out for immediate dancefloor reaction!
SOUL7 015EP TARGET: Give Me One More Chance/Cleveland 7″ (SOUL7 015EP) 11.00
Jazzman Records presents another modern soul rarity — recorded in upstate New York in 1973. Fully-licensed and restored from the original master tapes, this pressing run is limited to only 500 copies worldwide. When 4 close friends got together in the small town of Rome, NY to form a band, little did they know that the music they made would still be raising dancefloor dust over 30 years later. Self-funded and pressed in only 500 copies back in 1973, the 45 featuring the catchy “Give Me One More Chance” was sold from the very bandstands they performed from while gigging up and down the East Coast. Another single did appear later, but zero distribution and little knowledge about the workings of the record biz meant the lucrative recording contract they hoped for failed to appear. Members Dean and Vincent still perform to this day, as the duo act D.V.D. The Band.
KRS 455LP SMITH, ELLIOTT: New Moon 2LP (KRS 455LP) 19.50
2LP version. “Arguably the most gifted song-writer of his generation, Elliott Smith produced a large body of work that includes five solo albums, as well as From a Basement on the Hill (2004), a collection of songs completed before his death in 2003. New Moon contains 24 songs recorded between 1994-1997, a prolific time in Smith’s career, when he recorded his self-titled album and Either/Or (both also released by Kill Rock Stars). Like his other work, New Moon reflects the power of Smith’s ability to integrate rich, melodic music with poetic, multi-layered lyrics. Only three songs have seen prior release — all on compilations — most extremely limited runs. The final mixing for New Moon was done by Larry Crane, who is also the archivist for the estate of Elliott Smith. A significant portion of proceeds from the album sales will go directly to Outside In, a Portland-based social service organization dedicated to providing diverse services for homeless youth and low-income adults.”
MV 012LP CWT: The Hundredweight LP (MV 012LP) 32.00
“This is the only album of this English hard progressive rock band. It was released in 1973 only in Germany by the legendary Kuckuck label and produced by Rolling Stones manager Andrew Oldham. A must have for all early ’70s heavy progressive fans. Limited edition, deluxe 180 gram vinyl, exact reproduction of the original first pressing.”
MV 013LP HANUMAN: Hanuman LP (MV 013LP) 32.00
“Hanuman was a post Murphy Blend project, that recorded this excellent German progressive Krautrock album on the Kuckuck label in 1971. The lyrics are strongly politically and socially engaged, while it is musically very similar to the first two Out Of Focus albums, but more lyrical. This album is a perfect example of the early ’70s German progressive Krautrock scene and should be part of every serious ’70s progressive rock collection. Limited edition, deluxe 180g vinyl, exact reproduction of the original first pressing.”
“McCully Workshop is one of the most important South African rock groups. Their 2 first albums, Inc. (1970) and Genesis (1971) are considered to be among the best, rarest and more expensive South African psychedelic/progressive rock albums — sought after by all serious collectors worldwide. Inc, is a great psychedelic album. Limited edition, deluxe 180 gram vinyl, from the original analogue master tapes, exact reproduction of the original first pressing.”
MV 015LP MCCULLY WORKSHOP: Genesis LP (MV 015LP) 33.00
“Genesis reminds of the best early ’70s UK progressive records and is practically impossible to find even in bad condition. Limited edition, deluxe 180g vinyl, from the original analogue master tapes, exact reproduction of the original first pressing.”
MV 016LP CANAMII: Concept LP (MV 016LP) 32.00
“Canamii’s Concept is a great obscure South African progressive folk rock album with excellent female vocals by Claire Whittaker. It reminds of the best UK mid ’70s progressive groups. A must have for all Spriguns, Renaissance and early Curved Air fans. Insert with group photos and lyrics included. Limited edition, deluxe 180 gram vinyl, from the original master tapes, exact reproduction of the original artwork.”
MV 017LP HESTER COALITION, THE CAROLYN: The Carolyn Hester Coalition LP (MV 017LP) 32.00
“Must have for U.S. dreamy folk psych music collectors. First ever reissue on vinyl. Limited edition, deluxe 180 gram vinyl, exact reproduction of the original first pressing.”
“Both Carolyn Hester Coalition albums are fine examples of U.S. West Coast-style hippie fuzz psychedelic folk rock, like Neighb’rhood Children, Birmingham Sunday and similar outfits. They were recorded in 1969 and 1970 on the metromedia label and are considered to be a must have for U.S. dreamy folk-psych music collectors. First ever reissue on vinyl. Limited edition, deluxe 180 gram vinyl, exact reproduction of the original first pressing.”
MVWOW 002LP MANTICORE’S BREATH: Manticore’s Breath 10″ (MVWOW 002LP) 32.00
“Manticore’s Breath is Will-o-the Wisp, who have outgrown their old name and musical style. It is heavier, louder and more mature than their previous works, but still in their well-known UK early ’70s progressive direction. This 10″ LP contains two 8 minute-long tracks with great rhythm and fuzz guitars, organ and powerful English vocals. Both tracks are impressive and this record will most probably become a sought-after rarity, like their previous ones. 450 pieces limited and numbered edition, deluxe 10″ with 2 covers.”
MOBILEE 066EP RODRIGUEZ JR.: Princess Guacamole 12″ (MOBILEE 066EP) 12.00
This is Rodriguez Jr.’s highly-anticipated Mobilee debut, which comes packed with energy ready to get the summer parties rocking. “Princess Guacamole” features a melodic and jazzy hook set over a driving and percussive bass. Meanwhile “La Guapa” will pick you up with its hypnotic rift which builds up into a frenzy. This is an amazing debut.
MORR 099LP ISAN: Glow In The Dark Safari Set LP + 7″ (MORR 099LP) 19.50
LP version with bonus 7″ and download coupon. Robin Saville and Antony Ryan, two English gentlemen who create music together under the nom de plume Isan, return with their sixth full-length album for their spiritual home of Morr Music. It’s been a few years since Isan’s previous outing, the delectable electronic esoterica of Plans Drawn In Pencil (MORR 068CD/LP), but the results, in time-honored Isan tradition, are certainly worth the wait. Opener, “Channel Ten,” with its Autobahn-assured poise, appropriately prefigures a body of work that is Isan’s finest to-date. Inspiration for this came from “emancipation” as Robin elaborates: “It was an attempt to jettison the weight of our back catalog and get back to the fun of making music. This entailed playing with ancient Casios, mangled tape loops and squidgy noises. Very hands-on. Most of the tracks on the album started life away from the laptop.” This giddy sense of enjoyment suffuses the album — from the glistening rush of “Merman Sound” which segues into the soft-focus sound-world of its own coda seamlessly to the cinematic, tech-y strut of “Grissette” or the calmly oscillating and cascading melodies of “Greencracked,” which evoke images of a retro-futurist utopia. Isan have always excelled at fashioning a quietly awe-inspiring music and Glow… is no exception. Even the title suggests a sense of wide-eyed-wonder “We were playing with lots of ideas around fire, embers, bioluminescence and the title popped into my head one day. It seemed to sum up a lot of the things we like — I like to imagine sitting in a darkened room looking at the gentle green glow of 1970s VU meters, then they all come to life and start crawling up the wall.” says Antony. Such is the album’s celestial, hot-wired circuit-board wizardry; Glow In The Dark Safari Set positively throbs, ebbs and flows with electronically refracted ideas and melodies — a digital tone poem sitting somewhere betwixt the cozy experimentation of the BBC Radiophonic Workshop and the exotic sonic emissions of a top-secret Düsseldorf studio circa 1975.
MGF 013EP ALEX Q: Endlich Frühling EP 12″ (MGF 013EP) 11.00
“Did you recognize that spring is coming? Well, MGF comes with an EP that leaves you with nothing but a sunny smile on your face. Four tracks that would be able to light up the darkest places make catalog number thirteen on the Hamburg-based label a guarantee for deep emotions. Alex Q, the young producer behind it, is certainly proving versatile but nevertheless showcasing distinctive production skills here. Great percussion, gentle piano grooves and dub influences combined with striking melodies, make this release the perfect open air sound for the summer.”
“James Braddell AKA Funki Porcini returns with his 5th album for Ninja Tune, his first since 2002’s Fast Asleep. Mixing together surreal jazz, found noise, synthetic strangeness and dream logic. On is as beautiful and odd as anything he has made.”
PLUS 8113EP VIGORITO, DANILO: Primal Scream 12″ (PLUS 8113EP) 11.00
Danilo Vigorito presents a steady and heady floor-filling EP which further confirms his status at the top of the techno food chain. This double header starts out with “Prima,” a tension-laden track that reaches its release to stunning effect. Detroit-inspired pads wash over the entire groove, while more percussive surprises invade the frequency range. The relentless pace only takes stock near its conclusion, allowing the dancefloor to catch its breath just in time for the anticipated return full-force.
PD 1020LP BROWN, JAMES: Cold Sweat LP (PD 1020LP) 11.00
Exact repro reissue, originally released in 1967. The groove on the title track is one of the most quintessential and innovative songs in James Brown’s catalog. It relies on delaying the second backbeat to the “and” of beat four, and putting emphasis all the percussive emphasis “on the one” — a feel that originated here but has since saturated funk styles. “Cold Sweat” also features a drum solo by Clyde Stubblefield and saxophone solo by Maceo Parker.
PD 4054LP BROWN, JAMES: Hot Pants LP (PD 4054LP) 11.00
Exact repro reissue, originally released in 1971. The title track (heavily sampled by the likes of Gang Starr and Eric B & Rakim) was originally released as a single on the King label, but the extended 8+ minute version is exclusive to this release. Other tracks include “Blues & Pants,” “Can’t Stand It” and “Escape-Ism.”
PD 9001LP BROWN, JAMES: Hell 2LP (PD 9001LP) 21.00
Gatefold exact repro reissue, originally released in 1974. “The album was the pinnacle of his work as the Minister of the Super New New Heavy Funk. From the tough and nimble Latin rhythms of ‘Coldblooded,’ and ‘Sayin’ It and Doin’ It’ to the title track, all are prime pre-disco Brown. ‘My Thang’ is probably as hard and unrelenting as he got without spontaneously combusting.” — All Music Guide
PG 019LP AUN/HABSYLL: Split LP (PG 019LP) 24.00
“AUN (Montreal, Canada) has a back catalog rich with harmonic drone, sepulchral ambience and thick detuned guitar vistas. For this split, AUN ventures into new territory. ‘Druids’ plays like ’70s space rock on bad acid, where dissonant tones and hallucinogenic melodies slam headfirst into slow, pounding beats. Texture and rhythm collide to create a dark unworldly psychedelia. ‘Fall Out’ continues the spacey vibe, blending rhythm, bass, guitar and acidic noise shards, seemingly taking some cues from the late ’60s New York underground and mid ’70s Germany. Habsyll (Toulouse, France) accentuate angular drone and delicate improvisation with blasts of raw noise and sludgy doom. Leaving structure and melody behind (or perhaps stretching them out so far, they are imperceptible), Habsyll’s output is slow, raw and dynamic as hell. Composition has never felt so strange.” On ash cloud-colored vinyl.
PG 021LP ALUK TODOLO: Finstrenis LP (PG 021LP) 24.00
“Aluk Todolo are a recondite creature. Part okkult black metal fiend and part snide kraut menace. Somehow the doppelganger works and Finsternis proves for a second time there is brilliance in the absence of light. Dry, spare percussion grievously mines the scrapes, shrieks and shimmer of mutated guitar and bass. Finsternis is the German word for eclipse, mimetic of cyclic elements, phases and un-phases, endless re-beginnings, broken circles and perfect circles. A dangerous, noxious coil of all things black.”
LAUNCH 037LP GNOD & WHITE HILLS: Gnod Drop Out With White Hills II 2LP (LAUNCH 037LP) 23.00
“Welcome to the meeting of future minds, welcome to oceans far divide, welcome to flashing hypnotic travels, welcome to suspended grooves unraveled, welcome to the new Rocket Recordings release to drop out of the sky. Gnod Drop Out with White Hills II is the first official collaboration between two of the most colossal cosmic manglers on the planet, that of astral rejecters Gnod (Manchester) and former Rocket, now Thrill Jockey’s spacerock juggernauts White Hills (New York). It’s brimming with surrendered NEU like patterns, like both bands driving through ‘Dingerland’ with ‘LA Woman’ blasting from the rushing air. We have 16 minute elegant ‘Bel Air’ suites, its ebbed & flowing mesmerizing grooves burst with swooping grandiose synths, like gentle waves, hanging in time. Interjections of oscillating guitars and keyboards, designed to propel the captured listener into a trance-inducing sunroof of kosmische blur, rupturing out through the expansive blue. The 8 tracks contained over 4 sides are embedded with 4 long 10 minute plus pieces & these anchor the whole experience firmly into an exciting haze of echoing psychedelia, electronic & experimental Krautrock trippo-nova. After which, all four corners of your mind’s eye have been consecrated ‘in Gnod we trust’s’ world of undulating symphonies.”
RCD 2096CD ERIKSEN TRIO, ESPEN: You Had Me At Goodbye CD (RCD 2096CD) 17.00
This is the debut full-length release by the piano-led Espen Eriksen Trio. Espen Eriksen is a debutant on Rune Grammofon and as a recording artist in his own name. His musical background is varied, ranging from pop music to jazz and the church organ. He has played with top Norwegian jazz musicians such as Bendik Hofseth, Mats Eilertsen and Thomas Strønen and was for three years a pianist, arranger and composer for singer Christina Bjordal. Bassist Lars Tormod Jenset lived and worked as a musician in Copenhagen for seven years before relocating to Norway in 2007. He is also a member of Hot N Spicy, Bendik Giske Kvintett and Rodent. Andreas Bye is one of Norway´s most requested drummers in jazz and pop. He was a member of Bugge Wesseltoft’s New Conception Of Jazz and has played with John Scofield, Joshua Redman, John Taylor, Dhafer Yousef, Nils Petter Molvær, Håkon Kornstad, and many others. The music of Espen Eriksen is lyrical and highly melodic, and in some ways, typically Scandinavian with its folk elements — shades of the deep woods and touches of melancholia. In that respect, it’s fair to say that he belongs to the same tradition as Tord Gustavsen and the late Esbjörn Svensson, but without really sounding like any of them. But it’s also fair to say that the trio’s less-is-more approach is in stark contrast to many of their contemporary piano trios, with structures almost like pop songs while focused on melodic content and short solos.
RLP 3097LP BUSHMAN’S REVENGE: Jitterbug LP (RLP 3097LP) 22.00
LP version. This is the third album by Norway’s Bushman’s Revenge (Even Helte Hermansen, Gard Nilssen, Rune Nergaard). Like great records from Elephant9, Scorch Trio, Supersilent, In The Country, Spunk, Fire! and others, Jitterbug was recorded in the old fashioned way, meaning the musicians played together and interacted live in the studio with few or no overdubs. With classic recording studios closing down all over the world, this way of recording could indeed soon be a thing of the past, and the world of music would be a poorer place for it. As with players such as John Coltrane, Albert Ayler and John McLaughlin, there’s a fine line between chaos and spiritual ecstasy, one that Bushman’s Revenge tread with great success; however, there’s still an untamed, raw and punky energy at play. But since the release of You Lost Me At Hello (RCD 2083CD/RLP 3083LP), they have matured as individual musicians and as a collective, coming across more focused, with plenty of great interplay and instrumental skills. There’s even room for a couple of beautifully reflective ballads, showing a sensitive side to this otherwise hard-hitting, energetic trio. While their previous album was somewhat lazily described as a mix of Black Sabbath and Albert Ayler, the band is more inclined to agree with the Jazzwise review who likened them to Jeff Beck being backed by Elvin Jones. Jimi Hendrix and Mitch Mitchell also springs to mind, same with Red-period King Crimson. Bushman’s Revenge was founded by Even and Gard back in 2003 in their hometown of Skien, a couple of hours south of Oslo, while Rune joined from the northern town of Bodø. Even is also a member of Shining and grew up with groups and musicians like Kiss, Pantera, Sepultura, Faith No More, Frank Zappa and John Coltrane, while Gard and Rune met at the Jazz Academy in Trondheim, breeding ground for musicians like Arve Henriksen, Ståle Storløkken, Nils Petter Molvær and many more. Gard also plays with pop sensation Susanne Sundfør and in Puma with Øystein Moen (Jaga Jazzist) and young guitar experimentalist Stian Westerhus. Most of the track titles are references to popular culture, some more obvious than others, and there’s a furious instrumental version of Motörhead’s “Damage Case.” Even Helte Hermansen: guitar; Rune Nergaard: bass; Gard Nilssen: drums; Ståle Storløkken: Hammond organ on track 2 and 3.
RSI 2094EP MOTORPSYCHO: X-3 (Knuckleheads In Space) 7″ (RSI 2094EP) 10.00
A good old 7″ single with a nice picture sleeve is, of course, a thing of beauty and this is no exception. It’s been a long time since Motorpsycho released one, so this is a goodie for the fans. The A-side is an edited version of “X-3” from Heavy Metal Fruit (RCD 2093CD/RLP 3093LP) and “I.C.U (Boinganoid)” on the B-side is a hard-hitting rocker from the same sessions.
SOCIAL 040LP INTERFERENCE: Interference 2LP (SOCIAL 040LP) 17.00
“Forming out of the musical insurgence that was the NoiseFest at White Columns Gallery in 1981; Interference coalesced around three key figures of New York’s downtown scene: Anne DeMaranis, David Linton and Michael Brown. DeMaranis had just parted ways with an early incarnation of Sonic Youth and co-curated the NoiseFest with Thurston Moore. Linton had headed to NYC a few years earlier with then school/band mate Lee Renaldo, eventually hooking up with Rhys Chatham for a three year stretch. Brown, then a twenty six year old PhD candidate at NYU, had recently broke rank with Rhys Chatham and drafted a wholly unconventional percussive approach to the fender bass. From their inception through their eventual fragmentation 30 months later, Interference charted their course across the stages available to them: CBGB’s, The Mudd Club, The Kitchen etc., ultimately swelling to a quartet with the addition of fellow Rhys Chatham veteran Joe Dizney. In 1982 they recorded this LP at Radio City. Originally slated for release on Josh Baer and Glen Branca’s legendary Neutral records, the record has remained unreleased, until now.” Bonus LP contains remixes by David Last, Doily, Criterion, Binsang AKA Toshio Kajiwara, Bubblyfish & glomag And QPE. Printed inner sleeves with artwork and liner notes… An absolute treasure from the depths resuscitated with deluxe treatment.
SOCIAL 050LP GANG GANG DANCE: Saint Dymphna LP (SOCIAL 050LP) 15.00
2008 release. “Named after the patron saint of outsiders, taboo subject matter and general disorder, Saint Dymphna is Gang Gang Dance’s stunning follow-up to the critically acclaimed God’s Money. Like God’s Money, Saint Dymphna is envisioned as a LP experience, although each track is more than strong enough to stand alone. The production is pristine cinematic headphone candy with 70s Eno intricacy and 00s Timbaland immediacy that will firmly hold your attention while Gang Gang Dance continue to push things forward.”
STCD 3054CD ETOILE DE DAKAR FEAT. YOUSSOU N’DOUR: Once Upon A Time In Senegal – The Birth Of Mbalax 1979-1981 2CD (STCD 3054CD) 19.50
“Youssou N’Dour is the most famous African pop star in the world. Since his first appearances in America (on tour with Bruce Springsteen, Peter Gabriel and Sting in 1988), he has filled concert halls and arenas across the continent and earned a reputation as an enthralling performer, a commanding bandleader and one of the greatest singers alive. His duet with Neneh Cherry, ‘7 Seconds,’ was a global smash hit in 1994, and his album Egypt won a Grammy in 2005. Etoile de Dakar was the band the made Youssou N’Dour famous in his native Senegal. He was 19 when he and ten other young musicians got together in Dakar in 1978. Their style was a brash, innovative blend of traditional West African music, Latin music and American rock and soul music that came to be called mbalax (the Wolof word for ‘beat’), and in Senegal it caused a sensation that has yet to subside. Etoile de Dakar’s cassettes were all runaway bestsellers, and their all-night shows were the makings of an enduring legend. Youssou and his fellow singers, El Hadji Faye and Eric M’Backe N’Doye, were known not only for their voices but also for their wild dancing — and yet their amazing tama-drummer, Assane Thiam, almost stole the show night after night. That exciting era is captured in Once Upon A Time In Senegal. Two CDs contain 23 tracks selected from the historic cassettes Etoile de Dakar recorded between 1979 and 1981. Six of these tracks are rarities that have never been released outside of Senegal until now. The set includes a 24-page booklet of period photographs and an essay by Mark Hudson, the author of The Music In My Head, a novel inspired by Youssou N’Dour, Etoile de Dakar and mbalax mania.”
SBR 5069LP SECOND HAND: Death May Be Your Santa Claus LP (SBR 5069LP) 22.00
Gatefold vinyl version, pressed on 180 gram virgin vinyl. Second Hand’s debut album, Reality, is widely acclaimed as one of the best psychedelic albums to have emerged from the UK in the late 1960s. The follow-up, Death May Be Your Santa Claus, originally issued in April 1971, is a similar milestone in the progressive genre. Originally recorded as the soundtrack to an obscure underground movie, it’s a dark, dense and challenging masterwork combining uniquely experimental compositions with wild organ playing and complex rhythms. This is its definitive edition, remastered from original tapes and complete with a booklet offering rare photographs, detailed liner notes and an introduction from its producer, the legendary Vic Keary.
TNS 3001LP ISLEY BROTHERS, THE: It’s Our Thing LP (TNS 3001LP) 11.00
Exact repro reissue, originally released in 1969. The band’s debut on their own T-Neck imprint features the hit title track as well as “I Know Who You’ve Been Socking It To,” “Somebody Been Messin’,” “Save Me,” “I Must Be Losing My Touch,” “Give The Women What They Want” and more.
“In the winter of 2008, Han, Brodie and Terrie met at Jottem Studio to finally realize an idea that had been on their minds. It was good timing — Terrie and Brodie had just returned from a tour of France with Getatchew Mekuria and The Ex. An unlikely combination of three greatly accomplished musicians — not uncommon to improvised music — none of them knew what would actually happen. While Bennink can be heard on hundreds of recordings, this may be the only record where you will hear him on a ‘rock drum-kit.’ It also contains the closest example of a foray into jazz for Terrie. Brodie has been well recorded on releases from Drumheller and The Lina Allemano 4. All of his cards are laid on the table with this release.”
TSQ 2394CD VA: Beyond Berkeley Guitar CD (TSQ 2394CD) 13.00
“NYC’s Tompkins Square label is proud to present Beyond Berkeley Guitar, a collection of some of Northern California’s finest acoustic guitarists. Beyond Berkeley Guitar is the follow-up to 2006’s Berkeley Guitar, which through the efforts of three young guitarists, exemplified a strong current of American Primitive guitar playing in Berkeley still thriving since the 1960s when Takoma Records was founded there by John Fahey. That album included liner notes by Takoma’s Ed Denson, and the stunning CD and gatefold LP were designed by acclaimed painter and Baroness singer/guitarist John Baizley. Beyond Berkeley Guitar was curated and produced by Sean Smith, who also produced Berkeley Guitar. As the title suggests, Beyond Berkeley Guitar expands the boundaries, stylistically and regionally, to display the prowess of seven Bay Area guitarists, all of whom use solo guitar composition as a means of profound personal expression. This collection spans generations of players, from Aaron Sheppard, a twenty year old virtuoso fingerpicker, to Richard Osborn, a free-raga style player who studied with Robbie Basho in the 1960s. The album also offers the rare treat of hearing a woman represented within a genre dominated almost entirely by men; Ava Mendoza, whose wiley and highly technical playing closes the album. Included as well are two gentle players, Trevor Healy and Chuck Johnson, who both come from avant rock pasts; Lucas Boilon, who largely keeps his extreme talent to himself; and Sean Smith, who continues to stretch the boundaries of American Primitive through genre and influence re-appropriation.”
TSQ 2400CD WHITE, ROLAND: I Wasn’t Born To Rock’n Roll CD (TSQ 2400CD) 14.00
“Tompkins Square reissues an obscure treasure. Roland White’s 1976 solo album I Wasn’t Born To Rock ‘N Roll, originally issued on the Ridge Runner Records label, is re-mastered from the original tapes and released for the very first time on CD. Roland White, along with his brother Clarence, made bluegrass and country music history as members of the Kentucky Colonels. Roland also played in Bill Monroe’s Blue Grass Boys and Lester Flatt’s Nashville Grass, and later in Country Gazette and the Nashville Bluegrass Band. Clarence famously played with the Byrds, among many others, until his tragic death in 1973. This album features Alan Munde, Kenny Wertz, Roger Bush and Dave Ferguson playing traditional tunes, as well as a composition called ‘Powder Creek,’ co-written by Roland & Clarence. This was the first appearance of this special tune on an album, a song which Roland now describes as having been composed with his brother on the New Jersey Turnpike in 1963! The package includes original liner notes by Gene Parsons (The Byrds), new reflections from Roland, original album artwork, and one unreleased bonus track not included on the original LP!”
TYPE 077LP RENE HELL: Porcelain Opera LP+CD (TYPE 077LP) 21.00
Limited vinyl edition, with full-length bonus CD Rogue Camera. Rene Hell is the latest and possibly greatest moniker of U.S. noisenik Jeff Witscher. Over the last handful of years, Witscher has made a name (and possibly a cult?) for himself under a plethora of different pseudonyms exploring various disparate styles. He has been known as Impregnable, Secret Abuse, Marble Sky and as part of Roman Torment and Deep Jew, among others, and now he’s settled on Rene Hell. With this project, we find him focused on synthesized kosmische sounds — but unlike many of his contemporaries (Emeralds, Oneohtrix Point Never etc), instead of delving into nostalgia, there is something decidedly modern about Witscher’s compositions. The bubbling, effervescent synthesizer sequences and percussive patterns seem to twist and turn over each other with a near-techno precision, and at times you might be forgiven for thinking that Porcelain Opera had more in common with Basic Channel than Cluster. Porcelain Opera is an album made by a consummate music obsessive, and Witscher is just as obsessive about his composition as he is his influences. The album’s tracks seep into each other like viscous lava, decomposing and reforming as the track markers fade and re-appear. This is pure electronic music — songs created with analog circuits and half-baked patch cables, dusty cassette tapes and greased-up potentiometers. And despite his noise roots, there is something distinctly sparkling about this collection of tracks. “Prize Mischief Hold” fizzes and cascades from the speakers like a box of illicit Chinese fireworks, and the album’s glorious centerpiece “L. Minx” thunders through an electrical storm to reveal glorious, warming harmony. Electronic music has been much maligned in recent years and its contemporary rediscovery seems almost too rooted in kitsch to be taken seriously, but Jeff Witscher’s synthesizer gospels are more than just a flash in the pan. This is analog exploration at its best, and once it digs its rusty talons into you, it refuses to let go.
UR 030CD ARCN TEMPL: Emanations Of A New World CD (UR 030CD) 16.00
This is our heaven, a heaven we can see. But we’ve turned our heaven into hell. Who’s responsible? We selfish human beings… I don’t want to offend any party, but if we were to talk candidly, we can clearly see… The poisons polluting our earth are very strong. Viruses and illnesses, they’re getting stronger and more concentrated. Why? Because we are the devils. Who is the devil? Are there really devils? WE are all devils. God? WE are also gods. “Vivian Wang and Leslie Low, both of The Observatory, recount childhood memories of mythological fantasy theme park called Haw Par Villa. First called Tiger Balm Garden, the odd but colorful attraction contained a strange mix of characters and familiar tales from Chinese mythology and folklore, mixed in with earthy depictions of modern life and the Chinese concept of hell. The mutual love and dread of the park is told over eight recordings. Voice, guitar, percussion and other traditional instrumentation weave a cloth of surreal bliss, eeriness and horror. Edition of 500.”
UR 045CD RM74: Reflex CD (UR 045CD) 16.00
“Reflex is the fifth solo album by Switzerland’s Reto Mäder (Ural Umbo, Sum of R, Pendulum Nisum) as RM74. A creepy, paranoid record of sinister melody and complex structure. Electronics, organ, synthesizer, guitars and other instrumentation drifts in and out of bizarre atmospherics. The tracks gain emotional resonance as they move among vexing swells of dense, rotting psychedelia. Presented in a heavy matte sleeve printed with dark metallic ink. Includes fold out insert. Photograph by Phillip Nesmith. Edition of 500.”
UR 047CD BASSETT/J. GRAF, M.: Peradam CD (UR 047CD) 16.00
“In Rene Daumal¹s Mount Analogue, a peradam is described as a clear and extremely hard stone, a true crystal. It is so transparent that it is nearly impossible to see. To discover a peradam was always the result of an inner act. At said moment in time, the stone’s brilliance might catch the eye of one who seeks the truth. Most peradams were found on the rough and dangerous trails up the mountain. Peradam is the result of Marcia Bassett (Zaimph, Hototogisu) and Jenny Gräf (Harrius, Metalux) collaborating to map the arrival of their music. The three recordings on display reveal grainy, melodic vocal expressions combined with ritualistic, slow-burning noise and both women’s belief in mysterious creativity. Photograph by Masahiro Miyasaka. Edition of 500.”
“If Born Ruffians’ 2008 debut album Red, Yellow and Blue was the result of a talented and precocious gang of freshmen, their 2010 follow-up, Say It, would be the project they left school to finish — a declaration that they’re smart and ambitious enough to make it on their own, and furthermore, that they’re in it for the long haul. Taking two weeks to record the album, the band finds itself teaming up again with producer Rusty Santos. The Ruffians and co. holed up at Mississauga’s Metalworks studio and loosened the reins on their ambitions, experimenting with Minimoogs and saxophones before eventually scaling much of it back in the mixing process. The result is a very mature album, further amplifying the band’s unique voice and sound, ready to take them as far as they want to go.”
WP 041 WAX POETICS: #41 May/June 2010 MAG (WP 041) 9.99
The hip-hop issue. “On the covers, front: KRS-One, back: EPMD. Contents: Contents: Editor’s Letter, Re:Discovery (Jimmy Spicer, Vicious Beat Posse, Just-Ice, Mixmaster Gee and the Turntable Orchestra, Spyder D), In Memoriam (Chilly B, Guru, Malcolm McLaren), Souls of Mischief, DJ Disco Wiz, Record Rundown with Easy Mo Bee, Record Spot Rundown, Supreme Photo Essay, Latin Freestyle, Ice-T, Ice Cube, KRS-One, DXT, EPMD, Video Rundown with P.B. Wolf, Analog Out.” 114 pages, full color, high gloss.
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