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ZOMBI: Cosmos 2LP (AEST 001LP) 34.00
“Pittsburgh, PA’s Zombi create boundless, leering soundscapes inspired by filmmakers such as Dario Argento and Lucio Fulci and the musical scores of John Carpenter and Goblin. Cosmos is a powerful work of eerie, relentless rhythms and futuristic score that shares as much headspace with the late-night sci-fi explorer as the space rock adventurer. Recommended for fans of Goblin, Acid Mothers Temple, Maserati and Ennio Morricone. This 2XLP deluxe gatefold edition comes pressed on heavy 180G vinyl for maximum sound potential and also includes expanded artwork by Jonathan Canady and contains the exclusive bonus track ‘Cosmos’. The 180G version is limited to 700 copies worldwide.”


MILLS, JEFF: Something In The Sky 7 12″ (SITS 007EP) 8.50
Seventh installment in the “Something In The Sky” project.

BEC 5772835

KUTI & EGYPT 80, SEUN ANIKULAPO: From Africa With Fury: RISE 2LP (BEC 5772835) 26.50
With the mighty From Africa With Fury: Rise, Seun Anikulapo Kuti picks up the mantle as undisputed champion and true prince of the Afrobeat movement, heading up Egypt 80, the extraordinary combo first fronted by his renowned father, Fela Kuti. The album follows Kuti’s critically praised debut, 2008’s Many Things, which was unanimously hailed for continuing Fela’s musical legacy. From Africa With Fury: Rise sees Kuti finding his own idiosyncratic voice as songwriter, singer, and band leader, its songs and sonic approach marked by provocative edge and mature self-assurance. Produced by Brian Eno, John Reynolds, and Kuti, with additional production by Godwin Logie and mixed by John Reynolds and Tim Oliver, the album captures Seun and Egypt 80’s extraordinary power, fraught with the scorching rhythms and kinetic funk energy that has earned the band — as ever, under the leadership of alto saxophonist Lekan Animashaun — worldwide acclaim as one of today’s most incendiary live acts. With Kuti’s booming vocal stylings at the forefront, songs like “African Soldiers” and “Mr. Big Thief” are fueled by call-and-response hooks, breakneck tempos, and combative, topical lyricism which firmly sets the classic Egypt 80 sound in the modern era. Eno, Reynolds, and Kuti sought tension and release in the Rio recordings, incorporating breathing room and sonic space into the intricate rhythms and melodies. Further tracks — performed by Eno, Reynolds, guitarist Justin Adams (Robert Plant, Tinariwen), keyboardist Julian Wilson (Grand Drive, Belinda Carlisle), and guitarist Leo Abrahams (Florence + The Machine, Brett Anderson, Bryan Ferry) — were cut to lend further musical flavors to Egypt 80’s archetypal Afrobeat.

BEC 5772838

SUE, SELAH: Selah Sue LP (BEC 5772838) 25.00
Selah Sue is a young Belgian musician and songwriter who ignores her fate, and pours her anxieties into her songs and her guitar. She turns her doubts into soul, funk and reggae melodies, trying hard to be worthy of her idols, Lauryn Hill, Erykah Badu and Bob Marley. After posting home recordings of her tracks on Myspace, thousands of fans responded and she attracted the attention of Because Music. This debut album features guest appearances from Meshell Ndegeocello and Cee-Lo Green. This ambitious debut is a smart melting pot of electric rock, organic hip-hop and soul-funk, shifting from poignant ballads to wilder styles. Like Janelle Monae, M.I.A. or Aloe Blacc, Selah Sue belongs to a new generation for whom music has no boundaries. Produced by Farhot (Nneka) and Patrice. Housed in a gatefold sleeve.

BB 068LP

ROEDELIUS, HANS-JOACHIM: Momenti Felici LP (BB 068LP) 17.00
180 gram vinyl version. Bureau B reissues Momenti Felici by German keyboardist Hans-Joachim Roedelius, originally released in 1987 on the Virgin label Venture. Since the early ’80s, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different from Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. “Tu Felix Austria” (trans. “Oh, Happy Austria”), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music. Momenti Felici is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into a more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueting on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, Momenti Felici most closely resembles Jardin Au Fou. On closer listening, however, the length of time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period in between. Naturally, Momenti Felici saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and a rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines. With liner notes by Asmus Tietchens.


GALA/JOHN DIMAS, NIKOLA: Oasy/Get It 12″ (CLAAP 003EP) 12.00
This release is a joint venture between two Claap favorites. On side A, Nikola Gala’s “Oasy” and “Paradise (Tool)” are two very tightly structured affairs, perfectly produced and oh so functional. John Dimas’ “Get It” is a very groovy, playful track, reminiscent of older Chicago house. To round up the package, label head GummiHz offers a remix of “Get It.”

CB 035CD

ADAMS, JOHN LUTHER: Four Thousand Holes CD (CB 035CD) 13.00
“Four Thousand Holes is a sometimes lush, sometimes fragile, rhythmically complex and technically demanding work for piano and mallet percussion (performed by the extraordinary pianist Stephen Drury and percussionist Scott Deal) and ghostly electronic ‘auras’–electronic sounds created by processing the acoustic instruments’ sonorities. Unlike Adams’s other works, the pitch material used in Four Thousand Holes is drawn exclusively from Western music’s most basic elements: major and minor triads. In this case they are superimposed upon one another in multiple tempo streams, creating a beautiful yet continuously fracturing sound world–from splintering glass shards to nearly seismic disturbances. The other work on this CD, ‘…and bells remembered…,’performed by the Callithumpian Consort, is a more introspective piece.”


The second installment on Colourful features Tobias Lindén’s Orange Muse returning with some serious summer heat on “BUMP.” The terrace mix with its euphoric piano hook and vocal chants against a funky backdrop will be perfect for those late, decadent summer nights. The basement mix is a different affair, stripping all the elements, featuring a raw synth hook to build the tension. Stepping up to remix is none other than the beat maestro Kenny Dope, who also does an instrumental version.


TJ KONG & NUNO DOS SANTOS: Where Were You 12″ (COMP 368EP) 12.00
Superb new single featuring Robert Owens and Jemini from the Dutch production duo TJ Kong & Nuno Dos Santos, who present another angle of their twisted, emotional, deep electronic house music. Besides the original versions, which are taken from their debut album, their long-time friend Kirk Degiorgio delivers a skillfully lush house remix that keeps the mood warm. Melon transforms the track and creates a highly-addictive cool club mix.


THIEVES LIKE US: Again And Again 2CD (DBT 003CD) 21.00
Thieves Like Us are two Swedes and one American living in Berlin, Paris, and Milan. Neither Andy Grier (vocals, guitar), Björn Berglund (synth), nor Pontus Berghe (percussion) live in their home countries, and none of them probably ever will again. They first met at a picnic in East Berlin in 2002. Since then, they have also lived together in London, Paris, and New York City. The trio can often been seen in and around night clubs, but they fit awkwardly there. Thieves Like Us were first discovered by the French imprint Kitsuné who released their single, Drugs In My Body in 2007. They make pop music with a vintage electronic feel. Many times it makes you dance, other times it makes you feel strange and wonderful. Back in the day, they probably would have signed a contract in blood with Factory Records. 2008’s Play Music, their first album, would definitely have fit the bill. BBC Music called it “consistently exciting … a contender for electronic album of the year.” A writer for the legendary entity Amoeba Music exclaimed: “I have managed to fall deeply in love with this band in a matter of weeks. It is getting to the point where I don’t want to listen to anything else.” With Again And Again, their second album, the band sculpts their vintage electronic sound into honest, sentimental pop. The bonus remix CD includes Again And Again Remixed, a sister album designed to expand the original project. Offerings include dance versions of the original material and remixes contributed by friends from Europe and the U.S. including California outfit Nite Jewel, French synth sensations Minitel Rose and Retraite, as well as the young Italian Cécile of Gomma fame, Kamp! from Poland, Sundance and the Norwegian Rikslyd. Ranging from joyful to melancholy, dreamy to danceable, this album brings new dimensions to Thieves Like Us’ signature sound.


GOBBLE GOBBLE: Boring Horror 12″ (DBT 005EP) 14.00
Gobble Gobble is a majestic force drawing as much from the visceral and poetic indie rock of The Pixies as the electronic production of Dan Deacon or Crystal Castles, while remaining entirely unclassifiable. Hundreds of blog posts by the likes of Stereogum and NME, a series of amazing singles and a nomination by Pitchfork as “best new hope of 2011” have secured their position as poster children for the brave new pop scene. Features remixes by Sundance and Second Date.


MOTION SICKNESS OF TIME TRAVEL: Seeping Through The Veil Of The Unconscious LP (DIGI 032LP) 18.00
Small repress on white vinyl. Motion Sickness Of Time Travel is the solo moniker of La Grange, Georgia’s Rachel Evans. She also plays in the duo Quiet Evenings with her husband and runs the Hooker Vision label. And while she’s done some really great stuff, this album takes all of it, everything, to incredible new heights. Seeping Through The Veil Of The Unconscious came to the Digitalis label out of nowhere as a demo and the label reckon that it’s the best demo they’ve ever received. Evans concocts five whirlwind romances all in the space of less than an hour. Beauty, magic and bleeding effervescence come together in perfect harmony. Vague electronic meanderings hide hints of early Grouper as Evans’ compositions sing like an ecstatic choir. While the songs are built around vaguely-catchy, repetitive synth backbones, she laces an incredible array of instrumental layers between those bones, creating music that is as dense and complex as it is continuous. Yet, the real star here is her voice, sometimes at the fore, other times buried underneath plodding keys — but always highly evocative. As the opening chords and rising whispers of “Clairvoyance” begin, you’re immediately immersed into the well. Evans’ voice delivers haunted, wordless lullabies that sound distant and strange yet oddly comforting. The entire aural world of Seeping… is populated with ghosts, haunting the crevices between notes and adding a beguiling sense of complexity. With heavy Kraut influences, “Mental Projection” is a midnight gem while the dark, rhythmic sequences of “Telepathy” would perfectly fill the halls of a spectral ballroom. Cut at Dubplates & Mastering, Berlin.

DC 449CD

WURLITZER, RUDOLPH: Slow Fade 5CD (DC 449CD) 21.00
“Drag City’s first foray into the wide world of audio books is a reading of Rudolph Wurlitzer’s 1984 Hollywood-and- elsewhere opus, Slow Fade. Reading the text is Will Oldham, whose voice has been heard in the musical role of Bonnie ‘Prince’ Billy for the past decade. Will is countered by his good friend D.V. DeVincentis, who has worked in Hollywood writing and producing films all of his adult life. Slow Fade is the portrait of Wesley Hardin, whose life has been devoted to manipulations of all kinds — cinematic images, conference table negotiations, actors, technicians, and even (and especially) those closest to him. Nearing the end of the career, he tries to divest himself of illusions, to make peace with his demons and his past. The process is complex and at times appears to occur by committee. After his son Walker returns from a long spell in India, (where he was searching for Wesley’s daughter at his father’s behest), Wesley hires him to write a script about his experiences there, which Walker will not otherwise discuss. As Wesley grapples with control over one final film project, Walker roams the American landscape with a disaffected roadie named A.D., who is desperately trying to make a new career for himself outside of his rock ‘n roll experiences. The debauched wanderings of father and son are filled with comic misadventures and spiritual blind alleys, with a diverse geography ranging from the streets of Beverly Hills to the charnel grounds of India, a Mexican beach resort, New York’s Russian Tea Room and the backcountry of Labrador in northeastern Canada. Slow Fade is by turns spare and eloquent; dryly humorous and darkly savage, a deeply informed novel about the unshakably transient worlds of the movies and rock and roll, as well as a rowdy account of the cultural and generational pas de deux that occurred throughout the 1970s — a dance that must occur when the torch passes through every generation.”

DC 450CD

CALLAHAN, BILL: Apocalypse CD (DC 450CD) 13.50
“Essentially an ensemble recorded live in the studio, Bill Callahan’s Apocalypse is the corpus delecti. Something happened here! If tape is like meat, this record is the whole hog! No cuts! Delectables and guts! In the opening salvo ‘Drover,’ the cattle is herded. Everyone is in this roundup — this is the big one! Listeners! Laughers! Pundits! Wags! Haters! Hausfraus! Mr. Memory and Mrs. Future! Callahan, riding on the back of his band, corrals them all and guides them single-handedly through the Valley with love and ferocity. ‘Drover’ is the universal gathering, but ‘Baby’s Breath’ is one man’s plot of land. The focus turns again outward, next, in ‘America!’ Looking at ‘the last 100 years,’ — which we reckon is about the narrative age of this LP — ‘America!’ is a love letter if we’ve ever had the privilege to read one over someone else’s shoulder. ‘Universal Applicant,’ then, is the looking deep within. The flame in the mirror. Canyons can look like cartoons even when they are real. Side two begins with ‘Riding for the Feeling.’ Saying goodbye to a mass, an ice floe. A wave that sweeps away and away and keeps coming back. It is breath. ‘Free’s’ is the song of the truly free, the ones that know being free means being kept by the free. ‘One Fine Morning’ ends it all. The mountains that create the valleys of Drover bow down. ‘Hey! No more drovering!’ This record makes us wonder what has really happened in the last 100 years. And what will happen in the next 10. The soul of your country called and left you a message. Seven messages.”

DC 450LP

CALLAHAN, BILL: Apocalypse LP (DC 450LP) 17.00
LP version.

DC 469CD

HIGH LLAMAS, THE: Talahomi Way CD (DC 469CD) 13.50
“For the past eighteen years, The High Llamas have been following their own lights, making records, and essentially occupying their own genre in doing so. Their music is timeless; elements of retro and modern share the space, creating a unique time and place that is outside the lines of history as we experience it. Talahomi Way is the latest evolution in their body of work, a record that will please those who enjoy their musical adventures while also providing a draft of their eternal mystery to neophyte listeners. With 2003’s Beet Maize and Corn, Can Cladders (2007), and now Talahomi Way, their arrangements have breathed with acoustic space, giving the music a more intimate, personal resonance. Still, O’Hagan’s lyric-writing is in the great traditions of the American and British 20th century songbook: story-songs, impressionistic feel-pieces, crafted without an aim towards personal exposition. Even so, their set and focus provide a view to the world as he sees it.”

DC 469LP

HIGH LLAMAS, THE: Talahomi Way LP (DC 469LP) 17.00
LP version.

DC 481EP

SWEENEY & BONNIE ‘PRINCE’ BILLY, MATT: Must Be Blind/Life In Muscle 10″ (DC 481EP) 12.00
“Bonnie and Sweeney are back – and the men of Superwolf have a new pair of songs on Drag City for the first time since that album of six years gone now. For now, you will be satisfied with this new full-color 10″ single (that comes on black vinyl, don’t misunderstand). Must Be Blind/Life In Muscle bring the boys’ summer back home again. Matt’s guitar’s burbling rumble evokes the constant trickle of sweat and the madness of bodies crushed together on the street, while Bonnie’s parched vocals create thirst and the slow stretching of the limbs in the sunlight. Sweeney and Bonnie are supported in their musical mini-epics by frequent drums companion Pete Townsend and a pair of talents from the still-vibrant Nashville scene: engineer David Ferguson, who also played bass, and the renowned Ronnie McCoury on mandolin. All the sounds here lend their parts to the moist, heaving whole.”


TENOR SAW: Victory Train 12″ (DO ADM071EP) 12.00
Tenor Saw gets full superstar treatment from the best in the business, with a tremendous, chunky, runaway rhythm, dominated by Bagga’s roiling bass, burning horns and dubwise, lightning-clap percussion. Not to mention a full-color picture-sleeve, replicated by Dug Out.


SAN, SEBASTIEN: Shades EP 12″ (ECHOCOL 014EP) 12.00
Echocord Colour is proud to release the fourth EP by French producer Sebastien San. Again, Sebastien delivers two amazing, floating dubby tracks, with his typical Detroit influences. Both tracks are perfect for the morning hours or for the warm-up DJ set. Sebastien is also known for his releases on labels like Planet-E, Rush Hour and Gigolo.


EMERALDS: Does It Look Like I’m Here? 2LP (EMEGO 101LP) 25.00
2011 repress. Gatefold double vinyl version, no longer with poster. This is the third official album by Emeralds (after Solar Bridge on Hanson, and the self-titled LP on their own Wagon and Gneiss Things imprints, as well as countless small edition tapes and CD-Rs on a host of labels) and once again, it presents another radical new direction for this Cleveland trio. It sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrids as well as a great deal of guitar synthesizers, not to mention fine-tuning their skills as brilliant tunesmiths. Simply put, the results are outstanding. Comprising of a number of tracks from their ultra-limited 7″ vinyl series on Wagon, as well as new compositions exclusive to this release, this fine selection of tunes surpasses anything they have achieved in their 5-year career. Perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. Although most tracks cover new ground in that they follow a shortened “pop format,” more long-form cuts such as the towering “Genetic” and the title track will give fans of their earlier work something to grab onto, or totally let themselves go, depending on their state of mind. Having spent all their lives in the relative isolation of Cleveland means their music has developed into a vital, stunning unique hybrid that may not have been able to blossom in more active urban centers. Does It Look Like I’m Here? heralds a turning point for all those involved and is a perfect, vivid soundtrack to emerge out of a harsh, grey winter. Fresh, shiny and totally essential.


GILBERT, BRUCE: This Way With The Shivering Man 2LP (EMEGO 1028LP) 25.00
Editions Mego presents a special gatefold vinyl edition collecting Bruce Gilbert’s classic solo albums from 1984 and 1986 in a limited edition of 500. This Way, originally released in 1984 on Mute, was UK guitarist Bruce Gilbert’s first solo album, realized in that brief period between Dome winding down operations and Wire reforming for the first time. A stunning study of controlled ambience and subtle minimalism which is still regarded as an all-time favorite at Editions Mego. The Shivering Man, originally released in 1986 on Mute, was Bruce Gilbert’s second solo album, further exploring Gilbert’s investigations into the grey border where abstract noise and rhythm co-exist with obscure melodies and song structures. The sound is further expanded with guest vocal appearances by Angela Conway and fellow Wire traveler Graham Lewis.

EF 034EP

EDDIE C: I’m Sorry 12″ (EF 034EP) 12.00
This is the third single cut from Eddie C’s debut album Parts Unknown. “I’m Sorry” is electric boogie house — if you like Tensnake’s production, you will love it. “Your Love” is the first song on which Eddie has sung by himself — it sounds like Arthur Russell a little bit. Noodlema remixes “Starlight” into a playful house track and “Love Journey” is Eddie’s typical soulful beatdown stuff.


MALFATTI/KEITH ROWE, RADU: Radu Malfatti/Keith Rowe 3CD (ERST 060CD) 34.00
“Keith Rowe and Radu Malfatti are two of the most influential experimental musicians in recent decades, each with extensive bodies of highly distinctive work and a combined 80+ years at the forefront of their respective areas of exploration. On ?, their first meeting ever is documented via one disc of selected compositions (Frey and Cardew), one disc of their own compositions, and one disc of improv. Malfatti and Rowe met in Vienna in November 2010, their first musical meeting of any kind, for three days of recordings at Amann Studios. They began with Jurg Frey’s ‘Exact Dimension Without Insistence’, selected by Malfatti, then proceeded onto Cornelius Cardew’s ‘Solo with Accompaniment’, selected by Rowe. Next was Malfatti’s ‘nariyamu’, then a version of Rowe’s Pollock ’82, and lastly an extended improv. Almost all of the recordings are included on ? in the order in which they were made, and three of the four compositions (excluding the Frey) only required one take. The playing order allowed the two musicians to gradually build a rapport of sorts, finding a remarkable amount of common ground despite their widely differing perspectives. The progression over the three days and the connections between the pieces are quite evident, leading to an improvisation meeting that is both confident and thoroughly uneasy. ? is housed in a stunning eight panel digipak, the four outside panels contain original paper on paper artwork by Rowe and the inside panels contain photos of the scores and a photo of the musicians with recording engineer Christoph Amann.”


LUUP: Meadow Rituals CD (EXP 015CD) 14.00
“Foregoing traditional genre boundaries, defying categorization, and embracing the distinct talents of its 19 participants, Luup involves a reexamination of convention by a thorough exploration of the instrument. Led by flautist Stelios Romaliadis, whose direction of the musicians allows for shimmering folk tendencies to mingle with fragile string arrangements and uplifting voice, Luup combines disparate elements of modern musical tendencies to examine man’s primitive nature. Meadow Rituals presents 8 paeans to unite man’s overwhelming distance from nature and self and a celebration of the reunion. Lilting melodies mix with ambient and new age directions; propulsive swells of strings and effervescent electronics make way for profound vocal harmonies to create a universal and timeless experience. Luup is: Stelios Romaliadis, Lisa Isaksson (Lisa o Piu), David Svedmyr (Lisa o Piu), Fotini Kallianou, Katerina Papachristou, Fotis Siotas, Lefteris Moumtzis (J.Kriste, Master of Disguise, Snakecharmer), Alex Bolpasis, Pavlos Michaelides, Andria Degens (Pantaleimon/Current 93), Giorgos Varoutas, David Jackson (Van Der Graaf Generator/Peter Hammill/Peter Gabriel), Elsa Kundig, Nikos Fokas, Nikos Papanagiotou, Greg Haines (Sonic Pieces), Georgia Smerou, Georgia Konstadopoulou, and Jennie Stabis (Lisa o Piu).”


BLACK SWAN: The Quiet Divide LP (EXP 017LP) 16.00
“12 inch vinyl LP only limited to 500 copies worldwide. The enigma that is Black Swan has emerged from the shadows to deliver its second work. Awash with chilling ambience, found sounds and haunting samples, The Quiet Divide reins in the phantasmagoria, examining the blurred in-between, the darkness that lies at the divide. Creeping ever so slowly out of the confined spaces of its previous work, In 8 Movements, Black Swan moves further into the crevice, mining territory unbefitting to most composers. Upon surfacing from the muck and grime, the resulting work is disquieting and poignant, exposing the listener to the inner workings of the desolate in hope that they will never have to plunge themselves into it.”


DOLPHINS INTO THE FUTURE/FLORIS VANHOOF: Neutral Buoyancy/Electronic Mantra 7″ (EXPS 001EP) 7.00
“Limited split 7 inch tour single featuring the work of Dolphins into the Future and Floris Vanhoof. Comes in an Experimedia custom designed reversible sleeve featuring photography by each of the artists. Made especially for their April 2011 US Tour with Monopoly Child Star Searchers.”


SUBBROOMASSOCIATION: I Won’t Stop Remixes 12″ (FALKPLATZ 004EP) 12.00
Mild Pitch’s Dplay and Irishman Mano Le Tough created their interpretations of “I Won’t Stop,” the track by SubbRoomAssociation that was originally released on the Collabs Volume One EP. Dplay concentrates on the vocals and distinctive hat patterns, building a warm, pushing and dark floor-filler around the original theme. Mano Le Tough delivers a stand-out remix, pushing into the deeper layers of emotive house music.


ST. JOSEPH: Miles 12″ (PLATZLTD 014EP) 12.00
St. Joseph (aka Cologne’s David Joseph), direct from the monastery to clear-colored vinyl. Supported by those in the know (aka: not you).


VA: Freude Am Tanzen 5zig Compilation 1 12″ (FREUDE 050.1EP) 12.00
This is the first in a series of 12″s that include tracks from the Freude Am Tanzen 5zig Compilation (FREUDE 050CD/LP). Volume 1 features all-new tracks from Douglas Greed (feat. Delhia de France), Monkey Maffia, Mathias Kaden and Daniel Stefanik.


VA: Freude Am Tanzen 5zig Compilation 2 12″ (FREUDE 050.2EP) 12.00
This is the second in a series of 12″s that include tracks from the Freude Am Tanzen 5zig Compilation (FREUDE 050CD/LP). Volume 2 features all-new tracks from Marek Hemmann (feat. Fabian Reichelt), Kadebostan, Krause Duo and Taron-Trekka.


VA: Freude Am Tanzen 5zig 2LP+CD (FREUDE 050LP) 25.50
Deluxe 2LP edition. Includes the CD version, poster and sticker. Jena, Germany-based label Freude Am Tanzen celebrates their 50th release with this label compilation called 5zig (German slang for “fifty”). So, the label stirs up their soup-pot, revealing earthy, diverse flavors from the label’s heartiest and tried-and-tested artists. Since the founding of the label in 1998, Freude Am Tanzen goes by the principle that every artist on their roster has the freedom to make a soup to their tastes. That is: individualism is the trump card! In the wide spectrum of electronic dance music, you can be confident that this compilation is a stomach-rumbling alchemy of dub-exotica, piquant ambient, and more, all trusted to satisfy the hungriest of dancefloors. This compilation features all-new concoctions from: Kadebostan, Monkey Maffia, Taron-Trekka, Douglas Greed, Delhia De France, Marek Hemmann, Fabian Reichelt, Mathias Kaden, Krause Duo, Daniel Stefanik, Robag Wruhme, Juno6 and No Accident In Paradise.


TETRAGON: Stretch LP (GOD 004LP) 31.00
“Tetragon, successor of Trikolon, were founded in Osnabrueck (Lower Saxony) in the spring of 1971. They released their first and only LP, Nature, in that very year. It came out as CD on Musea in 1995. At the end of 1971, Tetragon recorded in a Hamburg studio five long tracks in their well-proven style for their second LP, the release of which, however, failed. Fortunately, the master tape has survived until the present day, so that now, 39 years past schedule, the work was released on LP. Three of the five songs have been written by the band itself, one by Eddie Harris (‘Listen here’) and one by John McLaughlin (‘Dragon song’). The two latter ones had already been interpreted by Brian Auger. Especially remarkable are Hendrik Schaper’s exceptional play on keyboards and Juergen Jaehner’s hot guitar play. The other two, however, are their equals in skill and talent. The LP edition is a limited edition of 1000 numbered copies and comes with a four-page colour insert in LP size, including a detailed band history in German and in English language, band photographs, discography with cover and label repros etc.”


SUNDENFALL II: Sündenfall II LP (GOD 005LP) 31.00
“Sündenfall II from the Kevelaer area at the Lower Rhine played a mixture of folk and jazz, influenced by Jethro Tull. While their predecessors, Sündenfall, exclusively dedicated themselves to jazz, the group included folk after a change in line-up and band name (following the example of Amon Duul II). In 1972, Hubert Schmitz invited the band into his Trepitia film and sound studio in Alpen-Druept for free recordings, as he wanted to test the newly installed equipment after a recent move into the new location. Thus the recordings were made for the album Sündenfall II (Trefiton HS 1017), which was released in a small edition of 200 copies at the end of 1972. Today it is sold at a price of about 500 to 1000 Euros in mint condition. The LP re-issue is a limited edition of 1000 numbered copies and comes with a four-page color insert in LP size, including a detailed band history in German and in English language, many band photographs, and information about the Trefiton label etc.”


OUT OF FOCUS: Palermo 1972 CD (GOD 135CD) 22.00
“Probably the best gig of their Italian tour, played on 5/26/1972. Progressive rock with jazz touch, flute and saxophone. Mostly so far unknown titles. Very good sound quality.”


EMBRYO: Wiesbaden 1972 CD (GOD 144CD) 22.00
“The Embryo concert in the Wartburg Auditorium in Wiesbaden on 12/17/1972. Mostly instrumental jazz-rock with ethnic elements. Satisfying stereo sound quality.”


EMTIDI: Emtidi CD (GOD 145CD) 22.00
“Folk with psych touch, flute, and male/female English lyrics. This was their very rare first one before they became famous with Saat (on the Pilz label). From the master tapes.”


XHOL: Essen 1970 CD (GOD 152CD) 22.00
“Like Xhol Caravan: the well-known blend of jazz and psychedelia. Their gig at the third Essen Pop & Blues Festival in the Gruga hall (10/24/1970). Good soundboard recording.”


MOONDOG: Playing Moondog’s Music 10″ (HJP 017EP) 12.50
2011 repress of this 2004 reissue. Recorded in 1955, released on his own short-lived Moondog label. 4 tracks of manic saxophone and snare drum mayhem. You will not find an original of this anywhere. Blind from the age of 17, classically trained in music, Moondog aka Louis Hardin left the countryside in the late 1940s to busk on the streets of New York, playing percussion instruments of his own creation. He later became the darling of the NY arts and music set. He also recorded for Folkways, Woody Herman’s Mars label, then Prestige and CBS.


MOONDOG: Moondog And His Friends 10″ (HJP 024EP) 12.50
2011 repress. 7 track 10″ release, originally released by Epic! “Originally released in 1953 — a fantastic collection of recordings from the eccentric genius that was Moondog. This mini-album features Moondog’s pioneering techniques in tape overdubbing — he harmonises with himself on voice, double bass and home-made drums. Touches of his classical music education are underpinned by his signature and irresistible Native American rhythms. Epic, prophetic, naive — seriously lovable music. 10″ vinyl only release.” Tracks: “Dragon´s Teeth — Voices of Spring,” “Oasis,” “Tree Frog — Be a Hobo,” “Instrumental Round – Double Bass Duo — Why spend the dark night with you?,” “Theme and Variations — Rim Shots,” “Suite No. 1,” Suite No. 2″


GUNN/ILYAS AHMED, STEVE: Decline of the Stiff/Ignored the End 7″ (IMMUNE 017EP) 7.50
“For Record Store Day 2011 Immune is proud to present a split 7″ featuring new tracks from Steve Gunn and Ilyas Ahmed. The 7″ comes packaged in a proper jacket with collage artwork from Ahmed. Included is a free download coupon and insert.”


MADATO: Speak Of The She Devil 12″ (ITEM 005EP) 12.50
Naples’ Madato is always looking at what’s beyond the waste. Inside his dream box you might find Laura Palmer making out with Ian Curtis, Charles Bukowski writing a fairy tale, or perhaps John Nash singing along to Bauhaus songs. File under: trippy disco-inspired dance music, not defined by a genre but more of an attitude. Post-punk undertones mixed with psychedelic sensibility.

JM 080EP

MOSES, LEE: Reach Out, I’ll Be There/Day Tripper 7″ (JM 080EP) 8.00
It was 1966 when lead singer Levi Stubbs of The Four Tops belted out the original version of “Reach Out, I’ll Be There,” reaching No. 1 in the R’nB charts in the process. Since then, it’s attracted a variety of cover versions, including this one from little-known soul singer & guitarist Lee Moses, who, in 1967 chose RAW, HEAVY FUNK as his theme. He rips The Beatles to shreds too, with some fire, soul, heat ‘n guts.

JM 081EP

DRAKE, PETE: The Spook/Oriental Twist 7″ (JM 081EP) 8.00
This is the music of Pete Drake, a virtuoso of the talking steel guitar, an instrumental sideman to many country hits through the years. His debut LP from 1962 carried the usual country fare, but Drake, visionary that he was, could see beyond the cows and the cornfields. What we have here is two sides of weird and wonderful music: American country & western and exotica — steel guitar style.


SIDEWINDERS, THE: I Like Your Stuff/Flat Foot Hustlin’ 7″ (SOUL7 022EP) 11.00
The Sidewinders are back — this time on 45! To satisfy the DJs, Jazzman has taken the best two tunes from The Sidewinders album and slapped ’em back-to-back on the most popular musical format. Why lug a bulky LP around just to play one song? Side 1 gives you a soulful dancer with a lean, funky edge and side 2 has more of an aggressive street-funk appeal. Fully-licensed and restored from the original master tapes. Limited to only 500 copies worldwide.


L’Orchestre Kanaga De Mopti is one of the best West African modern orchestras which originated from a wide range of state funding. In 1977, the Malian government-owned label Mali Kunkan released a series of LPs including this Holy Grail of Malian music, now fully remastered and available again via an official reissue! In the 1960s, during the First Republic of Mali, modern orchestras were encouraged and promoted by Modibo Keita’s government. Starting in 1960, Bani Jazz became the city and region’s main orchestra before the name changed to the Orchestre Régional De Mopti in the wake of Mali’s Second Republic in 1969. At the end of 1970, the band published its first album under the name of Orchestre Régional De Mopti. This record clearly helped to define Mopti’s vibrant cultural heritage under the aegis of bandleader Sory Bamba. Trumpet player, flutist, traveller and songwriter, Bamba already had a strong musical background when he took over the orchestra in 1969. Around 1976, the Mopti orchestra became Kanaga De Mopti, simply known as “Kanaga” by the listeners of Radio Mali, named after the large Dogon ceremonial mask. Under this new and slightly “more commercial” moniker, the band also performed at private functions and for various regional patrons. In July of 1976, after months of intense musical and cultural research, the orchestra visited the Radio Mali recording studio in order to document its new musical evolution. Six of these songs were featured on the only album by Kanaga De Mopti released in 1977 courtesy of Mali Kunkan, an ad hoc label formed around the Ministry of Youth, Sports, Art and Culture. On side one, the infectious “Kulukutu” and its mesmerizing vocal introduction focuses on the celebration and the joys of marriage between young men and young girls. “N’Do N’Do” digs deeper into the Dogon culture as it displays the masked dances and processions performed by kids on Ramadan nights. The call and response add up to the strong and fierce excitement one can sense within the recording studio. Closing side one, with its introductory bell gimmick, “Sare Mabo” is dedicated to the cloth weavers. Bamba plays the traditional fula flute at the end of that track, giving it a rural edge while the sturdy horns display their powers. Side two opens up with one of Bamba’s most amazing compositions, “Kanaga,” an homage to the Dogon mask and to the dancers who wear it during ritual ceremonies. The brass section is exceptional all throughout the record with tremendous riffs on that track. Electric guitar and organs swirl effortlessly around the melodies on songs like “Gambari” (trans. “green grass”), a griot-like song praising a powerful groom. “Sory Bamba” is another praise song which extols the virtues of its famous band leader. Stuck in the past but looking towards the future with its incredible mix of traditional and modern instruments, Kanaga instantly reaches the higher level of African music classicism. Finally, this timeless classic is available again including fully-restored artwork and audio. Also includes in-depth liner notes about Mali and L’Orchestre Kanaga De Mopti.


IMPLODES: Black Earth CD (KRANK 156CD) 13.00
“Black Earth is a haunted and magical place. There’s an old barn there with many rooms and a silo that’s filled with dead insects. Outside there’s a big wood pile filled with spider webs that probably has black widows living in it. There are mysterious plants growing everywhere. At night, when the air is crisp and clean, you can lie on your back by the fire and look up at the stars and listen to the animals and insects making their music. A trip to Black Earth could change you forever and you may want to never leave. Implodes has been to Black Earth and they made an album in its honor, dark and murky music for that dark and murky place. Cavernous guitar tones and dense melodies are present everywhere. Hidden beneath the layers of reverb, delay and distortion are deceptively simple and beautiful songs about experiences that have been obscured for many years that suddenly become profoundly important. The cobwebs just needed to be pushed aside a bit. Implodes is a Chicago quartet that has coalesced around guitarists Matt Jencik and Ken Camden in the last few years, with the group settling on their current lineup in 2009.”


IDEA FIRE COMPANY: Music From The Impossible Salon LP (KYE 010LP) 16.00
“For the past 25 years, New England’s Idea Fire Company (IFCO) has positioned themselves at the frontline in the ageless battle for aesthetic purity. Founded by the enigmatic duo of Scott Foust (aka The Commander, aka The Last Great Man) and Karla Borecky, IFCO have built up a bulletproof discography, with each release refining the sound of its predecessor. They have been well served at home through their own Swill Radio imprint, and internationally, by Rund Um Den Watzmann, Entr’acte and, most recently, Ultra Eczema, who published the outstanding Beauty School LP. Music From The Impossible Salon finds the IFCO sound honed into eight elegant settings that variously combine piano, synth, radio, trombone, organ, gong and voice. Using minimal, yet striking gestures, Music From The Impossible Salon reveals itself to be a dusky pleasure center, where the jaded listener can find discreet interruption from the horrors of the day. Recorded at Wunderwaffen Studios, Nov/Dec 2010, and expertly mastered by Grammy-nominated producer Zupe, Music From The Impossible Salon allows the raw essence of IFCO to ring out like never before. Housed in a Foust/Borecky designed sleeve, in a hand-numbered edition of 300 copies, the ‘charming phenomenon’ that is Music From The Impossible Salon is now ready to greet its audience.”


VA: Plato’s Trip LP (MEGA 001LP) 29.00
Subtitled: A Psychedelic Journey To Greece In The 1970’s Vol. 1. “For some reason, Greece has remained one of the last corners in Europe to be explored for underground music in the 1970s. Sourced from rare 45s and LP albums, this compilation includes pure psychedelia, early progressive sounds, killer keyboards, piercing fuzz guitars, lots of breaks, Eastern psych sounds and even some Euro-funk. The LP is a hand-numbered edition limited to 600 copies, which will surely fly away fast. Includes an informative insert with extensive liner notes.” Artists: 2002 GR, Mad, ALLOY, Thanassis Gaifilias, Mariza Koch, Peloma Mpokiou, Sounds, Boomerang, Despina Glezou, Elena, Daltons, Elpida, V. Dimitriu.


GHOST, THE: When You’re Dead – One Second LP (MLP 001LP) 30.00
“The Ghost LP is one of the most fabulous UK psych/prog albums. This Birmingham band featured guitarist Paul Eastment, previously in The Velvett Fogg. The album, originally released back in 1970 on the Gemini label in the UK and in 1971 on Exit/Ekipo records in Spain, is one step ahead psychedelia entering the realm of prog music, yet retaining an atmospheric mind expanding feel through it all. Loads of Hammond organ swirls, pyrotechnical guitar licks, beautiful acoustic guitar parts, and above it all, killer vocal arrangements, with the special attraction of Shirley Kent’s beautiful tone (Shirley would later move on to record the Fresh Out LP as Virginia Tree). Top quality remastered sound, an impressing addition to your psych prog collection! Vinyl reissue, limited to 700 copies.”


YELLOW AUTUMN: Children of the Mist LP (MLP 002LP) 30.00
“First ever vinyl reissue of this rare and sought after US psychedelic folk album from 1977, very much UK folk-styled. Limited to 600 copies, all with exact reproduction of the original insert with lyrics.”

MBF 12078EP

KAISERDISCO: City Of Kings EP 12″ (MBF 12078EP) 12.00
Kaiserdisco’s new tune “Lurin” is a bomb of a groove track with a stunning diversity of different samples and sounds, including hip ethno samples and all it takes to make it a hi-tech Kaiserdisco product come alive. “Callao” is a true Kaiserdisco uptempo rocker, a stripped-down DJ weapon with tense breakdowns, analog hooks, and an amazing sound design. Kaiserdisco takes no prisoners.


SIGHTINGS: Future Accidents LP (OURMOUTH 025LP) 15.00
“It’s kind of strange to think it’s been ten years since we first saw Sightings blowing minds and circuit breakers throughout the then fresh Brooklyn loft scene. Over the years, the band has taken that ball of blare they were initially ‘known for’ and pulled it apart strand by strand and wire by wire to get to the transparent core of their sound while still retaining their disturbing qualities. Their past two full lengths, 2007’s Through the Panama and 2010’s City of Straw were obviously successful in this exploration, but Future Accidents really nails it in giving up the honest-to-god barebones goods. A rawer sprawl into the pregnant nowhere sound has yet to be waxed by these gents and if’n they ever do top this, I’ll just utter the words I saw on the back of that pick-up truck the other day, ‘HOT DAMN!'” –Tony Rettman; Resident Blowhard; Truth or Consequences, New Mexico


VA: The Perfumed Garden Volume 1 LP (PAPR 1005LP) 22.00
LP version pressed on 180 gram virgin vinyl. Named in honor of John Peel’s 1967 late-night program on pirate radio station Radio London, which Peel named after a 13th century Arabic sex manual, the original 3 volumes of Past & Present’s The Perfumed Garden (which many aficionados felt set the benchmark for future compilations) were applauded for the quality of both their content and their sound, but these accolades were often undermined by the lack of information about the tracks and the artists who performed them. This hand-numbered limited edition LP series contains a scholarly and informative insert with rare photographs and exhaustive full-color liner notes. This is full-on ’60s UK garage rock and psychedelia, and every track’s a winner. Great digitally-remastered sound coupled with original artwork and CD liner notes. Artists include: Factory, Eyes, Syn, Nimrod, Smoke, Birds, Shy Limbs, Game, Frame, Mandrake Paddle Steamer, French Revolution, Vamp, Syndicates, Sands, Tintern Abbey, The Craig and Open Mind.


VA: Piccadilly Sunshine Part One: British Pop Psych And … LP (PAPR 1008LP) 22.00
Other Flavours 1965-1970. LP version. Before expert compiler Psychomania found a limited amount of fame and even less of a fortune curating the widely-respected Electric Asylum series, he cut his musical molars on the little-known Piccadilly Sunshine series (most tracks were originally released on the Desiree label in 2003), which took the wide-eyed aficionado into the deep and wondrous valleys of British pop music culture. Daring to bring forth the once-overlooked and sadly-neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop, Psychomania asks the listener to join him as he tiptoes barefoot through the late ’60s and early ’70s in Great Britain’s vast and glorious cultural wastepaper basket. Stepping amongst the 20 flower-powered trippers presented here, they have been lovingly restored to their former glory. Hand-numbered limited edition 180 gram virgin vinyl, including a full-color insert with the original CD liner notes. Digitally-remastered. Artists include: Jason James, Peppermint Circus, Roger Bloom’s Hammer, Alan David, Studio Six, The Magicians, Tin Tin, The Cups, Billy Boyle, Sounds Inc., Svensk, Christopher, Merlin Q, Mighty Joe Young, The Nocturnes, Mixture, Mood Of Hamilton, Jon, Tony Fabian, and Tim Andrews.


PUFFY AREOLAS/PURLING HISS: Record Store Day Split 12″ (PERM 025EP) 16.00
“Philly’s Purling Hiss have quickly made a name for themselves and in just over a year have already released 3 critically acclaimed LPs on Permanent, Richie, and Woodsist in addition to an upcoming 12″ release on Mexican Summer. They’ve toured with Kurt Vile and the Violators and share members with Birds of Maya. Purling Hiss’ side is an epic (nearly 9 minutes long) psychedelic noise rock burner complete with Mike Polizze’s signature shred all over it. Ohio’s Puffy Areolas have been destroying PA’s and blowing minds at DIY venues for a couple years now. They are one of the best and most dangerous live acts going these days. They’ve released a handful of 7″ singles and well-received LPs on Siltbreeze within the last year and are still raging across America leaving nothing but crushed beer cans, empty pill bottles, and roaches in their wake. Puffy Areolas side of this split is a doom-y noise psych annihilator that clocks in at just less than 8 minutes. Both sides of this deep groove 12″ split EP were cut at 45 RPM for maximum volume. Not for the faint of heart. Limited to 750 copies.”


LES RALLIZES DENUDES: Great White Wonder 5LP BOX (ASHBOX 001LP) 88.00
Originally released in 2006 on the Univive label, Phoenix Records presents this highly-collectible, numbered limited edition 5LP box set of three live gigs spanning 1974-1977 and live material from a 1980 gig of legendary Japanese rock outfit Les Rallizes Dénudés. The group was formed in 1967 and incredibly, for a group that had only one official release (Oz Days Live, a double vinyl compilation release in 1973), played their last gig almost 30 years later in October 1996. As news of new rock music made it to Japan from the UK and the USA — mostly via rock magazines and music papers, with most LPs tough to find even on import — something was lost in translation in Japan that allowed it to mutate well beyond its original remit. Rallizes took rock music at its word while envisioning it as both unnecessarily complicated and too stupid by far. In doing so, they formulated an inspirational blueprint that would go on to have a marked effect on everything that came after them in Japanese underground music. It’s a music that’s as loose as it is uptight, as sophisticated as it is punk-primitive, as radical as it is simplistic. Includes an insert with liner notes.


MITCHELL, FREDDIE: Spanish Onions/Seaweed 7″ (POPC 104EP) 8.00
Two superb, sleaze-soaked popcorn instrumentals from saxophonist Freddie Mitchell feature on this cool double header. Beginning his career in the ’40s as a bandleader, Mitchell had an extremely prolific spell as a session player and touring band member with many top names of the ’50s. Tragically, his career was to peter out in the ’60s, but not before he released a handful of sides in his own name. It’s a shame that this superior sax man didn’t get the glory he deserved, until now.


TERJE, TODD: Ragysh 12″ (RBCR 078EP) 12.00
You’ve been touched by the hand of Todd. Todd Terje, that is. The first edition of this comes in super-nice recycling sleeves — the second edition in not-so nice sleeves. Trans-dance from the Norwegian chief inspector with greatysh hypnotism, properysh beats and a lovelysh Terjerine dream to round it all off. Vinyl contains some hidden tracks and extra elements. Cannot stop listening to it.


H.P. LOVECRAFT: H.P. Lovecraft LP (HPL 068LP) 29.00
“Reissue of the first album from 1967 by this essential USA psych/folk-rock band. Haunting, eerie, dark & mysterious sound inspired by Lovecraft’s writings, containing all-time psych classics like ‘White Ship’ and ‘Time Machine’ plus amazing cover versions of Fred Neil’s ‘That’s the Bag I’m In,’ Dino Valente’s ‘Get Together’ and more.”

SB 10001EP

PEABODY & SHERMAN: All Your Bass Are Belong To Us 12″ (SB 10001EP) 11.00
“Taking a turn to the left, Mssrs P&S head out of town to where beats are best, albeit backwards. Mining Afro-centric and South American beat traditions, combining them with contemporary studio trickery and dub stylings, our heroes end up not quite where they expected, which of course is normal. The starting point was the bass-heavy nu-sounds coming from Brazil, Argentina, and Africa, with the endpoint expected to be some new and interesting rhythmic material. The A-side starts with a remix by DRM, who typically selects a few elements from the original mix, and weaves an insistent rhythmic slice of dancefloor delicacy. He adds some extra guitar, and then as if from nowhere, some techno-y synth that should sound out-of-place, but doesn’t. That is paired with a second remix, from Chancha via Circuito, who radically slows down the original, but uses most of the original elements, plus a few tricks of his own. Auditory cough syrup indeed. The B-side contains three original tracks which are very different in sound and approach. ‘Ayayaya’ has a long mournful intro that suddenly drops into a mutant funk bass with raucous chant provided by some Pacific Islanders, toss some drunken horn choruses on top, and there you have it. ‘Last Drunk at the Party’ is built on a bent Afro-funk bass, with African chanting and whistles, air horn melodies, more whistles, and then yet more whistles. ‘Bahia Shuffle’ takes some tuff Batacuda beats, adds oodles of dubbed out keys, and floats spoken word intros from Middle Eastern 78 recordings for extra flavor.”


JACKS: Vacant World LP (SWDDL 721LP) 29.00
Reissue of this very legendary psychedelic masterwork from Japan, first released in 1968. Rumored to be a big influence on High Rise, one of their tracks (“Marianne”) was covered by Fushitsusha on Tokyo Flashback II. “Here’s what is considered one of the best psychedelic records in the world and certainly one of the must-have Japanese rock albums. The Jacks managed to record a very unique album, very dark and introspective, an album full of tension and contained wrath that maintains its power by refusing to fully explode. You’ll find fuzz guitars, tremolo, lots of reverb and the occasional use of flute and vibraphone. The lyrics, for those who can understand them, are an extra asset of this record, and were the reason why Vacant World got banned from Japanese radio. This is the first time that Vacant World is reissued in identical form to the original issue, on red vinyl and with the lyrics insert sheet.”

TR 212LP

THE HORROR THE HORROR: Wilderness LP (TR 212LP) 17.00
LP version. Sometime in 2006, The Horror The Horror emerged from the Swedish club circuit, heavily deriving on influences from the late ’60s and early ’70s, ending up sounding like the bastard child of a one-night stand at CBGB’s. Their self-titled debut album (released 2006) was instantly dubbed “Record Of The Week” at prestigious Rough Trade Records and Piccadilly Records, UK. Euphoric press reviews were followed by ecstatic fans and touring in the UK, Germany, Spain, Austria and Sweden, showcasing the band’s explosive live sound. In 2011, the direction has changed, leaving the shabby clubs for yacht parties, showing more resemblance to David Gilmour than David Johansen. On their third album Wilderness, the sound of The Horror The Horror is evolving into something rather luxurious. It still has an indie rock thorn, but grit has given way to gravy. THTH is coming in from the wilderness. Lyrically, this album is less “me against the world” and more “where in the world am I?” In fact: closer to the Stockholm Archipelago than the Lower East Side. Includes a free download code.


KENTON SLASH DEMON: The Schwarzschild Solution Part III 12″ (TART 016EP) 12.00
The last EP in Tartelet’s momentous trilogy bum rushes discerning dancefloors with its unrelenting, seductive beats and yearning, melancholic bent. “Daemon” is a grand journey of larger-than-life proportions and its idiosyncratic nature helps establish this remarkable track as a timeless piece of dancefloor art. Axel Boman remixes the original with two outstanding interpretations.

WIRE 327

WIRE, THE: #327 May 2011 MAG (WIRE 327) 8.50
“On the cover: Amanda and Britt Brown, the LA couple behind Not Not Fun, 100% Silk, LA Vampires and more. Plus: Micachu & The Shapes (London maverick Mica Levi sharpens her chopper to take on the London Sinfonietta); Ekoplekz (Mark Fisher talks blasted beats, vintage sci-fi and gutterbreaks with the Bristolian analogue fetishist); Global Ear: Sao Paulo (Russ Slater observes state incursions and inward migration affecting Brazilian pop and leftfield music); Cross Platform: Herbert Distel (The Swiss artist creates transports of delight via radio works, floating eggs and more); Invisible Jukebox: Daniel Miller (The Mute Records founder settles into a warm leatherette to check out The Wire’s mystery record selection); New rap bratz (Andrew Nosnitysky hails the resurgence of anarchic hiphop, headed by Odd Future, Lil B, Clams Casino, NRK, Pyramid Vritra and more); Mellow soul (David Toop tastes sugar and poison in the smouldering soul of Marvin Gaye, Sly Stone, The Chi-Lites, Teddy Pendergrass and others); Epiphanies: UbuWeb’s Kenneth Goldsmith on how the internet intensifies the record collector’s thrill of the chase.”


“This very special double A side LP is made exclusively for Record Store Day 2011 in a limited edition of 1,000 copies worldwide. Included is a free download coupon and an insert with notes, lyrics, and manifold stew cooking recipes from Charlie Parr.”


MITCHELL AND MANLEY: Norcal Values LP (THR 269LP) 15.00
“Floating down the Yuba River, hang gliding off the cliffs at Fort Funston, a day at Ocean Beach with the dog, a leisurely stroll in Golden Gate Park, a fat bag of Trainwreck; these are among the many images that come to mind when listening to Mitchell and Manley’s Norcal Values. Inspired by his spiritual advisor, Bettina Richards, Phil Manley recruited the shredding stylings of Earthless’ Isaiah Mitchell to collaborate on a record comprised almost exclusively of a single continuous guitar solo. The recording was made live with no overdubs – completely improvised. This recording exhibits inspiration so pure that it could only come from within. Drawing from the classical Indian music tradition as well as from modern new age music, Norcal Values is the sonic equivalent of fine Californian cuisine.”


OVAL/LITURGY: Split LP (THR 270LP) 15.00
“For Record Store Day 2011 Thrill Jockey offers up a split LP release featuring two of the label’s musical extremities, recent signing Liturgy, and electronic pioneer Oval. Not a random pairing, but in fact born out of each band’s mutual appreciation of the other. The artists are both given a side of an LP to share exclusive new recordings.”


HORVAT, DENIS: Lost Fuse 12″ (UYS 005EP) 12.00
Denis Horvat is a DJ and producer from Frederiksvaerk, north of Copenhagen. His musical career has been pretty short up until now, but he has been scooped up by the label Great Stuff. His roots are the drums, which you can hear when you listen to his tracks, whether it’s the title track “Lost Fuse” with its dub elements or the more melodic “The Vintage” or the deeper B2 number “Satisfashion.”


LANE, MARK: When The Night Is Cruel 2LP (VOD 076LP) 36.00
“The package includes two chocked full LPs of ’80s tracks (29 in all) that include rare songs previously not made available on vinyl, never heard and previously unreleased material, as well as classics from that era that have not been available on vinyl for nearly three decades. The two discs will be packaged in one of those ’70s style gatefold covers first popularized by the progressive bands of that time. It will contain rare Mark Lane photographs of that era, and liner notes that include interesting facts about each track. If that’s not enough it will be a limited edition of only 600 copies making these beauties extremely rare.”


HUNTING LODGE: Shadows Out Of Time ’82-’83 3LP BOX/7″ (VOD 078LP) 83.00
“Shadows out of Time is a collection of three LPs with unreleased and formerly cassette-only material from Hunting Lodge, representing the first blush of their creativity, a time when each sonic experiment festered into a beautiful sore. Dark ambient, noise, power electronics, all represented here before these pigeons had holes in which to fit. One LP is comprised of the now-legendary Exhumed, which was formerly released cassette-only, heard here in better shape than ever – direct-metal mastered from the original two-track mixes. The second LP is all unreleased material, highlights of which include never-heard gems from the recordings for the promotional cassette 23 Minutes Of Murder. On the flip-side, both literally and figuratively, are the electro-disco-teckno recordings used for intermission music at Hunting Lodge live shows in 1983. The final LP contains live material which was formerly cassette-only, including tracks from At The Harrington Ballroom and S/M Operations Live, as well as much of the formerly unreleased Live At The Lodge. Oft-bootlegged, this performance is pressed here direct from the original masters, representing the two-piece early noise-unit of Hunting Lodge in harrowing live intensity. Furthermore featured in the box-set is an additional bonus 7″ including studio cover version of John Wright’s ‘Stellazine Shuffle’ b/w ‘Learn to Will II’, formerly released on Nekrophile Rekords’ Beast 666 cassette compilation in 1983. These LPs and 7″ are presented with period-accurate, gloriously bold, black and white artwork. Each LP comes in its own printed sleeve inside of a box printed with the Thomas Nordstrom artwork previously only seen on early Hunting Lodge stationery. Also included are liner notes by Jeff ‘Central’ Chenault and recording details, including information on equipment used, and never before seen photos of live Hunting Lodge and of collector’s minutiae. The scars will never completely heal.”


SLEEP CHAMBER: SixSixSix 4LP BOX/7″ (VOD 079LP) 100.00
“SixSixSix iz a collection ov material from the first 6 years ov Sleep Chamber. Mastermind John Zewizz gave permission to and VOD-Records to choose the tracks. The outcome reveals and demands for a renewed and extended perception of Sleep Chamber’s artistic synthesis of the last 30 years. On LP1 as well as the 7″ you will find pure and very strong minimal synth-tunes from his very early cassette-only releases like Ze Wizz Kidz (released 82 but recorded in 79/80), Dream Distillate (82) or Music for Mannequin (83). LP2 and LP3 reveals so far unreleased recordings from 82 to 87 that range from minimal to the typical percepted Sleep Chamber-sound as known from the mid ’80s. The two LPs are furthermore riddled with alternative versions, demos and unreleased tracks, based around the Admit to Desire-period. Any Sleep Chamber admirer would be in the Garden ov Eden with such a selection especially when listening to LP4 which is an unreleasd LP called Seremony, recorded in the beginning of thee Satanic Sanction Session in 1985/86. This completes the leak ov the Sleep Chamber vaults for another six years.”


VOICE OF EYE: Anthology One: 1989-91 2LP (VOD 080LP) 36.00
“Anthology One is culled from the first three cassette releases by Voice of Eye; Isolation, Voice of Eye and Resonant Fields / Hot Gypsy Fink Hell, all three tapes released on their own Cyclotron Industries Label between 1989-1991. These are the earliest recordings by Voice of Eye. Voice of Eye can be doubtlessly described as the protagonists and godfathers of the special genre of Ambient-Ritual-Music. Their specialty is ‘organic sound sculpting’: a form of electronic ethnic ambient music that relies mainly on electronic drones and manipulated instruments including instrumentation with special self-built instruments. The music is all improvised over a period of two years and covers the evolution of their early sound. It will immediately catch your attention and pulls you into an altered but extremely positive state of mind. This is the first in a series of Anthology releases documenting hard to find Voice of Eye material and previously unreleased recordings to be released on several labels in the near future.”


RAPOON: Ghosts From A Machine 3LP BOX (VOD 081LP) 75.00
“Rapoon is the ethno-ambient solo project of Zoviet France co-founder Robin Storey. The music of Rapoon reflects the fascination for the minimalistic but rhythmic music of West-Africa and India. Rapoon uses the musical construction techniques of loops and rhythmic repetition as a kind of platform for inducing a sort of trance like reception. The tracks chosen on this box-set are taken directly from the original 4 track cassettes. These recordings are sometimes copies of complete mixes that found their way onto released albums, sometimes sub-mixes and parts of mixes, and sometimes elements that were never used in any released material. Working with multiple 4track machines which remained non-synchronised, these are the re-discovered compositions which have remained hidden until now.”


VA: AMAI #1/4 7″ (VLEK 001EP) 11.00
Cupp Cave was once heralded as Belgium’s best-kept secret. From the U.S. to Japan, his glitchy beats have stood out as some of the most innovative amongst today’s electronic hip-hop producers. Here he serves up busted-gaming-console-and-dusted-broken-beat concentrate, filtered through a tub of radioactive waste to devastating effect. Dem Hunger’s “Caveman Smack” reeks of human corpses decaying on the floor with their eyes dangling out of their sockets. It’s all skulls bashed up in the river with the music sort of just floating around.


“Rio Arriba is the sophomore album from ZZK artist Chancha Via Circuito who molds local South American rhythms into global artistry. Rio Arriba bubbles up from the Andes like percussive lava, seething as it is soothing. Layers of drums play out like water and earth battling heat — heat brought by Chancha Via Circuito, the Pig on the Circular Train. Chancha has forged a path from his town outside the urban sprawl of Buenos Aires in the east of Argentina up across the border with Bolivia and into the Northern hemisphere where he’s bringing new fans to native drum traditions. In his first release, Rodante, Chancha took cumbia into uncharted territory retrofitting the Latin rhythm for a worldly audience. With Rio Arriba, South American folklore takes the reins and, under Chancha’s steady hand, obscure backwoods rhythms take on a top shelf lifestyle as folklore hits the club. Obscure backwoods rhythms take on a top shelf lifestyle, mixed and chopped by Chancha. He imports raw material to metro landscapes, reminding listeners of the mysteries of nature lurking beyond urban gates.”


CHANCHA VIA CIRCUITO: Rio Arriba 2LP (ZZK 017LP) 16.00
2LP version.

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