|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 04/25/2011
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|100% PURE (NETHERLANDS)|
| WEHBBA: Dirty Pictures 12″ (PURE 067EP) 12.00|
Rodolfo Wehba is one of Brazil’s newest techno ambassadors. Since his first album on URBR back in 2004, he’s released on labels such as Renaissance, Global Underground, Great Stuff, Get Physical, Tronic and BluFin, among many others. “Dirty Pictures” packs a punch with its radical bounce beats filtered across chord jabs and percussive melodies. While the vocal sample may take you back to the ’80s, this track can only move the clubbers forward and onto the dancefloor.
|ACKER RECORDS (GERMANY)|
| MOLLONO.BASS: My Hidden Playground Part 2 12″ (ACKER 022.2EP) 12.00|
Acker Records presents a second 12″ from Mollono.Bass with tracks off of his debut full-length My Hidden Playground (ACKER 002CD), including an exclusive vinyl mix. The lively hustle and bustle on My Hidden Playground happens in many different ways: sometimes it’s the frisky bounce of hopping bass lines and stimulating house rhythms, sometimes it’s hypnotic sound structures that take the listener on an adventure. But above all it’s the sound of real instruments and their melodies which create that earthy, organic groove.
|AMBIENT WORLD/FAX (GERMANY)|
| ATOM HEART: Orange CD (AW 067CD) 21.00|
“Recorded and released in 1994, this is certainly one of Atom Heart’s classic albums. It can clearly be located in Atom’s ‘ambient’ period, that may be seen as the transition moment right in between his club oriented works (1990-1993) and the birth of his ‘rather interesting’ label (1994). Without hesitation Orange can be classified as an ‘ambient’ album in the most traditional sense, even though, like always, Atom had given it a slight twist, which made it simply a bit different from what was out there in 1994 (and probably therefore makes it an album that is still worth listening to nowadays). That said, Fax Records, which released the album back in 1994, decided to release this limited edition re-issue. Atom himself remastered the album just recently which makes an even better soundtrack of today. Orange contains 5 tracks, all of them, except for ‘Rainecho’, can be described as slowly moving, repetitive, abstract textures and within themselves contain different sections or ‘scenes’. While some tracks carry either a neutral or positive feeling (‘One Atomsecond’) others (‘Ode to BG’) are rather dark, slightly hostile compositions that remain us of Atom’s ‘industrial’ period for example. ‘Rainecho’ then, is the only rhythmical track on this album which perfectly fits within the previously described abstract worlds of Orange and just gives the entire album the right flow.”
| METAL MOUNTAINS: Golden Trees CD (AMI 042CD) 14.00|
“…out of the ancient ruins of The Tower Recordings has now finally risen a stealth Metal Mountains! It features Helen Rush, Pat Gubler (Mr. PG Six) and Samara Lubelski, all former Tower soldiers, and some may say the very key ones. There’s a sort of haunted architecture to Metal Mountains, they morph 1960s electric and psychedelic folk rock, the right VU influence, spatial excursions, and whispery dreams into a unique whole. It is a carefully crafted album that is real and intimate, yet has the air of ease and playfulness about it. It is confident in its frailty, if that makes any sense to you. Did I say it is perfectly sequenced? Y’know, that’s the kind of thing a reviewer needs to mention if he wants to be taken at all seriously.” — Jesper Eklow/November 2010
|AREA REMOTE (NETHERLANDS)|
| OLDERIC & ALEX PICCINI: Mister Postman 12″ (AREA 029EP) 12.00|
Area Remote welcomes Venice-born musical partners-in-crime Alex Piccini and Olderic. Piccini has had previous releases on labels such as Bitten, Sandy Huner and 2000 & One’s hot tech-house Amsterdam imprint, as well as Nic Fanciulli’s label Saved Records. Olderic’s sound is influenced by a background of different styles of music, combined with percussive grooves and deep bass lines; his style ranges from deep, groovy house to floor-pumping tech-house, always funky and danceable.
| FOXX: The Revolt Of Emily Young CD (AU 5005CD) 17.00|
This superb collection of skewed psychedelic pop was produced by Buzz Cason (renowned for his work with Elvis Presley, Jimmy Buffett and others) and made by a Texan quartet. Originally released in May 1970, and billed as “a rock novella,” it follows the personal and spiritual development of its heroine, with melodic songs, psychedelic guitar and orchestrations by famed arranger Bergen White. A treat for psych-pop connoisseurs, it makes its long-overdue CD debut here.
|BACK ON BLACK (UK)|
| MOTORHEAD: Orgasmatron 3LP (BOBV 109LP) 50.00|
180 gram limited edition colored (grey, white and clear) vinyl edition of Orgasmatron, originally released in 1986. Housed in a tri-fold sleeve with archival photos and liner notes by Malcolm Dome. “…the ultimate vinyl edition of this classic Motorhead album in a special limited edition triple 180 gram colored vinyl (grey, white and clear) set… features 14 extra tracks of alternative, live material to make this the ultimate experience of this classic record. Orgasmatron is the only full Motörhead album to feature Pete Gill on the drums, although he also played on the four new tracks recorded for the 1984 No Remorse compilation album. The album’s working title was ‘Ridin’ with the Driver’ and later changed to Orgasmatron, it was too late for Joe Petagno to change the cover art and the train design was used. It features some of Motörhead’s heaviest songs (‘Orgasmatron’ and ‘Deaf Forever’) and it is the album (along with No Remorse) that got Motörhead back on track after the critically-acclaimed but commercially unsuccessful 1983 album Another Perfect Day.”
| MOTORHEAD: Iron Fist 3LP (BOBV 110LP) 50.00|
Deluxe 180 gram limited edition tri-fold vinyl reissue. On blue, red, and black vinyl. “…. features 15 extra tracks of alternative, live material. Iron Fist is the sixth album by the British band Motörhead. This was the last album the band recorded with ‘Fast’ Eddie Clarke, who left Motörhead on their second US tour due to a conflict with Lemmy.”
|BECAUSE MUSIC (FRANCE)|
| METRONOMY: The Look 7″ (BEC 5772860) 10.00|
Limited 7″ single from Metronomy’s forthcoming album The English Riviera (BEC 5772840). Includes the exclusive B-side, “Picking Up For You.”
|BOYSNOIZE RECORDS (GERMANY)|
| MIXHELL: Antigalactic 12″ (BNR 057EP) 12.00|
This is Mixhell’s second single after the huge track “Higly Explicit” back in 2009 and a teaser to their upcoming album. Features remixes by In Flagranti, Mumbai Science and Gui Boratto.
| TRC: Oo Aa Ee (VIP Mix) 12″ (BRW 001EP) 9.50|
Elijah & Skilliams’ Butterz label open their vinyl-only white label series with a release from TRC. “Oo Aa Ee (VIP Mix)” has been floating around for awhile between the Rinse FM grime DJs, but is now finally being released on this limited vinyl pressing, with strong support from Logan Sama, DJ Q, Oneman and Ben UFO. “Skipping Rope” was described by Wiley as “an intelligent riddim.” “My Empire” brings a heavy dose of the Midlands’ bass line for a crafty hybrid.
| S-X VS. RAMADANMAN: WooooGlut/Bricks 12″ (SXDK 001EP) 11.00|
The Butterz white-label series goes from strength to strength with the official release of Ramandanman’s edit of his own track “Glut” with the # 1 grime anthem “Woooo Riddim” by Birmingham’s S-X. Containing the best elements of both tracks, the harmonious vocal sample of “Glut” creates a glorious sonic juxtaposition to the gritty, stuttering bassline of “Woooo Riddim.” Released on Butterz, S-X’s original cut has been championed by Loefah, Ben UFO and Benji B. Strictly limited 500-only white label, never to be re-pressed.
|COINCIDENCE RECORDS (BELGIUM)|
| SEARCH, JEROEN: Destiny 12″ (CSF 041EP) 12.00|
“Jeroen Search did a pretty amazing release for us last year. Mobility ended up being supported by a lot of artists (Rolando, Marcel Fengler, Kr!z, Pfirter, Slam, Terence Fixmer, Laura Heath and Estroe to name but a few) and did better than any vinyl release we had done thus far. So, we move on, and from now on vinyl first and foremost. Both tracks are based on Jeroen’s liveset: raw, booming and pretty straightforward yet with that typical Jeroen Search touch. ‘Ellipse’ is a very effective dance floor weapon for the technoheads amongst you: loopy, minimalistic and excellent for three deck action.’Periapsis’ on the other hand is the (relatively) calmer track: deepness, darkness, smoothness, Loch Ness, whatever. The background sounds give it a unsettling vibe while the acid’ish stabs give it that hypnotic feel you drugheads all crave for. But the icing on the cake is definitely the Conforce remix. Delsin pedigree, Rush Hour poster boy, and a great guy from that bleep on the radar above our country. His version keeps the wobbly background of the original and turns the entire track in a mean offbeat percussion mofo. Threatening Berghain’ish stabs, rattling cowbells and a break that will knock the fillings out of your teeth: tell me you don’t love this track. Conforce is beyond any doubt one of the most interesting Dutch artists of the past few years, after Marco Borsato of course. All hail to the ‘King.'”
|COLD SPRING RECORDS (UK)|
| PSYCHIC TV: Themes 6CD BOX (CSR 123CD) 75.00|
Initial stock we had on this item was mis-priced, sorry. The new/correct & much higher, pricing is listed here. For the first time, all Themes albums by Psychic TV released together, in a sumptuous, embossed box set. The music itself was designed not only as a soundtrack but also for subsequent use by Initiates of The Temple Ov Psychick Youth in their rituals as Functional music intended only to aid in the process of making things happen. It is a practical tool. Thee essential collection of rare, archive and modern PTV ritual/esoteric musick! Each CD is presented in its own matte laminate, spot-varnished mini-LP sleeve. The box also includes a 28-page booklet of rare photos and essays. Themes was originally released in 1982 as a limited bonus LP with the first 5,000 copies of the legendary Psychic TV album Force The Hand Of Chance. Musicians: Stan Bingo, Peter Christopherson (Coil, Throbbing Gristle, Soisong), Genesis P-Orridge, and David Tibet (Current 93). Themes 2 was originally released on LP in 1985 by Temple Records and subsequently reissued as an extended CD version by Cold Spring in 1997. Musicians: Genesis P-Orridge, Alex Fergusson, John Gosling (Zos Kia, Coil, Mekon). Themes 2 is presented here as a 2CD set, including the full vinyl version, plus the original Unclean 12″ and its two B-side tracks that were recorded in the same sessions. Themes 3 was originally released on LP in 1986 by Temple Records and is presented here for the first time on CD, completely remastered. Musicians: Genesis P-Orridge, John Gosling (Zos Kia, Coil, Mekon), Mark Sangerman, Monte Cazazza. Themes 3 is presented here as a 2 CD set, with an unheard version performed in Boston, U.S. by Genesis P-Orridge and John Gosling. Themes 4 is a brand new Psychic TV album, recorded by the late partner of Genesis P-Orridge, Lady Jaye and Psychic TV. Compiled by Genesis Breyer P-Orridge, Ryan Martin and Bryin Dall. Musicians: Lady Jaye Breyer P-Orridge, Genesis Breyer P-Orridge, Larry Thrasher, Bryin Dall.
| MACHINEFABRIEK: Daas CD (CSR 128CD) 16.50|
Cold Spring Records presents an album from Dutch experimenter Rutger Zuydervelt (Machinefabriek). The tracks on Daas have been carefully picked to form a provoking, haunting journey. What the tracks have in common is a sense of nostalgic graininess. As with the music of Philip Jeck, The Caretaker or William Basinski, these tracks are full of degrading melodies and dusty ambience. “Daas” is the previously-unreleased opening track of the album, and features contributions by the great Richard Skelton. This track was made as a reaction to the piece “Koploop.” “Flotter,” “Koploop” and “Grom” were previously available on small run self-released 3″ CD-Rs. Sold out for some time now, these tracks deserved a wider audience. These three long tracks also seem to come from the same galaxy, making perfect sense when put together. “Onkruid” was a track previously-released on a A Room Forever 12″, as an expensive and extremely limited 12″ boxed set, now brought to a wider audience.
| MACHINEFABRIEK: Vloed CD (CSR 138CD) 16.50|
Cold Spring Records reissues an album from Dutch experimenter Rutger Zuydervelt (Machinefabriek). Originally released in 2008 on Sentient Recognition Archive, with added tracks and new artwork. Vloed is a collection of (slightly edited) live performances, recorded between 2006 and 2008 in Amsterdam and Den Haag. “All performances find Machinefabriek in fine form, offering up thick billows of warm guitar shimmer, fluttery, staticky ambience, and at one point some uncharacteristically heavy super-distorted metallic guitar, but here, it’s not so much metal as simply a mighty drone, thick and throbbing and super intense. There are long stretches of near-silence and super-minimal high-end drone, glimmering, slow-building crescendos, squalls of distorted choral buzz, warm, whirring metallic reverberations, shimmery and dense, black dronemusik, all the stuff we love about Machinefabriek” –Aquarius; Beautifully remastered with a 20-minute bonus track, Vloed captures the immersive live experience of a Machinefabriek concert. Presented in a stunning matte digipak with modified artwork.
| VA: Chilean Pop 12″ (COMEME 010EP) 12.00|
Chilean Pop is a special EP that digs up Cómeme’s connections in Santiago de Chile and sees some of the most beloved artists of the label remixing a couple of bands from the current underground Chilean pop music scene. Fredi Michel’s hit from 2005 “Enganami!” is remixed here by Broke, “Marinero” is remixed by Diegors aka Diego Morales while Matias Aguayo and Diego Morales’ collaboration remixes “La Gata Negra” by $990. Also features a Javiera Mena remix by Rebolledo.
|CURLE RECORDINGS (BELGIUM)|
| ESSER, DARKO: Clean Slate 12″ (CURLE 033EP) 12.00|
Darko Esser made his debut for Curle with the hypnotic Detroit techno track “Absolutely No Regrets.” Now they welcome him back with the deep and dubby builder “Clean Slate.” On remix duties this time are two fast-rising techno talents; DVS1 and Lucy.
| MURAKAMI, RYO: In Chain 12″ (CURLE 034EP) 12.00|
Japanese producer Ryo Murakami first got noticed by Steve Bug, who released tracks from him on Poker Flat and Dessous. But it was the first record on his own Pan Records that totally convinced Curle Recordings to ask him for demos. In the meantime, Ryo also released music on fine labels such as Quintessentials and Baud. Here are two brilliant Detroit-inspired deep house tracks, backed up with a remix from Fred P. from Soul People Music in New York.
|CYLINDRICAL HABITAT MODULES|
| PULSE EMITTER: Spiritual Vistas LP (CHM 039LP) 18.00|
“Incomparable new full-length from Daryl Groetsch’s Pulse Emitter project, and hands down album of the year, already. I want to say this is the culmination and apogee of composed synthesizer music in the new millennium, but I guarantee Daryl’s got plenty more tricks up his sleeve. The profound development of Daryl’s music is more and more apparent with each release, from the crackly, hollow modular nightmares of his early sides to the heartbreakingly beautiful tonal architecture of Spiritual Vistas, each key and each turn of a knob is a giant stride for the genre as a whole. Bringing to mind some mid-period David Borden at times, or Vangelis’ Blade Runner score, this is truly transcendental, emotive music. No joke, Pulse Emitter solidifies itself as the best of the best with this colossal album. The result of almost a year’s work, Daryl reduces all of his one-take, live to a tape deck competitors to almost nothing. Four deeply contemplated, brilliantly composed analog symphonies that could literally be played for any music fan. It’s almost impossible for me not to toss around bold proclamations when talking about this album, but really, this is pretty much as good as it gets. Split release between Expansive & Cylindrical Habitat Modules, edition of 500 on black vinyl.”
| ENGLISH, LAWRENCE: Kiri No Oto LP (DIGI 031LP) 18.00|
There’s no doubt that Australia-based media artist, composer and curator Lawrence English has been responsible for some of the best drone compositions in the past decade, but with Kiri No Oto he unleashed his magnum opus. It’s a stunning album on every level. English blends an array of natural and unnatural sources into a living document that is constantly captivating and engages the listener on many levels. This is a work set apart from much of English’s discography, but still blanketed by his exquisite attention to detail that keeps everything in its right place. Originally released as a CD on the Touch label (TONE 031CD) in 2008, Kiri No Oto finds a new lease on life etched into wax. Album opener “Organs Lost At Sea” leaves nothing to chance. From the first saturated chords, you are enveloped in Kiri’s aural landscape. Towering drones get weighted down with fuzz, overpowering the fog that’s present throughout the record. It’s like hearing the hum of the Earth released from its cage for the first time. Flowing seamlessly into the quieter but no less imposing “Soft Fuse,” there’s never a chance to catch your breath. English is content to overrun your ears. “Waves Sheer Light” catches you by the wings and lifts you high into the clouds. This is what floating sounds like. It’s an enchanted and dizzying experience. This is music that is timeless in the literal sense. You get lost within these sonic walls, unsure if you’ve been swimming there for hours or only a few minutes. This is especially true on the underwater gauziness of “Figure’s Lone Static.” It feels endless. “White Spray” plies similar ground with bits and pieces of electric harmonics peaking through the static every so often, acting as beacons to find your way. One is content to get lost here. As the album comes to a close on the cathartic “Oamura,” Lawrence English’s job is done. He has taken you on a dynamic journey and kept you riding on eternal highs. When the melodic tones finally get overtaken by the sound of ocean waves, it is simply time to flip it over and start the experience again. Vinyl cut at Dubplates & Mastering in Berlin. Limited to 500 copies only for the world.
| BREL, JACQUES: Des Perles De Pluie 1954-1960 2CD (DISCO 6149382) 23.50|
Discograph releases a 2CD set of music from Belgian singer/songwriter Jacques Brel. Having left Brussels at the age of 23 to conquer Paris, Brel’s first triumph came six years later with “Ne Me Quitte Pas,” a song elevated to legendary status with over 900 versions recorded throughout the world. Presented in this compilation on CD1 are his first lyrics, slightly naive and clumsy, as well as later tracks showing how he asserted his style, eventually becoming a popular yet rigorous artist: “Les Flamandes,” “La Valse À Mille Temps” and “Quand On N’a Que l’Amour” are just a few examples of Jacques Brel’s talent, both as a songwriter and singer. Many of the tracks featured here have never previously been published in CD format, including many songs performed by artists who were the first to realize how great they were on CD2, including renditions by Dalida, Simone Langlois, Renée Lebas, Barbara, Juliette Gréco, Yves Montand, Marc Et André, Yoland Guérard, Pia Colombo, Anny Gould, Jacques Hélian, Florence Véran, Michel Frenc, Michèle Arnaud and Jean-Claude Pascal. This 2CD set features 48 tracks including a 36-page booklet with original liner notes and rare documents illustrating the early days of this major artist’s career, with scores, covers, photos and more.
| BRASSENS, GEORGES: Gare Au Gorille 1952-1960 2CD (DISCO 6149392) 23.50|
Discograph releases a 2CD set of music from French singer/songwriter Georges Brassens. With the release of “Gorille” in 1952, Georges Brassens became a household name, as this shy, debonair artist in his 30s enthralled French audiences with his way with words, audacity, humor and sense of poetry. Patachou, Barbara, Juliette Gréco and Sidney Bechet were among the first artists keen on taking the songs of this chanson craftsman and making them their own. 2011 marks the anniversary of both his birth (in 1921) and death (in 1981). Here is an opportunity for you to rediscover his early hits as well as the versions by the first performers of his songs, some of which have never previously been published on CD format, such as the startling “Vendetta” written for Christian Méry, a Corsican comedian who used to share the Trois Baudets stage with Brassens. The 36-page booklet features photographs by Pierre Cordier, whose parents were Brassens’ friends in the ’50s, which beautifully enhance this richly illustrated set of original liner notes. Other artists include Les Quatre Barbus, Les Cinq Pères, Les Compagnons De La Chanson, Pia Colombo, Michel Frenc, Marc Et André and Joss Baselli.
|DUG OUT (UK)|
| NITTY GRITTY: General Penitentiary CD (DO ADM080CD) 15.50|
Basic Replay presents another Black Victory label classic missing-in-action, Nitty Gritty’s 1987 album General Penitentiary. With superb rhythms and killer dubs, this album is a dream combination of Studio One and Bullwackies musicians, with the young sing-jay already at the top of his game. Nitty Gritty: the name alone tells you that he was rough and tough. Having survived many a hard time in the ghetto, he came forward on General Penitentiary in his own strong original style.
| NITTY GRITTY: General Penitentiary LP (DO ADM080LP) 17.00|
| WILLIAMS/COLARMAN, WILLI: Sweet Home/Budget 12″ (DO ADM084EP) 11.00|
Driving Shaka murder, fury and yearning coiled into an ideal marriage of digital and old-school music-making. Bagga Walker and a drum-machine tear up the dub. Complete with rare, ebullient Colarman toast.
|ECHO BEACH (GERMANY)|
| DUB SPENCER & TRANCE HILL: The Clashification Of Dub CD (EB 081CD) 17.00|
The Swiss space-cowboys, Dub Spencer & Trance Hill bring their fourth album of superlative dub inna sci-fi control. Last time they chose a strange combination of cheap ’80s songs and monumental rock standards for student parties. This time, The Clashification Of Dub is wrapped by the most influential band of revolution, pop, rock, punk, politics and dancing over the last 30 years: The Clash. Meet The Clash hits (almost all of them?) like “Guns Of Brixton,” “London Calling,” etc. — the compact crossover of sweet and lovely reggae vibes matched with sci-fi tech power, partly orchestrated with innovative production and mixing skills. An album of incredible beauty and power featuring smart and contemporary dubness. Dub Spencer & Trance Hill’s vision of cult is unique — it is alchemy, prophecy and acoustic ecology encased in a magical, timeless atmosphere.
|ED BANGER RECORDS (FRANCE)|
| SEBASTIAN: Embody 12″ (BEC 5772849) 12.50|
The dark side of Ed Banger Records, SebastiAn created what people are calling the Ed Banger sound. Today, he is pushing it a little bit further with “Embody” — imagine Prince and SebastiAn in Paris, sharing a glass of wine in a smoky basement. Remixed by DJ Premier.
| LETHE: Dry Ice On Steel Tables CD (EITHERLIVE 002) 12.00|
“A remarkable document of a live performance recorded on September 11th, 2003 at No, 20 warehouse, Nagoya Port, Japan. The sounds heard in this recording were created by Kiyoharu’s application of dry ice to four steel tables which were heated by candles. No electronic processing or post-production editing of the performance was done. Lethe/Kiyoharu Kuwayama is known for creating and recording work in highly resonant spaces or charged atmospheres (abandoned warehouses, Shinto temples, etc). Kiyoharu is also known for his involvement with the duo Kuwayama – Kijima (Kiyoharu Kuwayama: cello, and Rina Kijima: violin) who are formidable players, so well attuned to each other that their improvisations cannot be distinguished from highly complex compositions. With a particular interest in ambient sound and locations that inspire improvisation, they take advantage of the natural reverb of each location (under a bridge at night, an abandoned warehouse), and even change their position while playing to create beautiful and charged performances.”
| GELB & A BAND OF GYPSIES, HOWE: Alegrias CD (FIRE 166CD) 16.50|
“In 2006, Howe Gelb embarked on a journey with a gospel choir with the result the astounding, critically acclaimed album Sno’ Angel Like You. This new chapter sees Howe embellish a troop of amenco playing gypsies, including the virtuoso guitarist Raimundo Amador (collaborated with Bjork and BB King) and is mixed by the legendary John Parish (PJ Harvey). Recorded atop a Cordoba roof with his ‘Band Of Gypsies’ in the Andalucia sun, Alegrias, is an exceptional new work from Howe Gelb. Originally only available in Spain, where the record enjoyed considerable success due in part to the wondrous contribution from Flamenco guitar virtuoso Raimundo Amador, Fire is pleased to be releasing the latest jewel in the considerable crown of Howe Gelb’s musical delights. Many have tried to blend Flamenco with their native style without success, which makes Alegrias more than a coming together of music. Alegrias is an event, a special moment captured by a collection of musicians who have been graced with the fortune of seamlessly marrying the rich Flamenco rhythms to Howe’s own unique sound.”
| GELB & A BAND OF GYPSIES, HOWE: Alegrias LP (FIRE 166LP) 23.50|
Gatefold LP version.
| GIANT SAND: The Love Songs CD (FIRE 170CD) 16.50|
“The Love Songs was originally released in 1988 and is the fourth reissue from Fire Records. Often called Giant Sand’s best album of their early period, 1988’s Love Songs features an expressiveness and songwriting maturity that rivals Bob Dylan.”
| GIANT SAND: Long Stem Rant CD (FIRE 171CD) 16.50|
“Long Stem Rant was originally released in 1989 and is the fifth reissue from Fire Records. This album, marked a turning point for the band, more improvisational and less structured than previous efforts, it features some of Howe’s best songs. For the past 25 years the Tucson-based Giant Sand (originally Giant Sandworms as a nod to the Dune books) has been one of the most consistently innovative in the American music scene. A recipe that could perhaps be best described as 1 cup well-executed grunge aesthetic, 1 cup downtown New York, 1 cup troubadour, and a dash of country outlaw. Although its membership has shifted greatly over the years, singer/songwriter (as well as guitarist and pianist) Howe Gelb has remained at the helm to help fill the coffers of what could be called the new American folk song.”
| GIANT SAND: Swerve CD (FIRE 172CD) 16.50|
“Swerve was originally released in 1990 and is the sixth reissue from Fire Records. Featuring a variety of guest performers throughout, including Green on Red’s Chris Cacavas, Juliana Hatfield, Steve Wynn, and a fair hunk of Poi Dog Pondering, Swerve features the then duo of Gelb and Convertino on a fine slew of songs. Recorded at a number of different locations, from Boston to Los Angeles, Swerve found Gelb reaching the ten-year point with his band in fantastic style. Gelb’s fractured vision of roots music meets modern times sounded distinct and enjoyable enough at the time of Swerve’s release, and still holds up excellently in later years. His ear for aggressively weird soloing in particular is just great (check ‘Dream Stay’ for one of his best Neil Young nods yet), while his straight playing remains quite accomplished.”
| ELEANOORA ROSENHOLM: Hyväile Minua Pimeä Tähti LP (FR 076LP) 21.00|
LP version. Fonal Records releases the third Eleanoora Rosenholm album Hyväile Minua Pimeä Tähti (trans. “Caress Me, Dark Star”). A project begun by Noora Tommila, Pasi Salmi and Mika Rättö, Eleanoora Rosenholm is ostensibly a persona created by the band, which narrates the dramatic and disturbed odyssey of a suburban housewife. The group, which has now evolved into a seven-piece band (with Mika typically fulfilling the role of writer and overseer), comprises the most exquisite music-makers from the Finnish harbor town of Pori. The third installment is an even gloomier prospect (if possible) than before: this time the protagonist, housewife serial killer Eleanoora escapes into the heart and the city of a Dark Star. Although musically in a similar vein to previous albums Vainajan Muotokuva (FR 054CD/LP) and Älä Kysy Kuolleilta, He Sanoivat (FR 060CD/LP), the sound of this record is even more dramatic, expansive and nuanced. Musically taking its cues from film soundtracks and disco, laced with echoes of Scandinavian and electronic pop, this apparent juxtaposition against the album’s subject matter frames a dislocated voice in everyday reality. Trumpets and clarinet lend an epic maturity to the modern atmosphere. The result is a landmark, down-to-earth-futurism, A Space Odyssey in Pori — something unexplainable that has to be experienced by oneself. These colorful stories are the brainchildren of Mika Rättö, one of the most creative forces in the Finnish contemporary rock scene, perhaps most familiar from acts such as Circle, Rättö Ja Lehtisalo and Kuusumun Profeetta. The role of Eleanoora is played by vocalist Noora Tommila who is a sensitive interpreter, relaying a vast emotional range, from quiet fragility to vociferous preaching. The album was composed by Rättö and analog synth wizard Pasi Salmi (Magyar Posse). Previously mainly masterminding in the background, the recording sessions inspired Rättö not only to grab the drumsticks but also to sing a whole song in his distinctive falsetto. Apart from this band, who else could turn Gregorian choir influences into a potential modern club-hit?
| TV-RESISTORI: TV-Resistori LP (FR 077LP) 21.00|
LP version. TV-Resistori, the flagship of Finnish indie-pop, finally present their third album, which has been under construction since 2007. The album fuses a broad array of influences into one seamless entity, appealing to aficionados of American roots music and modern indie kids digging Jenny Wilson or Belle And Sebastian. The beautiful vocal harmonies of Päivi and Ykä (the singer-songwriter of the group) flourish, while the cheap bubblegum keyboards have been mostly exchanged for warm, acoustic sounds from upright piano, to banjos or drums made out of suitcases. Although these mature, timeless songs lean towards Finnish schlager, Motown or even country music, it doesn’t mean things have gotten boring or middle-of-the-road — they’re just more confident. TV-Resistori can still shake, rattle and roll like young stallions let out to the fields for the first time after the winter. Nevertheless, to balance the upbeat dance numbers, their tape has also captured one of the most touching bluegrass ballads of this century, “E.S.O.P.M.J.M.V.M.P.S.O. (Pallo).” Don’t let the song title fool you.
| ESPLENDOR GEOMETRICO: Veritatis Splendor CD (GR 006CD) 18.00|
Geometrik presents a new reissue (2009) of a classic album by influential Spanish industrial cult band Esplendor Geométrico. Veritatis Splendor (1994) is the first Esplendor Geométrico album recorded in the ’90s, after their split release with Most Significant Beat. It sets the beginning of a new period for the band, where the incorporation of digital technology, synths and rhythms can be felt. Veritatis keeps the typical characteristics of E.G.’s sound but with greater production and complex rhythmic structures, achieving an original and personal fusion of classic industrial sound with elements of tribal music and avant-garde techno. It has a bigger variety of registers than in their newer repertoire, ranging from the hypnotic “La Radio Al Día,” the classical sound of “Poder De Ruptura,” and the bright dance rhythms of “Ensayo De Compresión,” or “La Meta Del Servicio,” an exciting sequence that is really surprising, including some tribal screams. Another noticeable element is the constant presence of radiophonic emissions throughout the entire album. This classic of the genre has been sold out since 1995 and is now finally available again, remastered and with different artwork.
| MOST SIGNIFICANT BEAT: Música y Electrónica 2CD (GR 2110CD) 20.00|
Most Significant Beat was born in 1991 as a project formed by Saverio Evangelista (member of Esplendor Geométrico since 1992) and Maurizio Martinucci (TeZ). Their published records have been sold out for many years: several 12″s, the album Electrons At Work and two split release: Control Remoto 1.0 with Esplendor Geométrico and Control Remoto 2.0. At last, Geometrik releases a new double CD that includes more than an hour of unreleased material (13 tracks) recorded between 1998 and 2004, and also includes a selection of the best M.S.B. tracks hand-picked by the band themselves: 33 tracks in total. M.S.B.’s music is based on rhythms and electronic sound, sometimes pure industrial, and other times nearer to electro or ambient techno. Their music has echoes of cyber-tech in the style of Clock DVA, or E.G. in their less noise-ist way. M.S.B. continue their work while also developing their solo careers. Maurizio is now working on an ambitious audio-visual project named Optophonica together with avant garde electronic musicians such as Frank Bretschneider, Scanner, Francisco López, etc. Saverio Evangelista has two albums on the Hands label, and another together with the industrial music legend Maurizio Bianchi released in Japan, along with his work with E.G.
| ESPLENDOR GEOMETRICO: Balearic Rhythms CD (GR 2112CD) 18.00|
Sold out for more than 12 years, Geometrik reissues one of the classic Esplendor Geométrico works, published originally on CD in 1996 (following Veritatis Splendor), now with completely different artwork and three extra tracks. Pure electronic energy in a mix of hypnotic and tribal industrial rhythms, metallic percussion, ethnic voices, and technoid sounds. The three extra tracks included here are from the sold-out single 30 Km De Radio (1996) released by Daft Records.
|GIZEH RECORDS (UK)|
| SLEEPINGDOG: With Our Heads In The Clouds And Our Hearts In The Fields CD (GZH 031CD) 15.50|
This is Sleepingdog’s third album after Naked In A Clean Bed and the critically-acclaimed Polar Life. Once upon a time in the days of the Belgian Franc, Chantal Acda made the acquaintance Adam Bryanbaum Wiltzie, and the two became fast friends through a mutual love of disco bowling, and 1970s Danish scary movies. They first collaborated on vocals on the infamous last track “The Struggle” on Mr. Wiltzie’s 2004 The Dead Texan. Now, over the course of 10 years, this strange friendship has slowly developed into a musical collaboration which at this point is a rarity for Mr. Wiltzie, because of his notorious slow-burning output for his legendary project Stars Of The Lid. For With Our Heads In The Clouds And Our Hearts In The Fields, these two have somehow gone back in time to capture the sound of glacial-moving, dark cough syrup pop music. Mr. Wiltzie has manipulated his trademark haunting ambience, deconstructing and funneling it through the beautiful voice and song compositions of Chantal Acda. Together, Sleepingdog have gently abducted these gaseous tones and choruses of Pacific tree frogs into some beautifully-crafted, melancholic orchestration that reminds us all that we exist in a world of strangers, drifting only two feet apart.
|GOMMA RECORDS (GERMANY)|
| MUNK: The Bird And The Beat CD (GOMMA 152CD) 15.50|
This is the new album from DJ, keyboarder, producer and Gomma Records co- founder Mathias “Munk” Modica. Fourteen electronic funk, futuristic house and indie pop songs that Modica recorded with 12 female vocalists from all around the world. The new album is the logical next step after Munk’s previous collaborations with DJ Chloe, Asia Argento, Micky Moonlight or James Murphy of LCD Soundsystem. The album was mixed by Etienne de Crecy, Alex Gopher and Jan Driver (Boys Noize). The album starts off like a classic ’90s house record, but quickly develops into a colorful trip into unexpected shades of music. Sometimes deep and Krauty, then again influenced by ’90s Italo pop and Eurodance. There is ’70s street funk, sweet, Frenchy chanson and Brazilian punk-house. English is mixed with six other languages. Electronics meets the funk of Sly Stone, the humor of Frank Zappa, the pop of Trevor Horn and the romanticism of Italians such as Goblin or Morricone. The album is a modern variation of the “girl vs. producer” thing, like Serge Gainsbourg and Burt Bacharach did some years ago. All music — piano, synths, xylophones, bass, guitars, drum machines, and Asian percussion — is played by Modica. The vocalists include Lou Hayter from New Young Pony Club, Clara Cometti of upcoming French bands Koko Von Napoo and The Teenagers, Mia von Matt who used to do background vocals for Peaches, Sarah Ze, a disco princess from Malaysia, Man Recording artist/DJ Joyze Muniz, Russia’s Pollyester, actress Missy Chariot, Amandine Morin, a singer from Marseille, and previous Munk collaborator Francy Goertz from Berlin.
| CAMINITI, EVAN: When California Falls Into the Sea LP (HB 006LP) 16.00|
“Caminiti is one half of experimental duo Barn Owl, and has released past recordings through labels such as Thrill Jockey, Three Lobed, Digitalis, Important, Root Strata, and more. Along with Barn Owl, Caminiti is also involved in other respected experimental outfits such as Higuma, Hanging Thief, and Garden Sound.”
|HELLO?REPEAT RECORDS (GERMANY)|
| SIMKO, KATE: Mind On You 12″ (HELLO 017EP) 12.00|
Kate Simko is a woman of many talents, and she works them well. This Chicago native continues to be one of the standout dance music artists in the United States, earning the respect of her peers and catapulting her career to international success. With “Mind On You,” Kate delivers a little teaser to her forthcoming and highly-anticipated solo album on Hello?Repeat Records. Includes remixes by Tevo Howard and Daze Maxim.
|HIRUKO RECORDS (FRANCE)|
| VA: Ongaku 70: Vintage Psychedelia In Japan LP (HLP 102LP) 23.00|
“Ongaku 70 is the ultimate beginner’s guide to the Japanese psychedelia era. A incredible set of 13 tunes released between 1969 and 1978 including Osamu Kitajima, Stomu Yamash’ta’s Red Buddha Theatre, Akiko Yano, Sadistic Mika Band, Harry Hosono & The Yellow Magic Band, The Apryl Fool, Rabi Nakayama, Karuna Khyal, Kuni Kawachi & His Group, Toshiaki Tsushima, J.A. Caesar & Shirubu, Maki Asakawa and Les Rallizes Denudes. Neither group sounds nor hard rock here, only deep psychedelic rock with local instruments and native language. Be sure to hear the finest hours of Japanese 1970s music.”
| AGORIA (FEAT. KID A): Heart Beating (Remixes) 12″ (IF 2031EP) 12.00|
“Heart Beating,” by Agoria feat. Kid A, gets four stunning remixes. Sylvain Chauveau’s beatless remix wraps up Kid A’s voice with string arrangements, stirring the emotional elements of the original. Argy’s “Tension Remix” is universally crafted for the clubbers. John Roberts of Dial fame delivers a modern house jewel, extracting a violin loop and vocal whispers. Finally, Fraction turns the pop-anthem into a bombastic dance machine.
| TRISTANO, FRANCESCO: Idiosynkrasia 12″ (IF 2032EP) 12.00|
The title track to Francesco Tristano’s Idiosynkrasia (IF 1012CD) is a nod to more upfront dancefloor fare. Pressed on one-sided clear vinyl in a plastic bag. Limited to 300 copies.
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| PROMMER & BARCK: The Barking Grizzle 12″ (GIGOLO 277EP) 12.00|
Christian Prommer and Alexander Barck join forces to produce a journey to the roots of their past productions and a look into their vision of eclectic club music; deep Kraut music from Berlin via Chicago, Köln, Detroit and Munich. “The Barking Grizzle (Detroit/Berlin)” is very much a call and response to the environment of today’s dance music. It should be no surprise that DJ Hell should jump all over this for an extended club remix.
|INTERNATIONAL FEEL (URUGUAY)|
| FRITTO, GATTO: Gatto Fritto CD (IFEEL 013CD) 17.00|
UK music producer Gatto Fritto emerged from the suburban witchcraft and hard drug fallout of the late ’90s, the bastard offspring of John Dee, The Ragged Trousered Philanthropists and the Parachute Regiment, with the sound of Terry Riley, the Belleville Three and Glenn Branca ringing in his ears. He put Theo Parrish on at an empty club and cleared dancefloors at Analog City. He sold secondhand records in some of London’s rudest secondhand record shops and spent months arguing with Sam Weaver over which edit of “Illuminations” to release (as one-half of the terrifying MK Ultra/Afrobeat project Hungry Ghost). He caused security alerts at out-of-town airports, had psychedelic Menorcan nightmares, stitched his wounded heart back together with spite and meditation and channelled the power of a thousand broken dreams through the prism of Baby Ford, John Fahey, Holger Czukay and Stelazine. He released Invisible College on Dissident in 2007 and Bursting The Bubble on Electric Minds in 2008. He was there at the start of Dissident with Andy Blake. He has remixed Franz Ferdinand (for money) and Subway (for love). He has been played by Harvey, Weatherall and James Holden.
| FRITTO, GATTO: Gatto Fritto 2LP (IFEEL 013LP) 33.00|
Deluxe gatefold double LP version on 180 gram vinyl.
| DEPPER, DAVE: The Ram Project CD (JPR 7110CD) 12.00|
“In spring 2010 multi-instrumentalist Dave Depper hit a wall. He’d recorded and toured the world with internationally-renowned artists (Jolie Holland, Mirah, the Decemberists) as well as beloved Portland institutions (Loch Lomond, Norfolk & Western, Musee Mecanique, Blue Giant), but to date had yet to record any music of his own. Lacking an album’s worth of his own songs, he decided to take on the craziest project he could think of: re-recording Paul McCartney’s finest solo effort, Ram, part by part, at home, all by himself, in 30 days. Using a couple of guitars, a keyboard, a Rickenbacker bass, a borrowed drum kit, one microphone and a laptop, Depper began obsessively hacking away at the record. He holed-up in his spare bedroom, often for 12 hours at a time, relentlessly pursing a task The Portland Mercury would later equate to climbing Mt. Everest alone. He meticulously recorded each nuanced piece and, bit by bit, the record began to come together. Thirty-one days after he had started he emerged, The Ram Project finished. The result is a gorgeous document that both pays homage to the colorfully cinematic McCartney classic and is uniquely Depper’s.”
| DEPPER, DAVE: The Ram Project LP (JPR 7110LP) 17.00|
| BORATTO, GUI: Take My Breath Away 2LP+CD (KOM 190LP) 18.00|
2009 release, repressed on vinyl. Double LP version with six of the eleven tracks from the album, plus the entire full length on CD. 2LP tracklist: A1. Take My Breath Away, B1. Ballroom, B2. Colors, C1. No Turning Back, D1. Eggplant, D2. Godet
| IMPLODES: Black Earth LP (KRANK 156LP) 13.00|
LP version. “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.”
| H.O.S.H.: Tour De Fonque 12″ (LEENA 020EP) 12.00|
H.O.S.H is next up on the Leena Music catalog. Holger Behn — the man behind the four well-renowned letters — already has an impressive catalog with EPs on labels including Get Physical, Kindisch, Supernature, Freerange, Strictly Rhythm, Dessous, Tsuba, Diynamic, etc. This EP fits perfectly in a peak-time dancefloor set, with strong basslines and, in the case of “Dead And Alive,” a twisted and eerie vocal. Meanwhile, “Tour De Fonque” is built on a deep and driving groove that’s impossible to ignore.
| HIGHBLOO: Time To Change 12″ (LL 045EP) 12.00|
Highbloo’s two-sided cluster bomb has received early plays by Steve Aoki, Boys Noize, Brodinski, Boris Dlugosch, Mixhell, Mason, Style Of Eye, Zoo Brazil, Don Rimini, Drop The Lime, BeatauCue, His Majesty Andre and many more. Added remixes by the legendary Tony Senghore and Keith & Supabeatz (from Southern Fried fame) make this a release you can’t refuse.
|LIEBE DETAIL (GERMANY)|
| EFDEMIN/SVEN WEISEMANN: Lohn & Brot/Slices 12″ (LDLTD 003EP) 12.00|
Here’s the third round of Liebe*Detail’s hand-picked re-release series. This time, they combined two very special tracks from outstanding artists Efdemin and Sven Weisemann together on a strictly-limited 12″. Both tracks haven’t been available on vinyl for more than 3 years now. Only 500 hand-stamped copies.
| BLOODLOSS: The Truth Is Marching In 1983-1991 2CD (MEMO 008CD) 18.00|
For the last decade and a half, Bloodloss has existed spasmodically in Seattle with a line-up that grew to include Mudhoney’s Mark Arm and Guy Madison. During this period, they released two albums on Reprise and Sympathy For The Record Industry and a number of 7″s and EPs. Formed in Sydney in 1983 by Adelaide ex-pats, Renestair EJ and Martin Bland, Bloodloss existed fitfully Downunder until 1991 when both Ren and Martin emigrated to the USA as members of Stu Spasm’s Lubricated Goat. This retrospective is culled from recordings made in Australia between 1983 and 1991 when the band existed alongside better-known contemporaries like the Beasts Of Bourbon, feedtime, Scientists and King Snake Roost. Disc one features the entire, superb The Truth Is Marching In album (1990), along with the best tracks from their final, (and never released) Australian recorded album, The Hair Of The Future, from 1991. Disc two collects the best songs from their self-titled cassette-only album (1986), Human Skin Suit LP (1987), and unheard rehearsal tapes and recording sessions. Includes a 16-page booklet with extensive liner notes by Harry Butler (DNA fanzine). All Music Guide describes Bloodloss’ music as “Blues/Vegas/Punk craziness” and over 27 sporadic years, the band’s chaotic and pulsating jazz-influenced punk rock has won them many fans. This collection shows where it all began for a band that was always more than just a Mudhoney side project.
|METAL FACE RECORDS|
| MF DOOM: Operation: Doomsday 2CD BOX (MF 1104CD) 31.00|
“Ask any true hip-hop fan and he can tell you exactly where and when he first heard Doom’s Operation: Doomsday. Against seeming insurmountable odds, the album — bootlegged mercilessly, floating in and out of print on various labels since its release in 1999 — gained mythical status amongst music aficionados of all backgrounds as one of the landmark releases of the past decade. At its core? One man, a microphone, an MPC 2000 and a Roland VS 1680. By the time of Operation: Doomsday’s recording, Doom was a transformed man: a veteran of hip hop’s aging ‘new school’ reinvented as the masked, abstract wordsmith of the now. His pointed wit, subtly subversive lyrics and stream-of-consciousness flow over adventurous sample-based production created the measuring stick by which rappers in the coming decade would measure themselves. Doom’s own Metal Face Records releases Operation: Doomsday as it was intended to be heard: as a special remastered and expanded two-disc set, featuring a 32-page lyric book and a complete collection of alternate versions, b-sides and instrumentals, packaged in a 7′ x 8′ tin lunch box. Stones Throw’s Jeff Jank, an often Doom collaborator, and San Francisco-based artist Jason Jagel, who provided the painting for Doom’s MM…Food album, were enlisted to create both an updated version of the album’s iconic comic-book style cover art for the box and a set of 10 Doomsday MCs trading cards (featuring DOOM, Kurious and others) especially for this release. Produced by Stones Throw Records GM and A&R Egon and under the watchful eyes of Doom himself, this is Operation: Doomsday as it was intended to be experienced.”
| VILE, KURT: God Is Saying This To You… LP (MEX 012LP) 18.00|
2011 repress, originally released in 2009. “More than a mere odds-n-ends collection, Kurt Vile’s latest LP is a compilation of tracks from Overnite KV, a tour-only CDR, along with a handful of extra tracks recorded specifically for this release. Here we find Kurt solo, four-trackin’ as usual, and blowing minds with his mix of bluegrass guitar, blazed singer-songwriterisms, and the knowledge of how to balance these contexts out with laidback precision. Psychedelic to its core, these twelve tracks speak to the will of the casual perfectionist, honing his craft with effortless aplomb. You’ll be hearing plenty more from this Philadelphian wizard in the months to follow, and we’re happy to keep the ball rolling with God Is Saying This to You…” Hand-numbered limited edition of 1000.
| WASHED OUT: Life of Leisure LP (MEX 023LP) 18.00|
2011 repress, originally released in 2009. “Debut 12? from Ernest Greene aka Washed Out. Bent synth-pop gems that are equal parts psychedelia and anthemic club banger. All recorded in his parent’s home in the rural Georgia town where he grew up. Essential and addictive.” Numbered, limited edition of 1000.
| REAL ESTATE: Reality LP (MEX 035LP) 18.00|
2011 repress, originally released in 2010. “New Jersey’s Real Estate has successfully captured the sound of a late Sunday afternoon, in the dreaded hours before work or school claims your life again. The band’s sweet, loose pop ballads recall a modern-day Everly Brothers, drifting and dreamlike, as their tales of suburban indifference and insecurity mask your own fears. Six new songs, and not a moment too soon.” Hand-numbered limited edition of 1000.
| KABOOM KARAVAN: Barra Barra CD (MIA 015CD) 15.50|
This is the debut full-length release on Miasmah from Kaboom Karavan — the Belgian collective led by Bram Bosteels. Kaboom Karavan has a history in theater, film and contemporary dance, but that doesn’t really help shine a light on their music. They have collaborated with musicians all over the world including Miasmah’s very own Kreng, and released a debut album on Mexico’s Umor Rex imprint, but again, this probably only gives a small indicator of what the collective actually sound like. There is something effortlessly surreal about the band, and surrealism is an aspect of art often attempted and very rarely perfected. Here, Bosteels abuses his choice of instruments (and players) to the point where the listener would barely be able to place which instruments were being used at all, in fact at times you’d be hard pressed even to place what sort of music it was. Through a haze of pizzicato strings, clouds of sullen reverberation and clamorous percussion, you get the feeling that you have been catapulted into a universe just outside of perception. Jazz and Dadaism might be the cornerstones of Barra Barra but these disparate influences are twisted and melted beyond recognition, leaving only remnants on the finished product. Barra Barra is a complex album which takes patience to navigate through; you could hear the German clanking pre-industrialism of Einstürzende Neubauten, the slow, brooding doom of Bohren & Der Club Of Gore and the stuttering abstraction of Black To Comm, yet it still feels fresh and distinctly current. Unusually, the most fitting comparison might be the work of The Brothers Quay, as the ticking, creaking, stuttering songs feel perfectly matched with these flickering, haunted images. This is what makes the album such an appropriate addition to the Miasmah canon, and one that will haunt your dreams (and nightmares) for months to come.
| OKPARA, RAY: Booty EP 12″ (MOBILEE 076EP) 12.00|
Ray Okpara’s groovy, soulful and deep house trademark style is present on this Mobilee 12″. Title track “Booty” is built upon an inescapable and neverending tightly-swung groove, while “Crabapple Road” comes with a nice and deep bouncing bass line. “Modern Dance” follows suit with an equal amount of energy, creating a very strong collection of dancefloor ammunition, which will likely be heard in clubs across the globe.
| SOLE, NICK: Contigo 12″ (MOJUBA 017EP) 14.00|
Mojuba veteran Nick Solé is up for release duty after some excursions on Faux Pas Music. Nick now presents three fresh cuts that push the boundaries of his own house music sound universe once again.
|MOJUBA UNDERGROUND (GERMANY)|
| TYREE: Nuthin Wrong 12″ (MU 001EP) 14.00|
Mojuba is proud to present a new little daughter to the label family called Mojuba Underground — a new home for unforgettable, rare, obscure licensed tracks that left a huge impression during the years at the clubs. Tyree aka Tyree Cooper starts it off with “Nuthin Wrong,” licensed from a classic Dance Mania 12″ released in 1995. This track has the magic combination of being emotional and soulful in terms of house and straightforward, funky and kicking in terms of techno.
|MORR MUSIC (GERMANY)|
| TIED + TICKLED TRIO AND BILLY HART: La Place Demon CD (MORR 100CD) 15.50|
The brothers Markus and Micha Acher are key figures in the now internationally-recognized trademark that is the “Weilheim Scene.” Every one of their projects, be it The Notwist, 13&God or Tied & Tickled Trio has grown to become a working cosmos each of its own while remaining open on all sides. This album comes thanks to their preference for creative collaborations, and Tied & Tickled Trio really have a thrilling artistic liaison this time around. The drummer Billy Hart is among one of the most accomplished contemporary jazz drummers in the world. Along with his recordings as band leader, Hart, who celebrated his 70th birthday in 2010, can be heard drumming on more than 600 albums. Among other groups, he was a long-running member of the Herbie Hancock and Stan Getz bands. Hart was highly involved with the composition and arrangements on La Place Demon. The permanent members of the Tied & Tickled Trio also occupied themselves intensively with Billy Hart’s music prior to and during the composition of the album. Over the course of his discography, he has covered everything from spiritual jazz to free music and electronic music. This album charts this development in broad strokes and as such is something like a biographical album. The Tied & Tickled Trio play jazz music from an indie perspective and so are by definition not afraid of contact. It’s amazing that a project which practically has a new approach for every composition can still have a unified sound. The guys from Weilheim have an instantly-recognizable sound — regardless whether they are playing crazy free jazz, static drones or complex patterns. Perhaps it’s something to do with their love of woodwinds and rather melancholy harmonies, which one knows well from The Notwist.
|MUNSTER RECORDS (SPAIN)|
| TNT: Manifiesto Guernika LP (MR 308LP) 19.50|
A key piece in the birth of Spanish punk, the core of TNT formed after Ángel Doblas and José Antonio García got together in the village of Huétor Tajar in 1978. At the same time, in Granada, Jesús Arias was feeling the loneliness of being the only Sex Pistols fan around. When he found out that there was a punk band looking for members, he didn’t hesitate to travel the 25 miles to Huétor Tajar. He also recommended his friend Joaquín Vilchez to fill in the drummer position. In January 1982 they recorded the demo Una Naranja Mecánica, which included covers of Clash songs, “Johnny B. Goode” and original songs. They sent a copy to the Radio 3 program Diario Pop, and it was very well-received. After a break due to Ángel’s compulsory military service and the departure of José Antonio, the band would carry on with the addition of José Castro as bass player. At the end of 1982 they signed a contract with DRO to record one single, Cucarachas/1984 *Euroshima*, which although at first was supposed to feature José Antonio back on vocals, became Jesús’ debut as singer. That 7″ was followed by one of the most impressive singles of early ’80s Spanish punk: TNT paired “Guernika,” based on Pablo Picasso’s painting, with “Gilmore ’77,” an intense track about the case of U.S. convict Gary Gilmore. Their following recording was their collaboration on the Rimado De Ciudad release, shared with the band Magic, where they put music to the verses of Granada poet Luis García Montero. When in early 1983 the record label told them they needed to release an album, the band had already conceived a specific project, a kind of collage where they could express the ideas they had in mind: the Spanish Civil War, George Orwell’s 1984, Stanley Kubrick’s A Clockwork Orange, poems by authors from Granada, etc. Other tracks such as “Habitación 101” kept up the same level of intensity, and cuts like “Nadsat,” based on Joy Division’s “Day Of The Lords,” with which it shares a sinister mood, or “Todo Está Bien,” reminiscent of Combat Rock-era Clash, widened the spectrum of the record. The band would carry on with some line-up changes until they finally split up in 1985. Since then, they have reunited on different occasions, the last one more recently, when they decided to re-record some of this album’s tracks in 2010. Limited edition reissue with original insert.
|MUSIC MAN (BELGIUM)|
| DEETRON & RIPPERTON: Depth Frame EP 12″ (MM 153EP) 12.00|
Both hailing from Switzerland, Deetron and Ripperton make their debut together for Music Man, delivering two tracks that dance on a thin line between deep techno and house. A true blinder!
| FRIEDMAN & JAKI LIEBEZEIT, BURNT: Secret Rhythms 4 CD (NON 030CD) 15.50|
The fourth album release in the Secret Rhythms series by Burnt Friedman and Jaki Liebezeit (Can) results from a 10-year collaborative project encompassing live performances and studio sessions. What began as a rehearsal for a concert delivered at the Cologne Triennale 2000 turned into a long-term exploration of the laws governing rhythm. Therefore, this fourth CD is based, like its predecessors, on a variety of rhythms seldom heard elsewhere. Extreme manipulation, percussive overdubs and Friedman’s sequence-like guitar and synthesizer (Korg MS20, in this case) provide accompaniment for music to which the notion of domination is foreign. The six hypnotic instrumentals are driven by Liebezeit’s cyclic drumming. In Secret Rhythms 4, the interplay of reduction and maximization is elevated to an aesthetic principle, the sound distributed dynamically over background and foreground. Fusing electronic and acoustic, improvisation and postproduction, Friedman and Liebezeit move further away from Anglo-American models. And although the duo’s preference for repetition is evidence of a refusal to flaunt virtuosity, the revived notion of Krautrock seems wholly inappropriate for Friedman and Liebezeit. Be it in concert or in the studio, the swing emerges naturally from the rhythmic pattern. That Mark Ernestus (Basic Channel) was invited to mix and co-produce the second track on the album is no coincidence: he played an important part in producing club tracks (e.g. Rhythm & Sound) unsurpassed in their bold minimalism and refined quality of sound. In the early 1990s, Liebezeit dispensed with his pedal-operated bass drums and hi-hats. After his ride cymbal met the same fate, he went on to develop a new style of drumming (repeating the feat he pulled off when a member of Can). Friedman: “No more than a few of these rhythms survived over the years, but the ones that did provided a core structure for various ongoing transmutations on each of the four albums and during live shows. Jaki sometimes joked about ‘secret’ rhythms, because in fact the rhythms are obvious, the opposite of hidden! The fact is, they are simply seldom heard in our country, and in clubs especially you don’t hear them at all.” While the three preceding albums were dominated by guest contributions, the new production is devoted almost exclusively to Liebezeit’s drum set and the Friedman-typical combination of keyboards and string instruments, all kinds of percussion and the computer. There are two appearances by Joseph Suchy, whose unmistakable guitar sound has left its mark on all the Secret Rhythms releases. Rashad Becker has been responsible for mastering all Nonplace titles since the first production in 2000. For the first time, Friedman and Becker co-mixed one of the album titles, a spin-off from “Entsafter” (Secret Rhythms 3), a track whose groove was previously used in “Obscured by 5” and “The Librarian” (Secret Rhythms 1 and 2). The story ends with two unworldly musicians who make music for music’s sake, while others, using the benefits of technology, have “moved on” and know what they want to sell with their music. Other guest musicians include Tim Motzer (E-Fuzz guitar), Hayden Chisholm (flute, saxophone) and Daniel Schroeter (bass guitar).
| ESQUERITA: Vintage Voola LP (ED 202LP) 13.00|
1987 release. “The earliest recordings by the master of lunacy, the Voola man himself! Eskew Reeder taught Little Richard and he’ll learn you, too! Just open wide and say Woo–aaagh! All cuts from 1958 (2 with Blue Caps’ Paul Peek)! Sorry, wig hat not included!”
| ADKINS, HASIL: The Wild Man LP (ED 203LP) 13.00|
1987 release. “The coolest collection of all time ’50s/60s hunchers by the legendary one man racket squad/rockabilly maniac, crudely recorded in his West Vee-Ay shack! This is the one that started the Big Ruckus! Unreal whompus!”
| HAWKINS, DALE: Daredevil LP (ED 256LP) 13.00|
1997 release. “Astonishing supercharged unreleased landmark teenage recordings 1956-1964 from the one rock n’ roll’s mightiest original maulin’ kings, Mr. Dale Hawkins! Norton presents for the first time ever the swampy, blues infested demo of rock n’ roll icon-legend-anthem Susie Q (featuring 15 year old James Burton on lead guitar!) plus tons of early monsters which document the beginnings of the often imitated/never duplicated patented Hawkins sound! Package features unseen photos galore, massive interview packed bio reignites the fever for the Hawk himself!”
|NOT NOT FUN|
| ENSEMBLE ECONOMIQUE: Psychical LP (NNF 206LP) 14.00|
Repressed, 2010 release. “Brian Pyle is well-known for his enterprising shamanism as one half of Nor Cal improv gurus Starving Weirdos but when off-roading in his Ensemble Economique buggy he seems to stumble onto even weirder psychogenic artifacts. Psychical is Pyle’s freshest full-length and easily his most drugged and dense. Thick, humid banks of synth-fog descend over looped cult hand-drum patterns, strangely panned waves of brainwash tones, and snippets of third world voices mumbling about blood and marijuana. As the name half-jokingly implies, EE is 100% Pyle’s creation instrument-wise, although his wife Phoenix does intone some possessed doom poetry over the crushing war drums of ‘Forever Eyes’ and Tom Carter (of Charalambides) cameos with some searing white light guitar shrapnel on the creep-out raga of ‘Real Things.’ All the pieces dissolve into one another, giving Psychical a dark-trip soundtrack mood, an upriver lost soul convoy into hostile off-radar territories, a thousand spectral voices misting down like blackening monsoon clouds. A total haunter, and an LP we’ve been spinning many midnights around NNF HQ. Black vinyl LPs in jackets with occult VHS artwork by Manda Beth Brown.”
| WEYES BLOOD AND THE DARK JUICES: The Outside Room LP (NNF 218LP) 14.00|
“Natalie Weyes Blood (originally Weyes Bluhd) has existed in the grime-ghost fringe-music catacombs since at least 2006, though originally it was in more of a crouched/hieroglyphic FX pedals style, culminating in a European tour with Axolotl. After two seasons of hibernation and a relocation to Baltimore, she materialized her ‘Blood In Bluhd Out’ transformation and began writing/playing the darkly haunted narcotic drifter ballads that make up The Outside Room, her first official full-length. Recorded and mixed by good friend Graham Lambkin, the record has shadows of The Shadow Ring in the oddly creaking ambient sounds and stark, nuanced production, which lend the eerily beautiful neo-Nico death-folk laments a more modern, art-skewed sheen. There’s still echoes of her old drone/tape-ghost-clouds moods on tracks like ‘In The Isle Of Agnitio’ and the long, bells-laden outro to ‘Romneydale,’ but the bulk of the LP is swooning and sweeping, with Natalie’s gorgeous, quasi-Teutonic vox leading the way. A subtly mesmerizing long-player, very ‘out of time,’ and strangely untouched by contempo influences. Black vinyl LPs in jackets with cool screengrab/photocopied artwork by the artist, plus an 11×17 lyric sheet/mini poster. Edition of 480.”
| ETTINGER, DYLAN: Lion of Judah 7″ (NNF 224EP) 6.00|
“Banging new single by this Bloomington Rogue Wizard finds him condensing the spatial sprawl of his ‘New Age Outlaws’ style into actual keyboard-riff/basement vocals anthems. Cool sound system low-end brings a bizarre retro-futurist party mood to the table. Big-hole 45s in silkscreened sleeves. Limited to 330 copies.”
| WET HAIR: Radiant Lines 7″ (NNF 225EP) 17.00|
“Amazing new pair of singles by this ever-evolving Iowa City kraut-pop duo-turned-trio comes in a stunning full-color 22-page pro-printed art book of brand new works by Wet Hair main-men, Shawn Reed and Ryan Garbes. Limited to 500 copies.”
| VA: Cult Cargo: Salsa Boricua De Chicago 2LP (NUMERO 036LP) 23.00|
2LP version. “Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-’70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago’s west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal ’79, the most impassioned, singular moments of which are compiled here.” Presented with a 12×12 inch, 28-page booklet in a full-sized slipcase.
|ON-U SOUND (UK)|
| AFRICAN HEAD CHARGE: Voodoo Of The Godsent CD (ONU 1015CD) 16.50|
“Voodoo Of The Godsent is the first new recording in five years from African Head Charge, and marks the beginning of an extensive series of new releases and classic reissues celebrating the 30th Anniversary of On-U Sound. This is their first release since 2005’s Visions Of A Psychedelic Africa and finds Bonjo once again joining forces with long time On-U stable-mates Skip McDonald, Crocodile, and the Crispy Horns, together with contributions from legendary bassist George Oban, Dancehall pioneer Jazzwad and electronic wizard Adamski. All the elements of a classic African Head Charge album are present; a triumphant mix of dub, psychedelia, trance, afro and tribal rhythms that have given them their own unique place in contemporary music.”
| VA: Bickershaw Festival 1972 Vol 2 DVD (OZIT 012DVD) 47.00|
“Completely revamped version of the old Bickershaw DVD. There is now a lot of new archive film, archive stills and archive audio making this new version over four hours long rather than one and a half. The original sections from the first DVD have been completely re-edited and appended- the only interview that stays from the first DVD is the Jerry Garcia interview in the Grateful Dead section. There is film of artists on this volume that weren’t on the first volume either.” Featuring Donovan, Flamin Groovies, Incredible String Band, Haydock Grass Band, The High Divers, Grateful Dead, New Riders Of The Purple Sage, Captain Beefheart, The Kinks and Captain Beyond. 240 minutes, all-region.
| WOOLFORD, PAUL: Can’t Do Without/Bareback 12″ (PHONICA 007EP) 12.50|
Phonica’s seventh release comes from Paul Woolford as he delivers a double dose of quality crossbreed dancefloor music. Opening this special double A-side 12″ is “Can’t Do Without,” a bone-shaking track that is laced in originality. Building up slowly from a tape-hiss-laden break, a low-slung bassline and a deep yearning vocal, this track is sublime dancefloor material. “Bareback” treads into dark acid territory that is a hybrid of techno and dubstep in a similar vein to Actress and Instra:mental/Boddika.
| SERPENT THRONE: White Summer – Black Winter LP (PM 1103LP) 28.00|
“Third release from fiery, swaggering, visceral instro metal rockers. Limited pressing of 500 in deluxe case wrap gatefold on black and blue vinyl. ‘Say there was a heavy rock festival in like ’72 where Black Sabbath, Wishbone Ash, the Scorpions, Budgie, and like Cactus are supposed to play, but then, due to a series of plane crashes and natural disasters, only 1 surviving member from each band can make it. In order to calm down the crowd of heavy rockers, Iommi grabs a couple dudes from the other bands and puts together an emergency band. And then Uli Roth says, ‘We don’t need a singer because he’ll just get in the way of the riffs.’ I think that’s what Serpent Throne is aiming for. Whether we get there or not is another story, but we’ll drink some beer and rip some guitar harmonies along the way.'”
|ROCKET RECORDINGS (UK)|
| GNOD & WHITE HILLS: Gnod Drop Out With White Hills II 2LP (LAUNCH 037LP) 25.00|
2LP version. Rocket Recordings are pleased to announce the reissue of the now highly sought-after 2010 double LP Gnod Droput With White Hills II. This reissue comes packaged in different artwork from the original release. 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, UK) and space-rock juggernauts White Hills (New York). Hot on the heels of their Not Not Fun sold out release, as well as countless self-unleashed CD-Rs and various indie label alliances, Gnod have been stirring their galactic soup of flashbacked rituals with unpredictable, incendiary results, both on record and as a live experience. Having them join forces with White Hills for this record is akin to having the aural equivalent of those 3D magic eye stereograms — looked at in one way, they just don’t make sense, but seen through the repetition of the music, the result is out of this world. Since White Hills’ last outing with Rocket Recordings on the Collisions split with The Heads in 2009, the band have successfully released their debut album for Thrill Jockey and now have notched up an impressive back catalog of releases. Their fiery brand of heavy space-rock has seen them burning up live appearances over the years as they continue on the path towards uncharted territories. To celebrate this thundering union, Rocket Recordings have embarked upon the release of a double vinyl LP expanding into four phases of pulsating mantras, awash with all the hypno-propulsion both bands’ motor skills can pilot. It’s brimming with surrendered NEU!-like patterns, like both bands driving through Dingerland with “L.A. Woman” blasting from the rushing air. We have 16-minute elegant Bel Air suites, whose ebbing and 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 sun roof of kosmische blur, rupture out through the expansive blue. The 8 tracks are embedded with four long 10-minute+ pieces and these anchor the whole experience firmly into an exciting haze of echoing psychedelia, electronic and experimental Krautrock trippo-nova. After which, all four corners of your mind’s eye have been consecrated in a world of undulating symphonies.
| SIGHTINGS: Michigan Haters LP (SS 060LP) 14.00|
“When Sightings second album not only crushed everything that they had done prior, but revealed the band to be sonic explorers of Magellanic proportions. Sightings’ overblown intensity was joined by abrasive twists and subtle unconventionality, a combination of sounds which one reviewer likened to ‘a storm of knives.’ Or something like listening to Terry Riley and Steve Reich through a Big Muff at 110 decibels. With Michigan Haters, Sightings started on what would become nearly a decade long reinvention of the rock & roll song. First through volume and now through invention, Sightings has given up a series of great albums: Absolutes, which clearly builds on what Michigan Haters created, Arrived in Gold, the coolly brilliant Through the Panama, and the fantastic City of Straw. Originally released on CD in 2002 by Psych-O-Path, didn’t get a proper vinyl release. So after years of Sightings and SS talking about doing a single, I finally said ‘Hey, Michigan Haters needs to be on vinyl. Let me do it!'”
| LEGENDARY PINK DOTS, THE: Paris in the Fall DVD (SDVD 008DVD) 13.00|
“Hearing that our 2009 Paris show was to be in small space called Le Klub, I admit being unable to stop a smile spreading across my face. During the sound check in another Paris club years earlier, a record label representative was experiencing problems over a guest list at the door. Filled with anger, he burst into the hall ranting and cursing in Parisian pidgeon English…This klub is fuckeeeng!’ Those words instantly entered Dots-mythology — an utterance used to let off steam in the face of frustration on the road (and always with a French accent). Legendary Pink Dots played a two-night residency at Le Klub, and the utterance was never needed. The first night was an intimate affair, while the second, which drew a weekend crowd, felt like a rock show in a shoebox. It was this second night that was filmed by Johanna Barda and her camera team.” –Edward Ka-Spel.”Coinciding with the Legendary Pink Dots’ 2011 European tour (which includes a night in Paris) comes this live DVD. The performance took place on November 13, 2009, in an intimate Parisian nightclub, with a lineup featuring Edward Ka-Spel, Silverman, Martijn de Kleer and Niels van Hoon. Raymond Steeg worked the soundboard.” NTSC, all-region. Running time: approx. 90 min.
| REALMZ: Astral Body 12″ (SG 1146EP) 12.00|
Pittsburg native and Sonic Groove label resident Realmz is back with his latest music endeavor Astral Body. This 4-track seethes with futuristic sound designs layered perfectly over industrial technoid drum rhythms. With his past roots planted firmly in both industrial music and Detroit techno, Mr. D’Atri knows a thing or two about crossbreeding both these styles as evident on his past releases. Here within Astral Body, you will find the perfect genetic mutation of industrial and techno.
|SOUL PATROL RECORDS (FRANCE)|
| VA: Funky Sex Machines CD (SP 10125CD) 18.00|
“Since 1993, Soul Patrol has established themselves as an undisputed reference when it comes to ‘Funky-Soul’ music. Almost a trademark, Soul Patrol made its name providing compilations of obscure tracks originally released on 7″ inches. Soul Patrol pays tribute to some artists who hardly made their living with their music, although they would have deserved it! Today, Soul Patrol strikes stronger than strong with 10 rare tracks from the ’60s & ’70s. Like the previous compilations, there are some gems to discover, some surprises and some ‘ear-openers’, such as Dynamic Corvettes’ ‘Keep off the grass’ or the ultra efficient ‘Close your eyes’ by The Capprells and also ‘Alex Twister’ by Joe Cotto y su Orquesta. Welcome into the Black Power sound, when soul music reflected political violence and misery, where dignity and freedom are above all…” Other artists include Detroit Sex Machines, James Polk & The Brothers, Big Al & The Star Treks, Mr. Percolator, Audrey Royal, Kellee Patterson, Barbara Morrison, Deloris Easly and Hebrew Rogers.
| VA: Funky Sex Machines LP (SP 10125LP) 18.00|
| SARMIENTO Y SU BRAVO, MICHI: Aqui Los Bravos! 2LP (SNDW 028LP) 23.50|
2LP version. Subtitled: The Best of Michi Sarmiento Y Su Combo Bravo 1967-77. Soundway remain in Colombia for the follow-up to Cartagena! Curro Fuentes & The Big Band Cumbia and Descarga Sound of Colombia 1962-72. (SNDW 026CD/LP), with a collection of pure Colombian dancefloor thunder; 16 tracks of the finest guaguancós, descargas and cumbias recorded by legendary bandleader Michi Sarmiento Y Su Bravos and released on the infamous Discos Fuentes label between 1967 and 1977. Born into a musical family in 1938, Michi, a musical child prodigy of sorts, began playing the cabarets, casinos and cathouses of Cartagena in the late 1950s. By 1967, he had formed his Combo Bravo (the band consisted of two trumpets, Michi on tenor sax and clarinet, guitar and piano, electric bass, tumbadora, timbales and a young Joe Arroyo on vocals) and began to play live alongside other exciting young groups such as Toño Y Su Combo, Los Seven Del Swing and Puerto Rico Y Su Combo. Along with infectious dance porros and cumbias, Michi Y Su Bravo specialized in rumbling guaguancós, descargas and hot covers of early salsa and boogaloo hits. Michi’s LPs on Discos Fuentes, brilliantly produced and recorded by Mario “Pachanga” Rincón, were packed with fast-paced dancefloor burners featuring pumping bass, insistent montunos, sax solos and nasty metallic percussion. Compiled by Roberto Gyemant, Quantic and Miles Cleret. Includes MP3 download code.
| KING KENNYTONE AND HIS WESTERN TOPPERS BAND: Dancing Time With 7″ (SNDW 7010EP) 12.50|
Two rare tracks from when the dance craze that was The Twist hit Nigeria in the early 1960s. Limited to 1,000 copies with free MP3 download. King Kennytone, trumpeter and stalwart of the Nigerian highlife scene of the ’50s and ’60s, was the foremost purveyor of African Twist in the early ’60s. Following the massive dance craze of The Twist in the U.S. and UK in 1961/1962, Kennytone recorded his African Twist numbers at the same time in both English and Igbo.
|SOUVENIR MUSIC (GERMANY)|
| RE.YOU & RAMPA: Our Thing EP 12″ (SOUVENIR 035EP) 12.00|
Re.You & Rampa bring a new danceable creepiness to Souvenir Music. Re.You grabs the A-side on his own with a rework of “Ghost” by Hamburg duo Phantom/Ghost with a haunting vocal that is foggy & vague matched with excellent guitar underpinnings and a strong percussive sway. The B-side brings Rampa & Re.You together for “Awareness,” a deep, dark track with a chugging bass line and a heavy, syrup-soaked vocal.
| FORREST, JASON: The Everything CD (AKT 716CD) 15.50|
Six years in the making, Jason Forrest’s The Everything is the latest achievement in a long and varied career. It’s perhaps his interest in new music, his openness to old ideas and a restless ear that has helped Forrest to keep current and to remain true to his unique place in the music world. Beginning his career in 1999, his blend of sample-heavy classic-rock meets jungle meets noise propelled Forrest rapidly to international acclaim. His 2004 album The Unrelenting Songs Of The 1979 Post Disco Crash was championed by Pitchfork and launched him on a non-stop international tour that continues to this day. His last album in 2005, Shamelessly Exciting was a personal best for Forrest and gained glowing critical reviews worldwide. The Everything is an ambitious record with a broad palette while at the same time remaining surprisingly cohesive. One can hear the same expressive mind at the controls over all 11 tracks. From the funk of the opening track “New Religion” to the chaotic bombast of “Archive,” the musical thread leads logically (if unexpectedly) from track to track. Forrest covers a lot of ground along the way. On “Italian Lessons,” Forrest takes cues from Ennio Morricone, Crass, Krautrock and Afro-pop ending up with something altogether unique. “Raunchy” is a juke-town boogie-woogie with a stomping beat interrupted by a cinematic build-up, resulting in a demonic guitar solo straight from hell. “Roger Dean Landscape” is drawn similarly from a sort of Arabic prog-rock but also fits easily at home on a late-night club music set while “Keys To The Door” feels like it would be right at home on a late-night radio station in the smooth ’70s. The album ends with one of the biggest surprises in Forrest’s career, “Isolation, Too,” an introspective meditation on what it feels like to be still, to be quiet, to be lonely. The Everything is packed with vitality, innovation and musical daring. This is not a bashful album, it’s not following trends, it’s arty in many aspects and it’s iconoclastic. The Everything is loud and proud, an album full of emotion from baroque melody to brutal noise. It’s symphonic, it’s clubby. There are elements of almost every genre one can think of — from rockabilly to dubstep to electroacoustics. It’s an album that takes the listener on an audio tour through Forrest’s musical world. In short — it’s everything.
| MAGIC I.D., THE: I’m So Awake/Sleepless I Feel LP (STAUBANA 004LP) 17.00|
LP version. This is the second release from The Magic I.D. — a Berlin-based quartet exploring the juncture of song forms with abstract music. The band, consisting of Margareth Kammerer (vocals & guitars), Christof Kurzmann (vocals, g3 & lloopp), Kai Fagaschinski and Michael Thieke (both clarinet), formed in the summer of 2005 after previously being connected via smaller groupings and projects. The musicians expand song forms through the prism of experimental sensibilities and mesh the two remarkably fluidly. I’m So Awake/Sleepless I Feel consists of 10 intricately-constructed gems, each with its own individual shape, painstakingly sequenced to form a record that becomes more than the sum of its parts. The combination of twin clarinets, guitar, subtle electronics and voices seems deceptively simple, but it makes a heady cocktail. The combined effect creates a unique soundscape; after hearing two seconds of this music, it could be mistaken for nothing else.
| TELEBOSSA: Telebossa LP (STAUBANA 005LP) 17.00|
LP version. This is the debut album on Staubgold from Telebossa. The singularity of Telebossa’s music is the result of a stunning interplay between musical cultures and the incessant exploration of samba, jazz and chamber music. In this music, bossa can seem at times very distant while the Donaueschinger Musiktage (where compositions by Chico Mello have been performed) and Kapital Band 1 (Nicholas Bussmann’s band project on the Mosz label) can be very close. Both Bussmann and Mello are at home in South America and Europe in equal measures. They combine Brazilian heritage such as Noel Rosa’s “Seculo Do Progresso” seamlessly with minimal music, improv and electronica. On their debut album, they have achieved the difficult feat of transporting the spirit and the soul of their live performances into a studio and capture it in a fantastically-produced recording. It’s comprised of seven moving songs which tell stories about love and sorrow, about homesickness and wanderlust, about the Kotti (the Kottbusser Tor in Berlin) and the Copacabana.”My first encounter with the music of Telebossa was a plain mp3 file attached to an e-mail from Nicholas Bussmann, which left me curious and skeptical simultaneously. How could it be that two Berlin-based experimental musicians (which is how I had regarded them up until then) could play a Brazilian music, which was equal to that of bossa nova’s protagonists like Antônio Carlos Jobim, Caetano Veloso or João Gilberto? What was the source of this irresistible, always deeply melancholic and disarmingly authentic flair, which transported me at once from wintery Berlin to the tropical humidity of Rio de Janeiro?” –Markus Detmer
| ECHOLOGIST: Subterranean CD (SFV 010CD) 15.50|
Brendon Moeller aka Echologist and Beat Pharmacy needs no introduction. His work with numerous fine labels such as François K’s Deep Space Media, Ann Aimee, Rekids, Mule, Echocord, Third Ear, Electric Deluxe, Ostgut Ton, to mention but a few, speaks for itself. Whether it be serious dancefloor bizniz, or dubbed-out bass-scapes and experimentalism, his music has always possessed a quality and signature that continues to captivate a worldwide audience. This is his seventh full-length album. Subterranean is a deeply narcotic listening experience. Subtly evolving atmospheres, hypnotic sub-bass lines, reverb-soaked drones and lush, vibrating textures abound. All elements possess their own pulse and cadence, but stay in sync to create an otherworldly sub-aquatic experience. The album gently ebbs and flows as exquisite modulations and articulations create a mesmerizing ambience that is at times as propulsive as it is passive. Minimal without being clichéd, dubby without being played-out, repetitive without being dull. This is not music to be analyzed, it is to be felt, both physically via the bass tones and emotionally via the haunting ambience. Seemingly endless, the meditative soundscapes here are not merely indolence but rather a quest for the feverish outer limits of spacious bliss. Shoegaze techno?
| WILHITE, RICK: Analog Aquarium 2LP+CD (STILLM 004LP) 23.50|
Gatefold 2LP version, includes CD. Still Music is proud to present Analog Aquarium, the debut album by legendary Detroit house producer Rick “The Godson” Wilhite. Rick is a longtime member of Detroit’s dance music scene, dating back to his time working at Buy Rite records, one of the epicenters of Detroit’s 1980s techno music explosion. More recently, his own record shop Vibes New&Rare Music has achieved revered status amongst those in the know, acting as the heart and soul of deep dance music in the city. His love for music and records has led to a DJing career that has spanned many genres, though it is his take on deep house music that has led him to international acclaim. Drawing from Detroit’s history of soul, jazz, disco, house, and techno, Rick’s productions weave these sometimes disparate elements into a beautiful, cohesive whole that remains distinctly his own, just as he does with the records he plays in his DJ sets. Working with Theo Parrish, Kenny Dixon Jr. and Malik Pittman on the 3 Chairs project has grown Rick’s reputation even greater. With many classic 12″ releases under his own name that have been absolutely beaten to death by DJs worldwide, it is now time for Rick to leave his mark on a wider audience. While it is undoubtedly HIS album, Analog Aquarium allows Rick to explore all sides of his musical abilities with the assistance of some of his most trusted allies. The record kicks off with a hot, jazzy vocal track in collaboration with Osunlade, Theo Parrish, and Billy Love, the Jacksons-referencing “Blame It On The Boogie.” “Dark Walking” sees Rick team up with fellow 3 Chair Malik Pittman to explore the deep, nasty underbelly of the 313 with menacing synth bass and warm jazz chords. The two-part jam “Muzic Gonna Save The World” is a loose, stomping string-heavy romp, bringing to mind Pharoah Sanders if the synthesizer and sampler had been his instruments of choice. “Sunshine Pt. 2” starts off pleasant enough with rolling percussion and Rick’s own voice but those vibes are soon belied by the ominous strings and bells that transform the track entirely. One of the tracks from Rick’s first outing on Still Music is revisited on “City Bar Opening (Basement Mix),” taking the already raw feeling to an even higher level. “Deep Horizons” begins with frenetic percussion that is eventually whittled down to a soulful groove before building the intensity back up. Rick’s famous late-night sampled grooves reappear on “In The Rain,” with Billy Love vibing up the place with his heartfelt vocals. On “Cosmic Jungle” and “Cosmic Soup,” Rick explores outer and inner space with tripped-out sci-fi effects but without sacrificing the soul that makes his productions so personal. All in all, a fitting full-length for such a diverse musician.
|SUNBEAM RECORDS (UK)|
| MAGIC MIXTURE, THE: This Is The Magic Mixture CD (SBMCW 5506CD) 18.00|
Sunbeam Masters is a series of deluxe CDs celebrating some of the most enduring underground albums of the 1960s and 1970s. Manufactured to the highest standards, each is presented in a mini-LP gatefold sleeve, complete with a full-color booklet (including rare pictures and detailed background information) and archive bonus material. Each release is strictly limited to 1,000 individually-numbered copies. Recorded swiftly and issued briefly on the Saga label in September 1968, the sole album by this mysterious London quartet has become one of the most cherished artifacts of British psychedelia. Sunbeam is delighted to announce the only reissue ever to be produced with the full involvement of the band, boasting better sound quality than ever and telling their story for the first time. Also featured are four previously-unheard bonus tracks dating from the same time as the LP, as well as numerous rare photographs, making this the definitive edition of the album and an essential purchase for all fans of UK psych.
| PINCH & LOEFAH/PINCH & ROSKA: Broken/Paranormal Activity 12″ (TEC 048EP) 11.00|
Tectonic presents a collaborative effort between Pinch & Loefah and Pinch and Roska. Roska is known more for his 130 bpm funky productions, but this collaboration takes the tempo up to 140 bpm for an exercise in rhythmical maximality. Meticulous drum programming is layered with dark, reverbed sonics, spooky pads and a gut-wrenching sub bass line. “Paranormal Activity” will summon ancient spirits, so be careful where you drop it. An essential purchase for true fans of the original dubstep vibe.
| BARN OWL: Ancestral Star LP (THR 253LP) 14.00|
2011 repress. Gatefold LP version.
| MUELLER, JON: Alphabet Of Movements LP (TYPE 092LP) 18.00|
With the music of Milwaukee-native Jon Mueller, patience is the key. His radical snare workouts are meditative master-classes in drumming, but require a distinct offering of time and attention to truly enjoy the dense clouds of sound his music creates. After crafting 2010’s critically-acclaimed The Whole, Mueller decided to put together a live set that, while not reflecting the over-dubbed nature of the album itself, reflected the philosophy held within. The result was “I Almost Expect To Be Remembered As A Chair,” and Mueller proceeded to perform this piece at various venues across the USA. Utilizing a unique snare drum set-up, which finds the drums mounted on small amplifiers, Mueller’s enviable focus is put center-stage and his resolve transferred absolutely into this dense, moving 20-minute piece. Here, the composition has been recorded to tape with a tireless attention to detail by Greg Norman at Steve Albini’s legendary Electrical Audio studio. The haunting, resonant drones spring to life with a surprising clarity, and the silo’s natural reverb gives the percussion a deeply human quality. On the first piece, Mueller sticks to his chosen snare, slowly ramping the buzzing rhythm into near-cacophony. By the time the piece is fully formed, you barely notice the change you have witnessed, but are surrounded by a cloud of thick, resonant, cavernous drones. The second rendition moves the composition to gongs and sees the dense resonance enhanced by the instruments’ singular plethora of harmonics. It is hard these days to emerge with music that could honestly be described as original, but Alphabet Of Movements is a truly singular piece of work. The focus that Mueller injects into his composition is unmatched, and his interpretation of drone and noise is absolutely on its own. Listen, absorb, and let the sounds permeate; you’ll be coming back for more in no time at all. Cut at Berlin’s Dubplates and Mastering.
| JULIUS, ORLANDO: Super Afro Soul 2CD (VAMPI 091CD) 22.00|
2007 release. One of the most innovative and pioneering musicians of his time, Orlando Julius had an amazing impact on the Nigerian music scene in the sixties and seventies. This double CD package includes Super Afro Soul with Orlando Julius & His Modern Aces, and Orlando’s Afro Ideas 1969-72 by Orlando Julius & His Afro Sounders. A mind-blowing mix of Nigerian highlife-style jazz, soul and funk. Orlando’s first album, Super Afro Soul, originally released in 1966, is a head on collision between highlife — the soundtrack of Independence first in Ghana and then in neighboring Nigeria — and ’60s soul from the USA, the soundtrack of African America’s struggle for civil rights and equality . Orlando’s Afro Ideas 1969-72 is a compilation of tracks from three albums Orlando recorded for PolyGram in Lagos. Orlando formed a much larger band, the Afro Sounders in the late ’60s. They began to explore an altogether deeper, funkier highlife fusion, responding to rock and psychedelia, the deeper funk grooves that were coming from the USA and also to Fela Kuti’s Afrobeat sound. The tracks are longer, the sound mellower, the rootsier grooves profoundly hip shaking.
| VA: Sensacional Soul Vol.2 2CD (VAMPI 099CD) 22.00|
2009 release. 32 groovy Spanish soul & funk stompers from 1965-1972! Vampisoul is pleased to invite you to the second bone-breaking session with the most danceable sounds “made in Spain” from the 1960s and early ’70s. Welcome again to the Sensacional Soul party! Soul turned Spanish pop into the fuel that ignited the dance floors and parties of Spain in the second half of the ’60s. For most bands, the soul explosion meant facing the “renovate or die” dilemma. After years of trying to emulate The Shadows and later The Beatles, the groups had two alternatives: joining the psychedelic movement or adapting the soul genre to the Spanish taste. Those who wanted to follow the rock path had to bear in mind the advances in the recording techniques that led to Sgt Pepper’s Lonely Hearts Club Band, something that was virtually impossible for most Spanish bands. Besides, the record companies, radio stations and especially the public were not ready to “open their minds” to the psychedelic revolution. Soul, however, did enjoy a bigger success thanks to the hits by the Tamla Motown and Atlantic artists, and thus many guitar groups decided to incorporate a horn section. Spanish soul became hugely popular, and during the second half of the ’60s was the dominant music genre in a country still under Franco’s dictatorship. Apart from artists that imitated the purest sounds from the US, others took risks and tried subgenres such as progressive R&B, freakbeat soul, sunshine soul or psych-pop with soul-ish influences. This new volume offers a fantastic selection of all of them, including tracks by hit acts such as Los Bravos, Los Pekenikes, Manolo y Ramón (aka Dúo Dinámico) and obscure bands such as Jae’s Soul and Conjunto Brillant’s. CD digipack includes a massive 48-page booklet with notes and photos.
| VA: Highlife Time 2CD (VAMPI 101CD) 22.00|
2008 release. Nigerian & Ghanaian Sound From The 60s And Early 70s. Highlife, dance music played mostly in Ghana and Nigeria, represents one of the century’s first fusions of African roots and western music, and before 1970 it ruled dancefloors across much of West Africa. The story of West African big-band highlife is the story of West African independence itself. From its early roots in church music, old African song forms, sea shanties and military brass bands to the orchestra podiums of the slickest nightclubs and concert halls of Lagos and Accra, highlife has charted the growing confidence of a proud and gifted people casting off the shackles of empire: a people ready to live the High Life. Accra’s E.T. Mensah was the pioneer, but Lagos was not far behind, with superstars such as Roy Chicago, Rex Lawson and Dr. Victor Olaiya performing to packed dancefloors where, unusually for West Africa, ethnicity didn’t matter — Igbo people danced with Hausas, and Efik guys with Yoruba women. West Africa was prosperous, there was work for all — and for several glorious years, highlife was the soundtrack for the good times. In 1967 the tragic Biafran War wrought three years of misery in eastern Nigeria, but soon after highlife came to the rescue, the ’70s music of legends such as Stephen Osita Osadebe helping to heal the scars as only music can. In this collection you’ll find all of these highlife stars and more, from the most celebrated to the obscure one-hit wonders. Not content with just churning out material available from European and American catalogs, Vampisoul journeyed to Lagos, scoured the record crates, dusted off the forgotten mastertapes and started afresh. As the radio DJs used to say back then: “People, highlife is king! Long live highlife!” Includes an informative essay by African music authority John Armstrong.
| VA: Afrobeat Nirvana CD (VAMPI 102CD) 12.00|
2008 release. In this specially priced collection you will find a wide variety of exciting African sounds created in Nigeria from the late 1950s up to the late 1980s. All the songs are taken from releases on Vampisoul’s massive West Africa reissue project. On Afrobeat Nirvana music speaks for itself in its conflation of African tradition, jazz, highlife, psych, funk, soul, R&B and — of course — Afrobeat. Some of the names here are familiar to our occidental ears, such as the great Tony Allen, Orlando Julius, and of course Fela Kuti (here in his early years). But there are plenty of others, more obscure and mindblowing, such as Godwin Omobuwa, Dr.Victor Olaiya, Bola Johnson, Fred Fisher and Opotopo.
| BLACK MERDA: Force Of Nature CD (VAMPI 110CD) 12.00|
2009 release. Black Merda (pronounced “Black Murder”), the first all black rock band to write and play their own music in the late 1960s and early 1970s, are considered to be black rock pioneers as well as the originators of their own style of black psychedelic rock. They released two albums in the 1970s, Black Merda and Long Burn The Fire, which weren’t properly promoted when first released, but are now seen as black rock classics by a growing number of international music fans. Now they’re back, funkier and musically diverse as ever, with a new batch of songs, to take you on a magical musical trip, that’ll have your heads and minds bouncing and tripping in some new directions and happy positions. So sit back, and relax, and enjoy the funk-rock majesty of Black Merda’s A Force Of Nature. CD digipack with extensive liner notes by rock critic Michael Hurtt. (Mojo).
| VIKLICKY, EMIL: The Funky Way Of Emil Viklický CD (VAMPI 115CD) 12.00|
2009 release. Emil Viklický is one of the most renowned Czech jazz musicians and composers. This focused-on-funk selection was recorded between 1975 and 1987 in Czechoslovak studios. Be it with the legendary SHQ or with Energit, accompanying Eva Svobodová, conducting a tight studio big band or collaborating with fellow Berklee College students Frisell/Driscoll/Johnson, Emil knows how to funk up his keys all the way through. Viklický began his career as a jazz musician upon moving to Prague in 1971. In 1974 he teamed up with blues rock guitarist Lubos Andrst, whose then hard rock group, Energit, had just been banned by the communist censors. Viklický significantly helped Andrst to transform Energit into a top-class instrumental jazz-rock combo, and with the group’s self-titled album he also finally made his belated vinyl debut in 1975 (compiled here with the track “Ráno [Part 1, Kash Edit] [Morning]”). Another long-lasting collaboration was with the gifted jazz singer Eva Svobodová. In the mid-1970s Viklický provided her with a backing trio and also composed a lot of original material for her. The fruits of Viklický’s broad activities was a one-year scholarship to study composition and arrangement at Boston’s Berklee College of Music in 1977/78. In the US he was exposed to all flavors of contemporary jazz while jamming with numerous top musicians. Back home, some of his fellow students visited him in Prague in summer 1979: Bill Frisell, Kermit Driscoll and Vinnie Johnson. Also featured on this collection is his previously-unissued big band versions of some of his best jazz-funk tunes which he arranged and conducted. These were taped between 1979 and 1987 with members of various Czech jazz orchestras. A perfect introduction for Czech jazz with groove, with one of the masters: Emil Viklický. Extensive notes by Lukás Machata.
| VA: Gozalo! – Bugalú Tropical Vol. 4 CD (VAMPI 127CD) 16.50|
This is volume 4 of Vampisoul’s successful series of tropical Peruvian music of the ’60s: an exciting, spicy mix of musical gems that fill in the link between the mambo era and the dawn of salsa in South America. When drawing the musical map of Latin America, the mistake is often made to identify the zone of influence of Afro-Latin music only around the Caribbean. It’s true that the great creators are Cuban and Puerto Rican, but when their music spread out across Latin America, similar scenes sprung up in other parts of the continent. It was during the ’50s that the genre captivated Peru. Tropical orchestras appeared everywhere with a repertoire based on mambos, guarachas and, to a lesser extent, boleros and merengues. However, over the Afro-Cuban foundation they added diverse influences and reached a new sound, different from their inspiration. Within the core of the tropical music scene, the Sonora de Lucho Macedo was the first group of its kind in the middle of an environment exclusively populated by orchestras. Beyond his irrefutable professional merits, Macedo’s essential contribution was to recruit musicians that later on would start the most important boogaloo groups. The first one to leave his band and go his own way was Joe Di Roma. Bongoist Ñiko Estrada left a little later to create his Sonora Antillana. From Macedo’s band also came double bass player José “Pepe” Hernández, percussionists Mario Allison and Coco Lagos, trumpet player Tito Chicoma and singer Charlie Palomares — almost all of the main artists of the golden age of boogaloo in the mid-’60s, each of them a director of their own band. 1962 saw the arrival of Nilo Espinosa, a saxophonist with a solid academic formation and a deep knowledge of jazz. The puzzle was completed with the self-taught pianist Otto de Rojas. They all knew each other from the hotels, parties and TV sets, but especially from the studio recording sessions. The height of the tropical orchestras coincided with boogaloo. At that point, the scenario had changed. The massive migration inland towards the capital brought along a radical change in popular music, giving birth to Peruvian cumbia, which also had a tropical foundation. The Afro-Cuban influence, without disappearing at all, left room for a Colombian influence. With the new decade, the market was taken over by cumbia and salsa. An era had reached its end. This collection features liner notes in Spanish and English by expert Carlos Torres Rotondo plus photos and original artwork reproductions.
| VA: Gozalo! – Bugalú Tropical Vol. 4 2LP (VAMPI 127LP) 25.50|
2LP version. This is volume 4 of Vampisoul’s successful series of tropical Peruvian music of the ’60s: an exciting, spicy mix of musical gems that fill in the link between the mambo era and the dawn of salsa in South America. When drawing the musical map of Latin America, the mistake is often made to identify the zone of influence of Afro-Latin music only around the Caribbean. It’s true that the great creators are Cuban and Puerto Rican, but when their music spread out across Latin America, similar scenes sprung up in other parts of the continent. It was during the ’50s that the genre captivated Peru. Tropical orchestras appeared everywhere with a repertoire based on mambos, guarachas and, to a lesser extent, boleros and merengues. However, over the Afro-Cuban foundation they added diverse influences and reached a new sound, different from their inspiration. Within the core of the tropical music scene, the Sonora de Lucho Macedo was the first group of its kind in the middle of an environment exclusively populated by orchestras. Beyond his irrefutable professional merits, Macedo’s essential contribution was to recruit musicians that later on would start the most important boogaloo groups. The first one to leave his band and go his own way was Joe Di Roma. Bongoist Ñiko Estrada left a little later to create his Sonora Antillana. From Macedo’s band also came double bass player José “Pepe” Hernández, percussionists Mario Allison and Coco Lagos, trumpet player Tito Chicoma and singer Charlie Palomares — almost all of the main artists of the golden age of boogaloo in the mid-’60s, each of them a director of their own band. 1962 saw the arrival of Nilo Espinosa, a saxophonist with a solid academic formation and a deep knowledge of jazz. The puzzle was completed with the self-taught pianist Otto de Rojas. They all knew each other from the hotels, parties and TV sets, but especially from the studio recording sessions. The height of the tropical orchestras coincided with boogaloo. At that point, the scenario had changed. The massive migration inland towards the capital brought along a radical change in popular music, giving birth to Peruvian cumbia, which also had a tropical foundation. The Afro-Cuban influence, without disappearing at all, left room for a Colombian influence. With the new decade, the market was taken over by cumbia and salsa. An era had reached its end. This collection features notes in Spanish and English by expert Carlos Torres Rotondo plus photos and original artwork reproductions.
| VAINICA DOBLE: Heliotropo LP (MRSSS 019LP) 25.00|
“Heliotropo (Ariola, 1973), the second LP by Vainica Doble, strikes me as the discovery of the world in little more than half an hour — a treatise on the human condition, from childhood until death, based on the small things. Themes on this album include disappointment and the necessary courage to face mistakes, the road that lies between perception and memory and that vital path that appears once we have cleared out the fallen leaves that were hiding it. It’s the ‘recalled’ memories that will make up our life, as life is just firm present and feeble past. Carmen Santonja and Gloria van Aerssen speak to us, sometimes as the worried mother, other times as the warm lover that whispers secrets in our ear and, finally, as the slightly older friend, wiser and more experienced, who tries to show us life’s twists and turns. They possessed an intellectual and vital knowledge light years away from their contemporaries, an unusual curiosity and talent, and their musical references were as wide as scarce were their prejudices. Often considered two kind and sensitive angels, they were indeed that and much more too: malevolent, sweet, sarcastic, intelligent. From each of their tracks flowed a power and talent that showed us a thousand ideas. Social commentary, folk and fuzz hand-in-hand, treatises of luminous psychedelia born out of a children’s tale, the scent of the southern seas, and more. They carried Spanish copla and traditional songs in their hearts and the old (even then) musical movies of the ’40s in their memories — all of it strung together by a decadent melancholy that provokes an almost unhealthy attraction. What in others were anomalies poured from Vainica Doble as something natural, fluent, truthful. Nothing in them seemed forced: rock, copla, folk, French chanson, nursery rhymes, etc. And standing behind it all is the great Pepe Nieto: arranger, producer, and artisan who was able to reproduce and support their natural, iconoclastic personalities. Their songs were and still are buoys of memory. Familiar places in which to find shelter. Every time we visit them something wonderful happens.” –Ximo Bonet. Vainica Doble were one of the most unique artists in Spanish music. On Heliotropo, they brought together rock, folk, Spanish copla, French chanson and lullabies to create music completely their own. Deluxe gatefold 180 gram reissue with original artwork and liner notes.
|WARP RECORDS (UK)|
| AUTECHRE: EPs 1991 – 2002 5CD (WARP 211CD) 36.00|
“For the first time ever, one of the most distinctive and revered electronic groups of all time have compiled a massive collection of tracks from their EP releases (mostly out of print) between 1991 and 2002. These include Cavity Job (1991 – First Autechre release from before they signed to Warp and not available on CD before), Basscad EP (1994), Anti EP (1995), Garbage (1995), Anvil Vapre (1995), Peel Session (Transmitted 1995, released 1999), Envane (1997), Cichlisuite (1997), EP7 (1999), Peel Session 2 (Transmitted 1999, released 2001) and Gantz Graf (2002). With the exception of 1994’s mainly remix based Basscad EP and Cichlisuite, all the EPs are comprised of music not found on their albums.”
| WAX POETICS: #46 April/May 2011 MAG (WP 046) 9.99|
On the covers, front: George Benson, back: George Duke. Contents: Editor’s Letter, Re:Discovery (Towson State University Jazz Ensemble, Randy Weston, Rahsaan Roland Kirk, Los Exciters, Fred Tompkins); In Memoriam: Bobby Robinson 1917-2011; Coltrane’s Lost Recordings; Nostalgia 77; Record Rundown (DJ Soulscape rediscovers South Korea’s musical history); Mainstream Records (label feature); Billy Cobham; Norman Connors; Funkin’ for Jamaica; Phil Cohran; Analog Out. 114 pages, full color, high gloss.
|WOLFSKUIL RECORDS (GERMANY)|
| PATCH PARK: Not My Best Behaviour 12″ (WOLF 020EP) 12.00|
Legendary Dutch producer Patch Park makes his debut on the Wolfskuil label. Making waves in the ’90s in the progressive house scene, Mr. Park has made a name for himself with huge techno and house releases on Renaissance and Be As One. The result of behaving bad is three high-quality, deep and hypnotic tech-house groovers. Patch has outdone himself by taking us on a mad trip into the dark side of his mind.
|YEP ROC RECORDS|
| LOWE, NICK: Labour of Lust LP (YEP 2621LP) 21.50|
“As the bassist and primary songwriter for Brinsley Schwarz, Nick Lowe was one of the catalysts of the pub rock phenomenon in the early 1970s. As the co-founder and house producer at Stiff Records, he would help create the blueprint for the modern indie rock label and usher in British punk and new wave, helming historic recordings for The Damned, Elvis Costello, and The Pretenders. Here, his landmark second solo album Labour of Lust gets the deluxe reissue treatment. The reissue also includes Nick’s biggest US hit ‘Cruel To Be Kind,’ the originally U.K.-only ‘Endless Grey Ribbon,’ and U.S.-only ‘American Squirm, plus bonus B-side ‘Basing Street.’ LOL is the only of Lowe’s solo albums to hold the distinction of featuring Nick’s Rockpile cohorts Dave Edmunds, Billy Bremner, and Terry Williams on every track. Originally released in 1979 and out of print for nearly twenty years, the album has been remastered from the original source, reintroducing this masterpiece to a new generation of pop music obsessives.” Gatefold with full-color inner sleeve with period photos, new essays and artwork by Barney Bubbles.
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