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200 013EP NHAR: Megumi/Bluedrop 12″ (200 013EP) 12.00
This is the first release by French artist Nhar on 200 Records. The unique and sublime sound of Nhar has been heard on numerous releases on labels such as WIR, Modelisme, Time Has Changed, Sonic Culture, Mina and many more. “Megumi” and “Bluedrop” both have everything you would expect from tracks released on this label: two brilliant, timeless, deep and majestic dancefloor tunes.
“This special new edition of the now long sold out Charlemagne Palestine Voice Studies LP, pressed on dark blue vinyl and featuring a new sleeve layout, was included in the Avant Marghen Volume Four 7LP boxset edition limited to 80 numbered copies. Extra copies of this same edition are now available for sale, separately from the boxset edition. Palestine’s introduction to music or sound was first with his own voice. This LP includes the very early Surrealistic Studies, using a Webcor reel-to-reel tape recorder, discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. Voice + Piano Study I & II are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. In Voice Study Charlemagne sings in a falsetto duet with himself on two separate tracks in a resonant space, searching for intervals that resonate together and respond like electronic sound wave oscillators played against each other.”
ARISTA 5509LP BLACKMAN, DON: Don Blackman LP (ARISTA 5509LP) 11.50
Exact repro of this 1982 album from NYC’s Don Blackman. No one in the western world has gone at least a few months without having one of those weird, prolonged-eye-contact dreams involving this album cover, but the music has also been sampled by the likes of Jay-Z, Madlib, Beat Konducta and People Under The Stairs. And for good reason. If handclaps and slap bass could hurt, this record would beat the shit out of you. “Yabba Dabba Doo” opens the album, but might as well be the title of every other song on this record. “You Ain’t Hip” is absolutely terrifying; something like Betty Davis in a cocaine-psychosis mounting a saddle on your back and riding you ass-naked around a shag-carpeted studio. There’s a few slow-funk ballads, notably “Since You Been Away So Long,” which has its heart in the right place but ultimately goes down as smooth as oatmeal from a paperbag. This is a monstrous and unrelentingly killer piece of sick funk that will annihilate you.
AX 058EP MILLS, JEFF: The Power 12″ (AX 058EP) 8.50
An EP from the recent The Power CD album. A1. MicrobeA2. The ExchangeB1. Sprial TherapyB2. The Diagnosis
BMS 032CD ILAIYARAAJA: Solla Solla CD (BMS 032CD) 15.50
“Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro. The undeniable prince of Kollywood cinema, India’s second largest film industry, Ilaiyaraaja is more than equal to his forward thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation. However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you’re faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam and Kannada in order to unearth some the heaviest dancefloor friendly electronic pop to ever emerge from Southern India. This not-so-modest collection of lesser-spotted electronic Tamil pop features many tracks previously unavailable away from their original rare as hen’s teeth vinyl pressings. Includes the viral Kollywood/Bollywood klassic ‘Solla Solla.'”
BJ 021LP CARN, DOUG: Adams Apple LP (BJ 021LP) 11.50
Doug Carn’s fourth album for the Oakland, CA-based Black Jazz label, originally released in 1974. Carn plays electric piano, organ and moog. Includes a cover of Earth, Wind and Fire’s “Mighty Mighty” and a new version of Weather Report’s “Sanctuary.” This is a 1998 reissue.
BLP 4230LP MOBLEY, HANK: A Caddy For Daddy LP (BLP 4230LP) 11.50
Exact repro of this 1965 album, featuring Lee Morgan (trumpet), Curtis Fuller (trombone), McCoy Tyner (piano), Bob Cranshaw (bass), Bill Higgins (drums) and Morgan (trumpet). Tracks: “The Morning After,” “Venus Di Mildew,” “Ace Deuce Trey” and “3rd Time Around.”
LT 1045LP MOBLEY, HANK: Thinking Of Home LP (LT 1045LP) 11.50
Exact repro of this 1970 album, featuring Woody Shaw (trumpet), Eddie Diehl (guitar), Cedar Walton (piano), Mickey Bass (bass), Leroy Williams (drums), and Mobley (tenor sax). Tracks: “You Gotta Hit It,” “Gayle’s Groove,” “Talk About Gittin’ It,” “Justine” and “Suite: Thinking, The Flight, Home At Last.”
BB 002EP INKSWEL: Get To My Party 12″ (BB 002EP) 12.50
The second installment on Amsterdam-based Boogie Bash is from Inkswel (Australia), who drops a heavy 4-track 12″ featuring the legendary Gary Davis, Reggie B, Benny Badge and Kid Sublime. Tip!
BNR 058EP HOUSEMEISTER: Music Is Awesome 12″ (BNR 058EP) 12.00
Legendary dirty man Housemeister will blow out his third mother-L fucking-P Music Is Awesome for the wicked, and rave will reign again. But you can’t just stick your face out into this kind of quality noize — it would mini-melt right off, see!? So Housemeister took instant classic electro anthem title-track to some players and friends such as Boys Noize, Feadz, Bonaparte and Cosmin TRG for some sandblasting. This track is so brutal, people are gonna die dancing!
BMVI 002EP LAID BACK VS. SOUL CLAP: Cocaine Cool (Soul Clap Remixes) 12″ (BMVI 002EP) 12.50
Danish duo Laid Back made a surprising comeback to the clubs in 2010 with “Cocaine Cool.” Not that they had ever been really forgotten: their electro-pop classic “White Horse” remained a sure shot in clubs for 30 years after its release. Boston’s Soul Clap remix it into a more sparse arrangement, with an electro-funk beat, a hypnotic synth, a few dub effects and additional vocoder vocals. Besides an instrumental version there’s also a jacking dub take and a re-edit of Laid Back’s “Bakerman.”
CARGO 019EP TASNADI, SVEN: Petit Four EP 12″ (CARGO 019EP) 12.00
Sven Tasnadi always succeeds in producing warm and light-hearted tracks, both as a solo artist and together with his co-producer Stefan Schultz aka Juno6. “Caracho” is soft and cheerful at the same time and the remix by Juno6 brings out the best of filter house. “Easy Peacy” is a real summer track, coming across as very Balearic without being cheesy. “Petit Four” is a bit rougher, but later turns into a proper deep house track.
NB 9002LP SCOTT, GLORIA: What Am I Gonna Do LP (NB 9002LP) 11.50
Exact repro of this gorgeous soul LP from Texas singer Gloria Scott. Produced by Barry White and featuring the songs “I Just Couldn’t Take A Goodbye,” “That’s What You Say (Everytime You’re Near Me),” “Help Me Get Off This Merry-Go Round,” and “It’s Better To Have No Love.”
CAVE 002LP VA: Monsters Of The Midwest Vol. II LP (CAVE 002LP) 15.00
“Lost tracks from the action sixties! 16 boss cuts featuring Thingies, Morning Dew, Noblemen, Esquires, Plato & Philosophers, Rogues, Underbeats, Skeptics, Coachmen, Kyks and a couple more! All great! Liner notes on back cover.”
CAVE 003LP VA: Monsters Of The Midwest Vol. III LP (CAVE 003LP) 15.00
“Lost tracks from the action sixties! 16 boss cuts featuring Monuments, Living End, Blue Things, Wild Things, Barry Ebling & Invaders, Intruders, Jerms, Senders, Trolls+. Includes liner notes for each band on back cover!”
CCS 056EP AQUARIUS HEAVEN: 7 Days 12″ (CCS 056EP) 12.00
Damian and Clement of dOP fame return to Circus Company with a new project of dubbed-out late night madness featuring vocalist Brian Brewster. Far more sinister then dOP’s previous output, this EP features 4 tracks which explore an acidic realm of dark ruminations and swamp-dredged rhythms. Aquarius Heaven starts things off with a Basic Channel-esque wash of chords, noise and spoken-word. There’s also a chopped and screwed take on Italo and a track that sounds like an outtake from Kool Keith’s Dr. Octagon.
COR 025.1EP VA: Eleven Years Cocoon Recordings Selected Remix Works Part 01 12″ (COR 025.1EP) 12.50
Cocoon celebrates 11 years with a special compilation and this is part 1 in a series of 3 vinyl releases accompanying the compilation. Petar Dundov remixes Extrawelt’s “Titelheld” and over 12 minutes, Gary Beck unfolds presumably the mightiest bass kick on this comp around Pig & Dan’s “Deliverance.” Steve Rachmad brilliantly purges Joel Mull’s club hit “Harmonautic String” of 2007, and so, the 11 turns into a mathematical parable of acoustic and rhythmic felicity.
CRZR 1001CD VA: Brand New Wayo CD/BOOK (CRZR 1001CD) 21.00
Subtitled: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. “With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria’s Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as ‘disco’ but has since been recognized as its own unique genre retrospectively dubbed ‘Nigerian boogie.’ A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package, featuring over 80 pages of rigorously researched liner notes and photographs chronicling one of the most progressive and creative eras in the history of African popular music.” CD packaged in a mini-LP cardboard sleeve with an enormous book, all housed in an impressive outerbox.
CR 002CD TWEDDLE, CHARLIE: Fantastic Greatest Hits CD (CR 002CD) 13.50
Restocked, 2004 reissue. One of the more significant outsider 70s albums to finally get a reissue. Originally recorded in 1971 and rarely ever seen, never previously bootlegged even. High quality digipak packaging, with 6 bonus tracks. “Reissue of eccentric folk artist Charlie Tweddle’s self-released 1974 LP Fantastic Greatest Hits, a unique blend of psychedelic country and tape experiments. Charlie felt sure his new style of music would take the world by storm — it didn’t work out that way. Recorded in 1971, 500 copies of Fantastic Greatest Hits were pressed in 1974 under the name Eilrahc Elddewt with extravagant packaging. The LP was hand-distributed and received only minimal positive feedback; sales were poor. Why? Well for one, side two of the album is 25 minutes of chirping crickets and sound fragments. The abrupt patches of dead air on side one probably didn’t help much either. More than a few of these albums were returned as ‘defective’. Of course, all of these production moves were intentional. The CD was transferred from a copy of the original album. It includes six unreleased tracks from the same period as well as all of the original artwork in a fold-out digipak.”
CR 005LP HUBBS, STAN: Crystal LP (CR 005LP) 31.00
“Finally the official vinyl reissue of Stan Hubbs’ 1982 Crystal LP is available. 500 faithful repros were made of this confounding slab of stoner rock, each including a replica of the original 16 page booklet. Crystal was recorded in Hubbs’ rural Sonoma county living room and just like the original, this reissue was mastered and cut by Paul Stubblebine, pressed by RTI and housed in heavy, old-style jackets.”
CR 006LP FARNETI, MICHAEL: Good Morning Kisses LP (CR 006LP) 31.00
“Finally available, the first licensed reissue of Michael Farneti’s elusive Good Morning Kisses LP from 1976. This South Florida marvel has eluded collectors for eons and we are thrilled to get it back into circulation. 500 exact repro copies were pressed at RTI with crisp, heavy jackets produced by Stoughton.”
CRASS 005CD CRASS: Yes Sir, I Will 2CD (CRASS 005CD) 19.00
“The band came back to Southern Studios in March 1983 and in one intense, 45 minute recording session, the band’s fifth and last studio album Yes Sir, I Will was made. The band chose to forgo the formulaic cliches of punk rock and instead adopt the improvisational approach of free jazz, in a bid to replicate the desperation they were all feeling at that time. Reissue packaged with recreation of the original poster plus a 58-page booklet full of liner notes from Penny Rimbaud…. Two CD collection containing the original Crass album plus the 2002 jazz remix featuring key jazzers Ingrid Laubrock and Julian Siegel.”
CYN 046EP MARTIN TC: In Situ 12″ (CYN 046EP) 12.00
Martin TC is a former member of the now-defunct Monoblock project and proves again that it’s all about the cutting-edge of modern funkiness, delivering an ultra-funky, jazz-injected techno bomb of an EP. “In Situ” is an exploration in Chicago-style jack combined with a keen sense of Latin groove and “Al Fin y Al Cabo” and “Vice Versa” are an excellent reminder that techno jazz is still here and that the swing will never die.
DESTIJL 090LP WET HAIR: In Vogue Spirit LP (DESTIJL 090LP) 17.00
“Wet Hair have been living on the road and in the studio for the last few years and have made something special out of little more than synths, drums, flesh, blood, organs and ideas. They’ve traveled the world supporting the astral concepts of their music, which has henceforth had a subterranean visibility. In Vogue Spirit is their third LP and it is surely the one wherein all elements have gelled : the hazy, shifting experimental semi-thrust, the psychedelic production (notice we didn’t use the word ‘dub’) and the effortless melodic flow contribute to the vibe that makes this sound infinitely more fresh than the forms explored therein. There is no seismic shift. Worlds don’t collide. Silver apples don’t grow on the moon. The contributions Wet Hair makes nudge a strange and subtle augmentation on the template, and that’s all I’m content with asking of pop music.”
DECCA 12332EP ANIMALS, THE: Inside-Looking Out/Outcast 7″ (DECCA 12332EP) 8.00
“Repro of Decca-Italy 60s single by one of the greatest rock & roll bands of all time! Cool red picture sleeve.” On red vinyl.
DECCA 32429EP BANANA SPLITS, THE: The Tra La La Song (One Banana, Two Banana) 7″ (DECCA 32429EP) 8.00
“Fantastic Repro of classic single released in 1968 featuring the theme song from the childre’sn TV show The Banana Splits Adventure Hour! Full color sleeve and excellent quality!”
DKMNTL 005EP JUJU & JORDASH: Quasi Quasi 12″ (DKMNTL 005EP) 12.50
Scary-looking new 12″ on Amsterdam’s Dekmantel imprint. Three deep and insightful new Juju & Jordash tracks with a top-notch remix from Ra.H. Includes a poster in the plastic sleeve. Limited to 500 copies.
MMD 001CD MORPHOSIS: What Have We Learned CD (MMD 001CD) 17.00
This full-length from techno tastemakers Delsin is co-released by the man who made it, Morphosis aka Ra.H aka Rabih Beaini, on his own Morphine Records, as well as by close associate M>O>S. Beaini has been crafting away in the nether-regions of the techno underworld since the ’90s. Initially as a DJ, it was a move to Italy in 1996 which proved the catalyst for him to start experimenting in the studio. And he really did experiment: few people craft the sort of emotional, imaginative techno as has Beaini for labels like M>O>S and Morphine Records. Keen followers of techno will already have heard some of the offerings from this album, as both “Androids Among Us” and “Dirty Matter” were remixed by T++ and Newworldaquarium for a limited edition white label. The excitement surrounding that release was palpable enough, but get lost in a full-length Morphosis experience and you enter a whole new world of techno excellence. Kicking off with the Redshape-channeling, misty, slo-techno march and buried percussive clatter of “Silent Screamer,” the album builds through a plethora of grainy landscapes. They’re sometimes dense with a dusty static, sometimes lit up by a female vocal or occasionally paired with a round house kick, but always sound rooted in some real (albeit far off and desolate) world. The hum and buzz of Beaini’s bottom-ends have instruments and synths spiraling round as the only reference points in an otherwise engulfing sonic fog. Churning the listener round and round with his confident, assertive grooves, Morphosis’ dark and long house and techno fusions explore — like few others can — engaging new ground with their every subtle turn. Influences range from Krautrock via new wave but, importantly, all are digested by Morphosis before being re-imagined as something wholly fresh and original which, in turn, stands up well to both dancefloor deployment and intense home listening. What have we leaned? That house and techno still have a lot to offer thanks to the likes of Morphosis.
MMD 001LP MORPHOSIS: What Have We Learned 2LP (MMD 001LP) 23.00
2LP version.
DESOLAT 011X-EP CADIZ, ALDO: Strasse 12″ (DESOLAT 011X-EP) 12.00
Aldo Cadiz, Chilean DJ and producer, head of Disco Royal Music and resident of Santiago Beats returns to Desolat with some South American rhythms combined with the musical heritage of Detroit. Mastered with love by Enrico Mercaldi, the Desolat X series continues to release raw tracks that literally invite the DJ to play with loops and hooks to create something new, but you can also just put the needle on the colored record and let the groove treat your dancefloor nicely.
DIAL 058EP FLUGEL, ROMAN: Brasil 12″ (DIAL 058EP) 12.00
Roman Flügel comes up with a second issue of essential works for a colorful, twinkling dancefloor. Also known as Eight Miles High, Soylent Green and Alter Ego, Flügel has always been a main influence on the Dial family. Brasil is another example of Flügel’s unique and unexpected productions, offering eclecticism, modernism and dandyism under a groove. Timeless.
DKR 059EP SCION SUCCESS: Profile 7″ (DKR 059EP) 5.50
“Legendary dubplate cuts to the ‘chanting’ riddim, as played on the Jah Life & Volcano sound systems in the early 1980s! Many of the toughest riddims of the early ’80s came from the producing partnership of Hyman ‘Jah Life’ Wright and Henry ‘Junjo’ Lawes. Among them was this one, which saw two released cuts with John Holt’s ‘Chanting’ and Tony Tuff’s ‘Dance in the Area.’ But, soundsytem and dubplate followers also know that this rhythm had more unreleased cuts which played regularly as dubplates on Junjo’s Volcano and Jah Life’s sounds at the time. So we present the three unreleased cuts on the riddim, straight from master tapes, and now identified. Two of them come from one of our favorite singers, a pair of wicked outings from a young Scion Success! ‘Profile’ about modeling in the dancehall.”
DKR 060EP SCION SUCCESS: Can’t Wrong 7″ (DKR 060EP) 5.50
“In recent years we’ve seen these tunes unfortunately pirated, unscrupulously and anonymously sold on dubplate, recut from shoddy old plates who knows how many generations removed from originals. It seemed clear that the time had come for these cuts to see the light. ‘Can’t Wrong’ is a song of pure encouragement.”
DKR 061EP LEVI, SAMMY: Automatic 7″ (DKR 061EP) 5.50
“Next, another upcoming NY artist of the day, Sammy Levi with ‘Automatic,’ a warning about the perils of carrying a gun. Each of these three cuts is backed with Jah Life’s own dub version, showcasing a part of each vocal, in his trademark ‘Superstar Mix’ fashion.”
DKR 062EP TONY TUFF: Dance In The Area 7″ (DKR 062EP) 5.50
“Lastly we re-present the Tony Tuff cut, which has escaped the attention of many, due to its relative unavailability. Originally released on his Come Fe Mash It LP on Volcano in Jamaica, and on a rare 10-inch single on the EIS label in NY. This one comes backed with its own unique dub cut, as previously released on the EIS 10′. Released on Jah Life’s Dub Irator label.”
DISS 003EP ANTONA, MARC: Not The Fool 12″ (DISS 003EP) 12.00
Marc Antona is in sparkling form once more, backed by a stunning remix from Reboot. Launched as a new platform for Marc’s solo and collaborative productions, Dissonant has already impressed with its first brace of releases. “Not The Fool” sees Marc showcase his ability for bringing together the slightest of sounds and teasing them together to create musical magic. Reboot turns the drive of the original on its head, taking you on a meandering, bass-heavy, percussive ride into the unknown.
DS 004EP JAAR, NICOLAS: Love You Gotta Lose Again EP 10″ (DS 004EP) 12.00
2011 repress, originally released in 2010. This is a special edition all-white 10″ by Nicolas Jaar. It all kicks off with “WOUH,” a time-stopping piece with sparse arrangements, quirky gulps of sound and electric ambiance in a complex tapestry of harmony. The anthemic “Love You Gotta Lose Again” moves into contrasting boundless activity with broken beats, triumphant singing and pleasant guitar licks. “Don’t Believe The Hype” retreats into mystique again — a cascading mass of body-moving sound, simmering with secrecy.
EAT 023EP CAURAL: Die Before You Die 10″ (EAT 023EP) 12.50
This limited edition 10″ is pressed on yellow vinyl with hand-printed artwork. Zachary Mastoon aka Caural has released beat-based music on labels such as Chocolate Industries, Plug Research, and more. He eventually bid adieu to the electronic format with the swan-song, “Sorry, Underground Hip Hop Happened Ten Years Ago (For Regan).” Constructed entirely out of vocal samples of the word “yo” and the incidental sounds accompanying them, this track is a fragmented journey through some of Mastoon’s favorite moments in hip-hop.
EPC 65265LP CANE AND ABLE: Relating A Message To You LP (EPC 65265LP) 11.50
Exact repro of this 1972 funk album, recorded in France. Tracks include “Mass Of Confusion,” “Keep On Moving,” “Stoned Groove,” “Sweet Burn” and the soaring opener “Be Free.”
FABRIC 113CD AGORIA: Fabric 57 CD (FABRIC 113CD) 17.00
“Hot on the heels of his well-received Impermanence artist album, the French techno figurehead presents one of the most diverse and meticulous sets to hit the fabric series to date. Fabric 57 is as ambitious in range and technique as Agoria’s earlier contributions to the At The Controls and Balance series. Jazz greats drift almost imperceptibly into and out of house and techno heavyweights. Layers and snippets of each track are interwoven throughout the duration, making Fabric 57 as much an orchestral composition as it is a DJ mix.” Other artists include: Vainqueur, Ensemble Economique, Zodiac Free Arts Club STL, Blacmale, Moritz von Oswald/Tony Allen, Ella Fitzgerald with Buddy Bregman Orchestra, Sydenham & Joe Claussell, Clara Moto Feat. Mimu, Lil Tony, Canyons, DJ Kaos, DJ Tazz, Eisbar, Space Dimension Controller, Agoria Feat. Carl Craig & La Scalars, Sun Ra And His Mythic Science Arkestra, Agoria Feat. Carl Craig & La Scalars, Infiniti, Cottam, Mark E, Cottam, Jose James, Carl Craig, Versus Carl Craig, Ella Fitzgerald With Buddy Bregman Orchestra.
FN 002LP CICCIOLINA HOLOCAUST/SERMONIZER: Albeit Albeit/Sibelius Spiders LP (FN 002LP) 19.50
There’s no shortage of electronic reissue imprints operating these days, especially ones concentrating on “lost” synth-wave recordings from the late ’70s-mid ’80s, but few have access to the kind of material amassed over the years by Forced Nostalgia, a label curated by one of Belgium’s most knowledgeable and methodical sound archivists. The breadth and quality of the material already scheduled for release by Forced Nostalgia is just jaw-dropping — extending the remit to begin with the post-punk heyday of the late ’70s all the way through to the mid ’90s, taking in often unreleased, mostly unheard and overlooked material from tape music to industrial, from bossa-pop to proto-techno, from drone to out and out analog experimentation — with the vast majority of the music now being made available on vinyl for the very first time. Florim Prishtina and Rezart Veseli recorded together as Cicciolina Holocaust in Firenze, Italy during the late ’70s and early ’80s, releasing several tapes, all as small private editions given to friends. Using guitar, Korg Poly 61, Korg KPR 77, Cornet, Tascam Portastudio (4-Track), effect pedals, tapes and an array of self-built machines, their work covers a wide spectrum of analog electronics, resulting in oppressive and uber-dark synth-scapes and minimal proto-techno experiments that slot perfectly alongside the kind of darkside work typified by Regis and the more experimental end of the Downwards label in 2011. Sermonizer is the work of an anonymous producer from Bologna who started experimenting with primitive (field-) recordings and tape manipulations in late ’79. In 1984 he recorded numerous avant-garde, industrial and ambient works onto 4-track recorder and his massive output consists of numerous private tape albums, both studio and live recordings. The five tracks here were recorded between 1983 and 1986 and were made on synthesizer, guitar, violin, drum machines, electric shaver and other found objects and voice. Vinyl cut at Dubpates & Mastering, Berlin.
FCL 055EP MARIO & VIDIS: Changed 12″ (FCL 055EP) 12.00
Future Classic have gone back to their deep house roots with “Changed” by Lithuania’s Mario & Vidis and enlisted their friends André Lodemann, John Talabot, Soul Clap and Softwar to grab their pianos, drum machines and string ensembles for remixes. Their first tune was a remix for Atjazz and Robert Owens that was played and loved by Gilles Peterson, Pete Tong and Laurent Garnier. They’ve worked with Jazzu and Kathy Diamond and released their debut album on their own label Silence Music.
GET 54038CD HOWLIN WOLF: The Howlin’ Wolf Album CD (GET 54038CD) 15.00
“It’s not often that an album disavowed by its own author at the time of release goes on to become considered a modern classic. Yet that’s exactly what happened with Chicago blues legend Howlin’ Wolf’s 1969 LP The Howlin’ Wolf Album, a release that has since attained mythical status due to the controversy behind it. Released on Cadet Records, a subsidiary of legendary imprint Chess Records, The Howlin’ Wolf Album was a radical experiment for a well-established artist: attempt to integrate electric instruments and psychedelic arrangements into his revered signature blues sound. The result was an album that Wolf himself initially disregarded on the now infamous cover, but one that has won a special place amongst dedicated music aficionados thanks to its unique mix of traditional blues and electric rock elements. Get On Down’s reputation for high quality reissues continues with The Howlin’ Wolf Album, which features audio remastered from the original analog tapes for optimum sound quality.” Digipak release.
GET 704EP MISTAFIDE: Equidity Funk 7″ (GET 704EP) 8.00
“With copies of the original 12″ going for over $4000, and a recent German short run pressing already selling for hundreds of dollars, the timing couldn’t be better for this fully authorized reissue of one of the most legendary cuts from Peter Brown’s deep funk, soul, disco, hip hop vaults. This gem, from the Land Of Hits imprint, takes us back to a time when a hip hop cut was more like a feature film than a short (total run time goes over 10 minutes). The cut features a throbbing beat underscored by a solid funk guitar riff and the studio wizardry found on all Peter Brown productions. Never before on 7″… let’s call this a future collectable.”
GPM 041CD M.A.N.D.Y.: Body Language 10 CD (GPM 041CD) 15.50
Get Physical’s highly prolific Body Language mix CD series returns to M.A.N.D.Y. who started it all in 2005. Get Physical’s iconic Body Language mixes have all functioned like snapshots in time, capturing defining moments of club sounds throughout the series’ six-year history. For the 10th milestone edition of Body Language, Get Physical is going back to its roots, and back to its origins, placing Body Language Vol. 10 in the gifted hands of Philip Jung & Patrick Bodmer, best known as M.A.N.D.Y. — Get Physical co-founders, lifelong friends, masterful DJs and expert selectors. Through deep, thrumming tech house, vocal excursions, Detroit electro, touches of disco and smatterings of downtempo, M.A.N.D.Y. demonstrate yet again why they are so in-demand on the international club and festival circuit. Starting with the thundering piano chords and jazz percussion of Brandt Brauer Frick’s “Paparazzi” they seamlessly mix into the pensive melodies and underwater trumpet of Nicolas Jaar’s remix of Maceo Plex’s “Gravy Train,” which then bleeds into the deep swing, disco bass and cowbells of Kid Bliss’ “Discoshit.” Extrawelt’s deep dub tones on “My Stupid” make for an unexpectedly harmonious union with “Home,” an exclusive cut from M.A.N.D.Y. vs. Booka Shade that marks the foursome’s first collaboration in several years. The Latin percussion and uplifting synth melody of Elon’s “Clap Back” breaks free, racing towards a hands-in-the-air peak. Carl Craig’s storming rework of Ramadanman & Appleblim’s “Void 23” is a perfectly-pitched follow-up, and Roman Flügel’s remix of Darabi’s “Top Drop” takes it into sinister territory with flares and smears that break the melodic accents out of their boundaries. After taking a sharp left turn into the murky industrial sounds of Brendon Moeller’s “Mainline” (Robag’s Relokk Tokk Mikks), the deep drama is juxtaposed by DJ Koze’s trademark eccentricity, as “Der Wallach” bumps with loose-limbed jazziness and quirky arrangements. Patrice Bäumel’s electro-inspired “To Insanity And Beyond” marks a new chapter, and paves the way for Detroit pioneers Model 500, with their jacking electro breaks number. More programming surprises abound, as the broken beats melt into the deep funk of “Thieve $crilla” by Soul Clap. De Signer follows, with a Robin Porter & Subb-an treatment followed by Franck Roger’s “Egotrippin” and Harada’s “Conscious Movement.” M.A.N.D.Y. proceed to take it deep underground with Marc Houle’s wintry and otherworldly “The Next,” before lightening the mood again with a snippet of Nicolas Jaar’s “Space Is Only Noise If You Can See.” The shimmering electronica melodies of Estroe’s “Phat” Remix of Rocco Caine’s “Fatand 50” gleam and shine, before the track and the mix are pitched down into the suspenseful swan song, Kollektiv Turmstrasse’s “Addio Addio.” Body Language Vol. 10 is an immersive, intriguing and irresistible snapshot in time of two undisputed veterans of house and techno who will forever remain at the top of their game.
GOMMA 151CD BOX CODAX: Hellabuster CD (GOMMA 151CD) 15.50
This is the second album from Box Codax, the follow-up to 2006’s Only An Orchard Away. “Last time round we didn’t even mix our recordings,” says Nick McCarthy, “I had absolutely nothing but my computer and a little synth I borrowed from Alex” (Kapranos, his bandmate in Franz Ferdinand). All the vocals were done on the sort of clip-on mic that TV presenters wear on their collars. “It was,” McCarthy admits, “pretty extreme.” Few who heard their first record would have expected this loose outfit that convenes in the ultra-rare and highly irregular gaps between Franz Ferdinand’s activities to outgrow the limited ambitions of a side project, let alone to create such a glittering ball of sheer pop invention as their second album Hellabuster. The title track switches time signatures like a werewolf going through mood swings, there’s the glamorous Moroder disco-beach romance “Seven Silvers,” the eerie falsetto harmonies of “Radical Plains,” the soundtrack to a chemically-enhanced kids’ party that is “Choco Pudding,” the crime mystery in a wrinkly raincoat “Pour Moi,” the giddy games arcade hysteria of “I Won’t Come Back,” followed by “Charade,” which is all pent-up desire in a self-catering holiday apartment. “Nothing More Than Anything” with its Spanish guitars and drunken waltzes collides with “Sandy Moffat,” a punk song seemingly accompanied by the Church of Jonathan Richman School Choir, “Inanimate Inamorato” is a lament for a “timid inanimate friend,” there is the cinematic solipsism of “My Room” and the android-on-half-empty-batteries reggae-disco of “No Trains,” and finally “Dawning,” the wistful sibling to “Seven Silvers.” Large chunks of Hellabuster were produced in Nick and Manuela’s former hometown Glasgow, where the many talents of Pabs Debussy aka Franz Ferdinand drummer Paul Thomson were in easy reach. Pabs provided beats and programming on four tracks. More recording was done at Joseph Mount of Metronomy’s home studio and Jonas Imbery and Mathias Modica from Gomma Records had their hands in two more tracks. For the songs that required an extra dose of rock, none other than AC/DC’s long-serving engineer Mike Fraser took control of the mixing desk.
GVR 005EP HUGO & GAMBO: Cosmic Keyhole 12″ (GVR 005EP) 12.00
Goodvibe Records’ fifth release sees Hugo merging forces with Gambo, a DJ/producer from Turin, to forge three tracks made of deep beats and dark disco atmosphere. Cosmic Keyhole is an old school record, a tribute to cosmic disco. From the desolate plains of Mars and the frozen moons of the outer solar system, from the Milky Way to the ends of the universe, you will hear of wonders often hard to describe and sometimes even harder to fathom.
GSF 501EP SKULL SNAPS: It’s A New Day/I Turn My Back On Love 7″ (GSF 501EP) 11.00
“The Skull Snaps evolved from an earlier R&B outfit known as The Diplomats, taking their name from a comment by Lloyd Price to the effect of ‘your music is so powerful it just cracks people’s skull, man,’ a statement that was true in ’73 and remains truth to this day. Just as the group started to get spins and attention on the It’s A New Day single, the GSF imprint closed their doors and the Skull Snaps went on to languish in obscurity. Or, they would have if not for the beat laid down by drummer George Bragg that turned ‘It’s A New Day’ into one of the most sampled cuts in history having been used by Eric B & Rakim, ODB, Digable Planets on through to DJ Shadow and The Prodigy. Here, ‘It’s A New Day’ is backed with the less sampled (but perhaps you’ve heard it on Main Source’s ‘Just Hangin’ Out’) ‘I Turn My Back On Love’ presented for the first time ever on lavender 7″ vinyl.”
HB 007LP KEY: Birch Skeletons, Skin Lanterns & Lake Of Stars 3×10″ BOX (HB 007LP) 43.00
“The vision of Kaarna of Somnivore and Rauta of CoO, this box set delivers the three demo cassettes that have been long sold out, on a trilogy of 10″ vinyl records. Along with CoO, few have been able to present the clear evidence of a shift in the musical paradigm like these masters from Finland. The 3×10″ records each in their own sleeves, each in their own color, and packaged in a box with foil stamping on the outside. Designed by Kaarna himself.”
HBDIS 005CD RITA, THE: The Rack CD (HBDIS 005CD) 11.00
“Sam Mckinlay is an innovator. Since his first cassette release as The Rita in 1996, Sam has produced a consistent stream of music that has proven to be some of the most daring and unique work available (or unavailable). Sam is the creator of HNW (the harsh noise wall genre), and has manipulated sounds from the most unexpected places using unorthodox processes and ‘instruments.’ The Rack is a new and definitive work from this pioneer, containing two pieces — one made completely of sound sourced from knives, and one of sound sourced from nylon. Thematic threads overlap as both explore and interpret similar territory using their distinctly different timbres. This is at once beautiful and violently cathartic. This marks the second official installment in the Handmade Birds Dark Icons Series.”
HAPNA 045CD OHAYO: The State We Are In CD (HAPNA 045CD) 15.50
This is the debut album by Sweden’s Ohayo, which includes members Andreas Söderström (Ass), Johan Berthling (Tape) and Per Eklund. At the end of a tour as the backing band for Swedish artist El Perro Del Mar, these three musicians decided to form a new band and make music on their own. They started with just improvising in the studio and after several sessions, their sound began to form: a soft, somnambulant music with an underlying threat. Guitars intertwine with each other, Hammond organ, drums, double bass and trumpet create space in the music. This is music that plays itself and speaks for itself.
HEM 001EP SHUTTER: Natterjack 12″ (HEM 001EP) 12.00
The Hem label presents Shutter’s Natterjack, three pieces of playful, dark techno music. Sounds mysterious these days, when almost everybody is busy with self-promotion, huh?
HFN 007EP BJORKE, KASPER: Symptoms EP 12″ (HFN 007EP) 12.00
HFN generously provides a taste of what’s to come on Kasper Bjørke’s next solo album. This new and unreleased material is comprised of four instrumentals that contain both slow disco vibes and rave-style anthems.
JL 001LP LEVY, BARRINGTON: Bounty Hunter LP (JL 001LP) 17.00
“The US release of Barrington Levy’s debut LP, Bounty Hunter, back on vinyl for the first time in many years. All-time classic early dancehall reggae, the record that busted both Barrington Levy and Junjo Lawes & Jah Life as superstar artist and superstar producers. Every track is killer, showcasing the unbeatable combination of the Roots Radics at Channel One and Scientist at King Tubby’s. The mixing on these early Barrington Levy sessions is also what originally made Scientist name as well. High quality UK pressing, full original artwork faithfully reproduced.” On white vinyl.
JL 003LP LEVY, BARRINGTON: Englishman LP (JL 003LP) 17.00
“Barrington’s second LP, Englishman, also back on vinyl for the first time in many years. The superior US-release original artwork is faithfully reproduced, featuring Barrington Levy and Jah Life himself sparring in a kung-fu style. Equally great as his first LP, again, the entire album is killer, more or less recorded at the same time as Bounty Hunter. All parties involved were at peak creativity during the making of these albums. High quality UK pressing.”
LMLP 3004LP LEVY, BARRINGTON: Place Too Dark LP (LMLP 3004LP) 17.00
“Place Too Dark is a reissue of the rare Barrington LP Doh Ray Me, issued as a self-production in Canada and the UK in 1980. It’s an alternate set of vocals over the rhythms from the Bounty Hunter LP, basically recorded at the same time as his first three LPs, and just as good. The title cut is dare I say better than its companion on the same riddim, the immortal ‘Shaolin Temple.’ It’s remarkable that Barrington basically made four LPs at once, and all were utterly classic, but he did. Place Too Dark was first issued in the late ’90s, but was not widely available and went relatively unheralded, but it’s much welcome back now. High quality UK pressing.” On white vinyl.
JAM 5000LP GONZALES, BABS: Tales Of Manhattan: The Cool Philosophy Of Babs Gonzales LP (JAM 5000LP) 11.50
Exact repro reissue of this 1959 LP. “… the hipster-speak tales Babs Gonzales spun to light cool jazz backing on Tales of Manhattan: The Cool Philosophy of Babs Gonzales were gritty and streetwise…. Even if they steer well clear of slice-of-life insight, the good-natured semi-sermonizing on making connections (the non-drug-related kind), talking up chicks, hanging out on Broadway in the wee hours, and stretching out your dollars to sustain your semi-bohemian lifestyle do capture something of the sunnier side of the 1950s New York hipster world.” –All Music Guide
Repressed. L’Orchestre Kanaga De Mopti is one of the best West African modern orchestras which originated from a wide range of state funding. In 1977, the Malian government-owned label Mali Kunkan released a series of LPs including this Holy Grail of Malian music, now fully remastered and available again via an official reissue! In the 1960s, during the First Republic of Mali, modern orchestras were encouraged and promoted by Modibo Keita’s government. Starting in 1960, Bani Jazz became the city and region’s main orchestra before the name changed to the Orchestre Régional De Mopti in the wake of Mali’s Second Republic in 1969. At the end of 1970, the band published its first album under the name of Orchestre Régional De Mopti. This record clearly helped to define Mopti’s vibrant cultural heritage under the aegis of bandleader Sory Bamba. Trumpet player, flutist, traveller and songwriter, Bamba already had a strong musical background when he took over the orchestra in 1969. Around 1976, the Mopti orchestra became Kanaga De Mopti, simply known as “Kanaga” by the listeners of Radio Mali, named after the large Dogon ceremonial mask. Under this new and slightly “more commercial” moniker, the band also performed at private functions and for various regional patrons. In July of 1976, after months of intense musical and cultural research, the orchestra visited the Radio Mali recording studio in order to document its new musical evolution. Six of these songs were featured on the only album by Kanaga De Mopti released in 1977 courtesy of Mali Kunkan, an ad hoc label formed around the Ministry of Youth, Sports, Art and Culture. On side one, the infectious “Kulukutu” and its mesmerizing vocal introduction focuses on the celebration and the joys of marriage between young men and young girls. “N’Do N’Do” digs deeper into the Dogon culture as it displays the masked dances and processions performed by kids on Ramadan nights. The call and response add up to the strong and fierce excitement one can sense within the recording studio. Closing side one, with its introductory bell gimmick, “Sare Mabo” is dedicated to the cloth weavers. Bamba plays the traditional fula flute at the end of that track, giving it a rural edge while the sturdy horns display their powers. Side two opens up with one of Bamba’s most amazing compositions, “Kanaga,” an homage to the Dogon mask and to the dancers who wear it during ritual ceremonies. The brass section is exceptional all throughout the record with tremendous riffs on that track. Electric guitar and organs swirl effortlessly around the melodies on songs like “Gambari” (trans. “green grass”), a griot-like song praising a powerful groom. “Sory Bamba” is another praise song which extols the virtues of its famous band leader. Stuck in the past but looking towards the future with its incredible mix of traditional and modern instruments, Kanaga instantly reaches the higher level of African music classicism. Finally, this timeless classic is available again including fully-restored artwork and audio. Also includes in-depth liner notes about Mali and L’Orchestre Kanaga De Mopti.
KOM 227EP TEJADA, JOHN: Unstable Condition 12″ (KOM 227EP) 12.00
Say hello to John Tejada’s Kompakt debut single Unstable Condition from his forthcoming full-length Parabolas. The results here are tremendous — the title track is a parable of epic sorts. Resonating the melodic vastness of Aphex Twin’s classic sounds, the beat is driven by house and the results are unmistakably Tejada’s own. He shows off his expert knack for musicality with “The Living Night” which gracefully flows from beginning to end.
LAID 012EP PALISADE: So What? 12″ (LAID 012EP) 12.00
Redshape founded his new project Palisade to release the worldwide debut single “So What?” on Dial’s house sub-label Laid. Now, after half a decade of success, including releases on Present, Delsin, Music Man, Styrax Leaves and remixes for Newworldaquarium, The Black Dog, Martyn and many others, a new moniker is born to work out the deeper side of Redshape. Once more the love of the machines turns slightly into the myth of house music.
GMT 023CD A STORM OF LIGHT: Untitled CD (GMT 023CD) 14.00
“CD limited edition of 1000, packaged in hand numbered, foil stamped cruciforms. The lineup for A Storm of Light’s session includes founders Josh Graham & Domenic Seita, Geoff Summers on drums, plus Will Lindsay (Wolves In The Throne Room) guesting on guitar, and new singer Zohra Atash. The result is a volcanic display of doom-laden metal, complete with a chilling appearance from the legendary Lydia Lunch. This is end time music for people who welcome darkness with open arms. Features covers of Joy Division’s ‘Day of The Lords’ and Big Black’s inimitable ‘Kitty Empire.'”
LR 3405EP BALLROOM FARM, THE: A Question of Temperature/Hurtin’ For Your Love 7″ (LR 3405EP) 8.00
“Fantastic repro 45 of 60s garage-psych single with cool picture sleeve art!”
After their very well-received 2010 work In G, Borngräber & Strüver have not been resting on their laurels. Here, they extend the concept of “21th century electro motorik Kraut” on the album Urlaub and added their preference for disco music. As a friend of the label said: “‘Reise’ sounds like a composition for the 20th birthday of Carl Craig’s Planet E.” Borngräber & Strüver have consistently worked on developing their minimalist compositions without taking into consideration conventions. The nearly 17-minute “Reise” that starts with extreme restraint, grows into a groovy trip you can hardly escape. “Berlin Tribal Music” has a radically minimalist approach and a surprising break that sounds like a portal to a parallel dimension. The last part of the album “Dancing Queen” has nothing to do with ABBA — the piece is a missing link between electronic h-pop and groovy club sounds.
MIND 012.1EP VA: Forward EP 12″ (MIND 012.1EP) 12.00
For his second transmission as part of the Mindshake family, Carlo Lio drops a propulsive stomper of a tune, while John Lagora’s “Ync” is precisely buffed for 100% DJ and dancer satisfaction. Victor Calderone presents old school tribal drums, expertly filtered, tweaked and dropped into and out of the mix. Wouter de Moor’s “Break It” merges its multiple influences into a spellbinding journey that builds and builds into a slice of pure, unadulterated dancefloor joy.
LOVE 060/66LP DEMDIKE STARE: Forest Of Evil/Liberation Through Hearing/Voices Of Dust 3LP (LOVE 060/66LP) 57.00
The Modern Love label presents a limited edition 3LP featuring the triptych of albums released by Demdike Stare in 2010 (Forest Of Evil, Liberation Through Hearing, Voices Of Dust). Demdike Stare is a project made up of two insatiable vinyl collectors based in the north of England: Sean Canty (who works for the esteemed Finders Keepers label) and Miles Whittaker (a long-time producer and DJ who has released music under the MLZ moniker and as part of Pendle Coven). The music Demdike Stare make is hard to pin down, based largely around archival musical sources ranging from obscure library records to long-forgotten jazz, early electronic, and industrial recordings, alongside an array of Iranian, Pakistani, Turkish and Eastern European material largely unknown in the Western world. Demdike Stare absorb and re-align these found sounds via their ever-expanding array of analog machines, ending with something that is in part plunderphonic, but ultimately completely new. Their music has sometimes been lumped in with the hypnagogic, hauntological and, most recently, “witch house” movements, but ultimately, Demdike Stare should appeal to anyone with an interest in everything from classic KPM Library records through to the music of Basic Channel and all the way to the smudged, altered-realities of James Ferraro and The Caretaker. That is, at least until the next record, when the frames of reference might just change up and take them somewhere completely different. Three individually shrink-wrapped LPs bound with a metallic print obi-strip. Mastered and cut by Lupo at Dubplates & Mastering, Berlin. Limited to 400 copies for the world.
LOVE 069LP STOTT, ANDY: Passed Me By 2×12″ (LOVE 069LP) 20.00
Produced slowly and meticulously, these seven tracks are the closet thing we’ve had to a new album by Manchester’s Andy Stott since the release of his debut full-length Merciless in 2005. Taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era — these seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro “Signature,” “New Ground” heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. “North To South” starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. “Intermittent” is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before “Dark Details” delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. “Execution” and “Passed Me By” end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin. Limited to 700 copies for the world.
Series 3 of the 5.1 remastered collector’s editions of these Nick Cave And The Bad Seeds albums, each featuring a newly remastered CD of the album, a new DVD surround mix, B-sides of the singles featured on the DVD audio, specially commissioned short films by UK artists Iain Forsyth and Jane Pollard, videos and exclusive sleeve notes.DVD audio content: Let Love In in 5.1 surround sound; “Cassiel’s Song,” “Sail Away,” “(I’ll Love You) Till The End Of The World,” “That’s What Jazz Is To Me” and “Where The Action Is.” Video: “Do You Love Me Like I Love You (Part 8: Let Love In),” “Do You Love Me?/Loverman/Red Right Hand.”
MUTE 5724CD CAVE AND THE BAD SEEDS, NICK: Murder Ballads CD/DVD (MUTE 5724CD) 24.00
2011 collectors edition. DVD audio content: Murder Ballads in 5.1 and stereo; “The Ballad Of Robert Moore And Betty Coltrane,” “The Willow Garden,” “King Kong Kitchee Kitchee Ki-Mi-O” and “Knoxville Girl;” Video content: “Do You Love Me Like I Love You (Part 9: Murder Ballads),” “Stagger Lee,” “Where The Wild Roses Grow” and “Henry Lee.”
MUTE 5729CD CAVE AND THE BAD SEEDS, NICK: The Boatman’s Call CD/DVD (MUTE 5729CD) 24.00
2011 collectors edition. DVD audio content: The Boatman’s Call in 5.1 and stereo; “Little Empty Boat,” “Right Now I’m A-Roaming,” “Black Hair (Band Version),” “Come Into My Sleep” and “Babe, I Got You Bad.” Video content: “Do You Love Me Like I Love You (Part 10: The Boatman’s Call),” “Into My Arms,” “(Are You) The One That I’ve Been Waiting For?”.
MUTE 5734CD CAVE AND THE BAD SEEDS, NICK: No More Shall We Part CD/DVD (MUTE 5734CD) 24.00
2011 collectors edition. DVD audio content: No More Shall We Part in 5.1 and stereo; “Good Good Day/Little Janey’s Gone,” “Grief Came Riding,” “Bless His Ever Loving Heart,” and four Westside sessions tracks (“Fifteen Feet Of Pure White Snow,” “We Came Along This Road,” “God Is In The House” and “And No More Shall We Part”). Video content: “Do You Love Me Like I Love You (Part 11: No More Shall We Part)” and “As I Sat Sadly By Her Side/Love Letter/Fifteen Feet Of Pure White Snow.”
MBF 12079EP BUKADDOR & FISHBECK: Camino 12″ (MBF 12079EP) 12.00
Bukaddor & Fishbeck return with two quality tracks. “Camino” unites tight and loose aspects in an exciting, modern way. The track incorporates silly little ghosts of sounds, massive basslines and a lot of profound sound-shaping. “Physx” is much more warped, surreal, and snake-like.
NW 80717CD LA BERGE, ANNE: Speak CD (NW 80717CD) 15.00
“Anne La Berge (b. 1955) is a pioneer who defies easy categorization. She is a flutist, composer and improviser, often simultaneously; she is also, as this disc demonstrates, a computer musician and a sui generis poet and story-teller. Her performances bring together a ferocious and far-reaching virtuosity, a penchant for improvising delicately spun microtonal textures and melodies, and her wholly unique array of powerfully percussive flute effects, all combined with electronic processing. Many of her compositions involve her own participation, though she has produced works intended solely for other performers, usually involving guided improvisation and text. The concept uniting these five pieces, despite their diversity, is that all involve ‘stories’ of one kind or another. The textual material is placed in different ‘locations’ in the pieces, sometimes as foreground and sometimes as middle- or background, so that it forms only one element in the compositions, and is integrated with the instrumental and electronic sounds in the overall musical texture. These pieces are not compositions in the usual sense of the term, and none has anything like a conventional score: she describes the first four as ‘guided improvisations,’ while the final track was originally part of a joint lecture/performance devised with her scientist father. In all these and other ways, La Berge is a precursor of some of the important things contemporary composition has now come to mean.”
NOSMOKE 009LP VA: Soul Braza: Brazilian 60’s & 70’s Soul Psych Vol. 1 LP (NOSMOKE 009LP) 29.00
“Nosmoke Records strikes again, this new compilation gonna make your summer even more hot. As well as rock, soul music by the likes of James Brown, Otis Redding, and Aretha Franklin also had a big impact in the Brazilian music scene of the 60s. Soul music was introduced in Brazil by singers such as Gerson King Combo, who released in 1969 the record Gerson Combo Brazilian Soul, featuring Brazilian hits like Asa Branca performed with a US-imported beat. Tim Maia, Carlos Dafe, and Tony Tornado started playing soul hits too and took on the attitude and style of US Black Power, establishing the Black Rio movement. The great muse of that period was Lady Zu from Sao Paulo. Traces of the black US rhythm can also be detected in some of the first songs by Jorge Ben Jor (Agora Ninguem Mais Chora, Negro E Lindo, Que Nega E Essa), and, even more so, in others by Wilson Simonal during his Pilantragem phase (such as Mamae Passou Acucar em Mim, País Tropical, Tributo a Martin Luther King). Other more obscure bands and artists also had their moment and importance in the history of Brazilian soul. Musicians like O Incrivel Manito, The Pops, fusing soul, samba rock, and psychedelic music, Tony e Frankye, Trio Ternura, and, of course, a few others like Vanusa or Eduardo Araujo, who released some of the best Brazilian music records in the ’60s and ’70s. This compilation is a summary of what went on during that dictatorship period when soul music was everywhere, from the favelas to the most fashionable and popular parties in Brazilian cities. Here you will find some of the best tracks of Brazilian psychedelic soul music, a fusion of fuzz, sweat and dancing.”
NNF 123LP BARN OWL: From Our Mouths A Perpetual Light LP (NNF 123LP) 16.00
2011 repress, limited to 300 copies; originally a 2008 release. “Since first bearing witness to Barn Owl’s mythically desolate amplifier alchemy last year, we’ve been rabid fans/fanatics. But like lots of badass bands, BO are a rolling stone, heavy on the transformation tip, and the BO of today is an altered beast from the one that folkily fingerpicked Bridge To The Clouds and their self-titled disc way back when. And in case we’re not being clear: this is a beautiful thing. From Our Mouths A Perpetual Light burns with the sun-dead majesty of a Death Valley burial ground, all wasted waterless expanse and cracked earth smoke blowing in the dry wind. Heavy western drone revelations bleed into forlorn guitar drift, downcast percussion plods across the plain, a skull on its side lies in the sands. Evan Caminiti and Jon Porras have somehow flawlessly evolved Barn Owl into a blazing new universe, and From Our Mouths is the first mission statement from their new spectral/aesthetic outpost, a stunning and timeless eight-song suite of grim cinematic electricity. Tune in, drop dead, rot on. In swank matte jackets with ‘four-armed demon warrior-yogi’ artwork by the band.”
NNF 230LP REINHARDT, JONAS: Music For The Tactile Dome LP (NNF 230LP) 14.00
“The hermetic kosmische lexicon of San Fran-based synth synthesist/composer Jesse Reiner (Jonas Reinhardt’s founder and principal architect) has been simmering and swelling at a steady clip the past few years (2010’s Powers Of Audition was def a highlight), but the added talents of drummer Damon Palermo (Mi Ami), bassist Diego Gonzalez (Citay, 3 Leafs), and guitarist Phil Manley (Trans Am, more) has levitated the JR Experience to a whole new head-music hall o’ fame. Recorded in Berlin, mixed in SF, then mastered/cut back in Berlin at Dubplates, Music For The Tactile Dome is easily the most deep-trip micro-focus Jonas odyssey to date, nine technicolor fractals of glittering synthesizer skyways and master-crafted pulsing kraut terrariums. A handful of tracks (‘Smokey Jotus,’ ‘Hander Zader,’ etc) invoke more of the classic live JR vibe, with propulsive cold-grooved rhythm sectioning, but by and large Dome is designed for heavy headphone communion, an expanding magic eye tapestry of brainwave activity constellations. Black vinyl LPs in jackets with beautiful spectrum-assemblage cover art by Sean Patrick. Edition of 650.”
PAMPA 002CD WRUHME, ROBAG: Thora Vukk CD (PAMPA 002CD) 15.50
Pampa presents an album by German electronic artist/DJ/producer Gabor Schablitzki aka Robag Wruhme. In contrast to Robag Wruhme’s first album Wuzzelbud KK (MKR 001CD/LP), Thora Vukk is “more grounded and filled with melodies and self-recorded samples — ideal for the bedroom or passenger cabins of any kind.” Schablitzki created a huge library of sounds, like slamming drawers or mid-summer rain recorded in his friends’ spacious kitchen. Those field recordings are no secondary accessories. By setting them into a rhythmic shape, they dominate the structure of the tracks. Due to the constant variation, the fan of the grooves opens up every time in a new manner. This is thoughtful, contemplative minimalism in its most organically-structured form. CD housed in a 6-page digipak foldout, inside out.
PAMPA 002LP WRUHME, ROBAG: Thora Vukk 2LP +7″ (PAMPA 002LP) 21.00
2LP version with 7″ (featuring exclusive track “Fusspause”), plus mp3 download code for the entire album.
Argy presents the Zodiac Free Arts Club! Floating World is about electronic music in the spirit of Ash Ra Tempel, Tangerine Dream, Klaus Schulze, Vangelis, NEU!, Popol Vuh and others captured in jam sessions. Founded in West Berlin in late 1967 by German artists, The Zodiak Free Arts Lab, also known as the “Zodiak Club,” was a short-lived but highly influential experimental live music venue. It was a musician’s paradise, since The Zodiac Free Arts Lab was filled with all kinds of instruments, amps and speakers, free for everyone to play and experiment with. Four decades later, Argy, one of the most unique-sounding dance music producers, involved in numerous music projects, had the idea to revive the club’s concept. In only a short period of time, he opened his own private space in Berlin to jam with colleagues and friends. This time not only focused on experimental music, the guests were personally invited to join and encounter a variety of happenings such as live music sessions, dinners, the appreciation of beauty of all sorts, conversations and other bizarre or eccentric experiences. Argy’s collaboration with Manuel Göttsching on “Sunrain,” which was edited by the Greek producer for official release on White Days Records in 2010, was also very influential for the Greek artist to embark on this new musical journey. He decided to focus and arrange all musical ideas, recordings and visions that were inspired through the Zodiac Free Arts Club sessions in order to craft a grabbing, LSD-dipped album that would pay homage to the innovators he admires. The projection of paintings, ’60s album covers and landscape pictures while composing the album, assisted the musician to create what he describes as the “joyful psychedelic underground” sound. Floating World, which borrows its title from the Japanese Ukiyo-e, was recorded mainly on vintage equipment between January/June 2010 in a temporary studio set in Berlin. Presenting some of the most celebrated styles of kosmische/Krautrock music, this is probably one of the most interesting album attempts of the past decade within its genre and marks the beginning of a new side project from one of the currently most promising and already successful underground dance music producers.
LP version.
PERMVAC 077EP BLACK VAN: Moments Of Excellence 12″ (PERMVAC 077EP) 12.00
Brand-new mash-up of Black Van’s massive “Moments Of Excellence” and Holy Ghost!’s “I Will Come Back.” Also included is a remix by Aeroplane and a brand-new Black Van track. Holy Ghost! not only added their blinding vocal performances to one of the most played disco anthems, but also chipped in some lovely bits and pieces and additional drums to make this a whole new next-level experience.
“Key Of Shame is the most extreme entity to come from two cult collectives of the New York underground, No Neck Blues Band and Sightings. PLANAM proudly presents their first recordings, four threnodies for Judas Iscariota as performed by Mark Morgan (Sightings) and Pat Murano (NNCK, Decimus). Jesus answered and said ‘You will become the thirteenth, and you will be cursed by the other generations – and you will come to rule over them. In the last days they will curse your ascen…’ Atmospheric radical electronics at their highest peak. Hand stenciled and silkscreened edition of 270 double-LPs released by PLANAM.” “And Jesus replied ‘Friend, Do what you came for’ Matthew, 26:50.”
“PLANAM presents you the new Pat Murano solo project of abrasive atmospheric aggressions. Founding member of No Neck Blues Band, Pat Murano also established the K Salvatore highly enigmatic duo in the mid 1990s together with Jason Meagher (also of NNCK fame and more recently head of the Black Dirt Studios) as well as the black Malkuth beast. Decimus has existed as an entity for some years, privately kept secret in the abyss of New York darkest creation. Available now in very limited quantities, Decimus 2 is the first chapter of the Decimus sodality. With reluctance, we are driven into the desert rent from the sweet succor of slavery Under Malkuth we feed the senses failing to satiate the insatiable For Shimon bar Yochai Synthetic meditations on the zodiac as envisioned by Decimus Magnus Ausonius (310-395). First in a series of twelve Decimus LPs. Silkscreened edition of 250 LPs released by PLANAM. ‘Multis terribilis timeto multos.'”
RTFS 002EP MELON: Four Seasons Part 2 2×12″ (RTFS 002EP) 20.00
In 2006, Melon started his Ratio? music with the first part of Four Seasons and now almost 5 years later, it’s time to complete the series with the second and last part. Features two seasonal tracks “Fall” and “Winter,” with a remix by TJ Kong & Nuno Dos Santos driven by a killer bass line and one by San Proper who takes us deep into a mid-winter night and tells us that it’s never too hot or too cold to party.
APL 1188LP CHOCOLATE MILK: Action Speaks Louder Than Words LP (APL 1188LP) 11.50
New Orleands funk record from 1975, produced by Allen Toussaint and Marshall Sehorn. Hints of killer electronic expansion — courtesy of Robert Dabon’s mini moog and arp string ensemble — around the usual tight rhythmic funk stylings. Notable for “Time Machine” (since revamped on some killer house re-edits) and “Tin Man.” Exact repro.
RUSLP 9702EP BAD BRAINS: Pay To Cum/Stay Close To Me 7″ (RUSLP 9702EP) 6.00
“ROIR is honored to be working with the Bad Brains to put this 45 RPM piece of punk rock history back on record store shelves. Originally recorded in 1979 at Dots Studio in NYC, and released in 1980 on Bad Brains’ own Bad Brains Records, the single features one of hardcore’s greatest songs… ‘one of the fastest, most furious songs ever recorded’, according to Filter Magazine. Trouser Press confirms that Pay to Cum is a ‘memorable… 1:33 of free-fire guitar rage’ that established Bad Brains’ ‘mastery’ of hardcore punk. A classic record from legends of the genre.” With insert.
RUSLP 9703EP BUSH TETRAS: Too Many Creeps/You Can’t Be Funky 7″ (RUSLP 9703EP) 6.00
“Two classic post-punk/no-wave tracks from one of the hottest bands in the Manhattan ’80s club scene on one funky 7″ slab of wax! ‘Too Many Creeps’ was originally released as a 45 RPM EP on 99 Records, Dec 1980. ‘You Can’t Be Funky’ was originally released as a 12″ EP on Stiff Records America, Nov 1982.”
RH 110D-EP SHAKIR, ANTHONY ‘SHAKE’: Frictionalism 1994-2009 Part 4 12″ (RH 110D-EP) 12.50
Part 4 in the Shake Frictionalism (RH 110CD) reissue series, with three total corkers and also an exclusive track. “The Floor Filler” is a disco-frenzied track that was originally released in 1997 as part of Club Scam II. The track is still a valid club tool and will definitely fill a floor. “Plugged In” is taken from the same EP and is true disco meets techno. “The Other One” is a track from the vault and has never been released.
STS 202CD PECHENGA: Helt Borte CD (STS 202CD) 17.00
“In the winter of 2007, bonding over a mutual respect & admiration for each other’s work & love for old synth music, prog rock, & ambient music, Rune Lindbæk (who has remixed tracks for Lindstrom, Idjut Boys & The Knife) & Cato Farstad hunkered down in Lindbæk’s grandmother’s house in Vardø to work on music together, & Pechenga was born. Surrounded by the dark of the season, the flickering northern lights, cold storms & heavy snow, Helt Borte was born in an intense 2 weeks. They cite ambient masters Stars of the Lid, Dead Texans, Peter Namlook, Brian Eno, Steve Roach, & Biosphere (Lindbæk’s old Tromsø neighbor) as a massive inspiration in creating this album.”
SOME 016EP STL: Homespun Remedies 12″ (SOME 016EP) 14.00
This release from Stephan Laubner includes deep, jacking STL business as well as experimental home listening adventures under his Synthonic Matter project. “Still With Us” is internal, emotional techno, while “Snapmode” is as weird as the title promises. An honest reflection of living moments captured in music and sound waves; vibrating, pleasant and emotional. Use your ears and enjoy.
SBP 10051EP QUESTION MARK & THE MYSTERIANS: 96 Lagrimas 7″ (SBP 10051EP) 8.00
“Featuring ’96 Tears,’ ‘Midnight Hour,’ ‘8’ Teen’ and ‘I Need Somebody.’ Great repro of Spanish EP by the fabulous Detroit 60s garage band! Very nice picture sleeve.”
SJR 243A-LP VA: Delta Swamp Rock Volume One 2LP (SJR 243A-LP) 24.00
Gatefold double LP version, volume one. Subtitled: Sounds from the South: At the Crossroads of Rock, Country and Soul. “Soul Jazz Records’ new Delta Swamp Rock is a definitive guide to the music of the southern states of USA created between 1968-1975 where country, rock and soul met.” Artists: Lynyrd Skynyrd, Barefoot Jerry, Joe South, Bobbie Gentry, The Allman Brothers, Area Code 615, Cher, Cowboy, Bobbie Gentry, Link Wray and Boz Scaggs.
SJR 243B-LP VA: Delta Swamp Rock Volume Two 2LP (SJR 243B-LP) 24.00
Gatefold double LP version, volume two. Artists: Duane and Gregg Allman, Waylon Jennings, Travis Wammack, Tony Joe White, Leon Russell, Johnny Cash, Barefoot Jerry, Dan Penn, Linda Ronstadt, Bobbie Gentry, Big Star and Billy Vera.
SWS 009EP NEGRU: Break Into The Record Store 12″ (SWS 009EP) 12.00
Soweso presents one of Romania’s upcoming house-masters, Negru. The title track is a typical Negru hip-hop-infused house track that will surely make things bump in the night. On remix duties is Pacha resident Tuccillo. On the B-side, Negru teams up with his buddy Boola for a jazzy house groover that begs for spring to start. Enjoy it and play it loud.
SP 003LP FORMA: Forma LP (SP 003LP) 19.50
FORMA (Mark Dwinell, Sophie Lam, & George Bennett) emerged on the NYC minimal synth scene in 2010 with a singular vision of cosmic Krautrock for a new age. On their eponymous debut LP, the Brooklyn-based electronics trio merges the melodic flow and primitive rhythms of their motorik predecessors with the hypnotic drones of minimalism, creating an intricate work both addicting and rewarding with repeat listens. Like many of the LP’s 11 tracks, the churning and relentless “FORMA237B” draws its energy from a precarious equilibrium between structural rigidity and free improvisation, a dynamic at the heart of FORMA’s universe. With lush, distant soundscapes as interludes between these peaks, FORMA’s inaugural full-length is a harmonious and expansive expression of the enduring power of kosmische musik. Mark Dwinell and Sophie Lam: (Roland RS-09, Roland SH-1000, Roland RE-101, Yamaha CS-15, Crumar DS-2, Oberheim SEM, DSI Morpho, Moog LP, Farfisa Compact Combo), George Bennett (Roland TR-707, Alesis HR-16B). Cut at Dubplates & Mastering, March 2011.
SP 004LP MIST: House 2LP (SP 004LP) 25.00
This is the second official full-length offering by Cleveland, Ohio duo Mist featuring Sam Goldberg (of Radio People) and John Elliott (Emeralds, Outer Space, Imaginary Softwoods, etc.) after 2009’s self-titled debut effort on Amethyst Sunset. A suite consisting of seven complex, layered compositions shows new progression in composition and melody from the duo. From the lightning-fast, bittersweet crescendo of “Twin Lanes” to the dramatic chord progressions of “I Can Still Hear Your Voice,” House is a certain expansion in execution and construction. Tracks like “P.M.” put a new take on the long-form Mist style with cryptic alien vocoder and humid pad sounds, while “Mist House” and “Dead Occasion” reveal new, complex territories that will most certainly please fans of the previous Mist recordings. John Elliott: Moog Voyager OS, Roland RS-101, Sequential Circuits Prophet 600, Roland SH-101, Phasers, vocals; Sam Goldberg: Korg Polysix, Univox Minikorg, Multivox MX 202, Dave Smith Instruments Mopho. Cut at Dubplates & Mastering, Berlin by CGB, March 14th 2011. Mastered by James Plotkin. Housed in a full-color gatefold sleeve.
AKT 716LP FORREST, JASON: The Everything LP+CD (AKT 716LP) 18.00
LP version, with CD.
SVT 059EP BRAEMER, SASCHA: People 12″ (SVT 059EP) 12.00
Sascha Braemer presents three fresh tracks for the spring of 2011. In the meantime, his funky minimal jump-up tech-house has led him to release on labels such as Kindisch and Dirtybird. Things kick off with “Belle,” a ferocious attack on your groove muscles and dancing bones. “Felicitous” is considerably slower but is still a deep and dirty suckerpunch to your euphoria synapses. “People” is pure club pop — so deep it will send shivers down your spine on the breakdown.
TR 209LP HERPES: Symptome Und Beschwerden LP (TR 209LP) 17.00
LP version. This is the second album by Berlin’s Herpes. Herpes caused a sensation with their hit single “Fette Muttis” (trans. “Fat Mums”) and the debut album Das Kommt Vom Küssen (trans. “It Comes From Kissing”). The band was even invited to the United Kingdom — a country traditionally more skeptical about all things German — and the legendary group Fehlfarben had them supporting during their tour. And now, Herpes is back: Symptome Und Beschwerden (trans. “Symptoms And Ailments”) mixes bone-dry art school punk (Devo, Gang Of Four, early Mekons) with some mid-period Goldene Zitronen, refined here and there with clear Krautrock influences. Not the hippie-blues-rock Krautrock, of course, but rather the NEU! Krautrock. It’s presented with such vehemence and naturalness, as if Herpes had never even heard a note from any of those bands (which may be the case), as if Suicide were to cover Pere Ubu. This album is both rugged and elegant at the same time. Hysteria and brevity meet and shake hands. Herpes front man Florian sings “I hate this city/which made me a man,” and in his own way pays homage to the city that made Herpes so well-known with their hit “Very Berlin.” As long as frustration among young people leads to albums like this, you would almost wish it upon yourself. What a nasty, a selfish thought. Includes free download code.
TSQ 2585LP FAIRFIELD, FRANK: Out On The Open West LP (TSQ 2585LP) 15.00
LP version. “A young Californian who sings and plays as someone who’s crawled out of the Virginia mountains carrying familiar songs that in his hands sound forgotten: broken lines, a dissonant drone, the fiddle or the banjo all percussion, every rising moment louder than the one before it.” — Greil Marcus”Out on the Open West is Frank Fairfield’s new album. It was produced by Michael Kieffer (Origin Jazz Library) and features guest accompaniment by Willie Watson (Old Crow Medicine Show), Jerron ‘Blind Boy’ Paxton, Tom Marion, Justin and Josh Petrojvic and Brandon Armstrong. The album is a departure for Frank, having written most of the tunes himself, and bringing in the other players to round out his songs. His music has made fans of people like Ry Cooder, Grammy-winning producer Chris King (Charley Patton, People Take Warning box sets) and Greil Marcus, to name a few.”
TSQ 2592CD BLAKE, RAN: Grey December: Live In Rome CD (TSQ 2592CD) 14.00
“In a career spanning six decades, pianist/composer, writer and educator Ran Blake has released 36 albums for such labels as ESP, RCA, Arista and hatOLOGY. Grey December – Live in Rome captures Ran on a recent European jaunt in December 2010. Although one of his albums was recorded in a movie theatre and another in a train station, this is Ran’s first live concert recording in front of an audience in a proper venue. The performance includes several new Ran Blake compositions that appear on record for the first time, as well as standards. The intensity and magic of Ran Blake’s live performance is now here for us to enjoy and marvel at, again and again.”
JBH 039LP GRAY, BARRY: Stand By For Adverts: Rare Jingles, Jazz And Advertising LP (JBH 039LP) 16.50
…Electronics. LP version, featuring 62 out of the 81 tracks from the CD version. Smashing. Trunk has uncovered unissued advertising electronics, jingles and jazz by none other than the master composer behind Thunderbirds, Captain Scarlet and UFO, Barry Gray. From infectious ditties for new banana cereal to raw, experimental sounds for a new space age washing machine, Barry Gray penned a vast amount of catchy, weird and sometimes comical numbers, all now available for the first time ever. These unique and rare recordings by one of the UK’s most prolific and successful composers have all come from the Barry Gray Archive. They date from 1958 to about 1965, and cover Gray’s advertising and jingle career at that time. He was a busy, creative man, working across a vast spectrum of products, from small local stores to large corporations and banks. The work is typically British, in some cases very experimental (with early tape loops, heavy reverb and echo) and in many ways dangerously catchy. Known worldwide for his soundtracks to the classic Gerry Anderson productions such as Stingray, Captain Scarlet and Space 1999, this unusual release sheds a welcome light on this composer’s early work and has many of the classic Gray hallmarks his fans know and love.
UAL 4036LP MINGUS, CHARLES: Jazz Portraits LP (UAL 4036LP) 11.50
Part of a concert by the Charles Mingus Jazz Workshop, recorded in 1959. Featuring John Handy (alto sax), Booker Ervin (tenor sax), Richard Wyands (piano), Dannie Richmond (drums) and Mingus (bass). Tracks: “Nostalgia In Times Square,” “I Can’t Get Started,” “No Private Income Blues” and “Alice’s Wonderland.” Exact repro reissue.
VA 037LP FIDAN, TOLGA: We’re Strangers Now 2×12″ (VA 037LP) 21.00
“I’m listening to these six tracks again to try to make an approximation of why and how I have done this EP. Okay so, the opening track is in a way the end of an era and the last one the opening of a fresher one. And the rest fills in the gaps in between those two moments, I guess. I hate conceptual things, anyways. Includes collaborations with Jaw (dOP), my brother Atilla, who is also responsible for the artwork, and Jonny Cruz.” –Tolga Fidan
VAMPI 044CD VAUGHN, BEN: Designs In Music CD (VAMPI 044CD) 12.00
2006 release. What do That ’70s Show, Third Rock From The Sun, Alex Chilton, Ween, the Swingers soundtrack and the first album recorded entirely in a car have in common? One man. Ben Vaughn. Composer, producer, recording artist. A man Village Voice describes as having a “sound so pure and spontaneous it sounds instantly classic.” Be it sitcoms, TV commercials, film soundtracks or radio plays, somewhere in the world right now, Vaughn’s music is being heard. Since 1986, he has been winning fans with his unique take on pop culture. Eight albums and a ten year career in Hollywood have allowed Ben’s music to travel to the far reaches of the earth. Designs In Music encapsulates this journey. Inspired by late-night drives to his weekend getaway in the Mojave Desert where the only station he could pick was an easy-listening station, Ben felt ready to combine everything he had learned through the years into one recording: The magic of those late-night broadcasts as well as his years spent as a composer, producer and recording artist are represented equally in this project. But with a vitality that is in the moment, the now. Ideas that explode in a pallet of many colors, of saxophones and trumpets, clarinets and trombones, of boss organ, bongos, wordless falsetto vocalizing, and Ben Vaughn’s own guitar work.
VAMPI 070CD BANDA UNIAO BLACK: Banda União Black CD (VAMPI 070CD) 12.00
2006 release. After 25 years, Banda União Black re-launches their career with a full album of songs on Vampisoul Records. This album was recorded in Brazil and features a style that remains close to their original heavy funk sound with a strong tropical flavour. The album has been produced by Daniel Collas, whose last project was the acclaimed Call My Name LP from Joe Bataan, and Sean Marquand, one half of the long running DJ team Brazilian Beat Brooklyn. União Black was one of the principle bands of the Black Rio Movement in Brazil in the 1970s. Truly a supergroup, they stormed stages and even stadiums in the late ’70s. They were 13 members strong with a style that evoked James Brown, Ohio Players and Mandrill, but with lyrics in Portuguese and a sound that was unmistakably Brazilian. They have also been featured on Strut Records’ Black Rio compilation, and their original 1977 Polydor album is a highly sought-after (and expensive) collector’s item.
VAMPI 085CD ESPINOSA, NILO: Shaken, Not Stirred CD (VAMPI 085CD) 12.00
2007 release. Vampisoul presents a comprehensive anthology of all the different music projects of outstanding Peruvian flute and saxophone player Nilo Espinosa. On this compilation you can find most of his best and grooviest tracks from the ’60s and ’70s; his playing with the Nil’s Jazz Ensemble, Bossa 70, Los Hilton’s, Nilo Espinosa & Los 007, or Nilo Espinosa y Su Orquesta. A total feast of tropical music, bossanova, boogaloo, Latin soul, jazz funk, rumba, lounge, and even disco! The work of this exquisite and utterly contemporary flautist and saxophonist perseveres for three reasons: attitude, quality and freshness. If, for him, the sixties were learning years, the seventies allowed him to develop his talent and consolidate his preference for upward moving rhythms with a lot of groove. With his work, tropical, bossa nova, boogaloo, Latin soul, jazz funk, rock, rumba and disco all fit in equally. It’s a danceable music: hybrid and instantaneous. Includes a extensive liner notes about this great artist.
VAMPI 093CD FURST, RUBEN LOPEZ: Jazz Argentino en la Universidad CD (VAMPI 093CD) 12.00
2007 release. Ruben “Baby” Lopez Furst is one of the most important pianists in the history of Argentinean Jazz. The two albums released here (Jazz en la Universidad, from 1966, and Jazz Argentino, from 1967) demonstrate the exquisite combination of swing and moods à la Bill Evans that characterized the Argentinean pianist. Jazz en la Universidad is a live recording of a performance offered at the Auditorium of the Universidad Nacional de Litoral in the city of Santa Fe in 1966. Jazz Argentino is, in reality, the first volume of a projected and interrupted series that was to be released by CBS. Both records, presented here together, and for the first time on CD, are two of his more noteworthy recordings. As with good wine, this music has improved with time and is worthy of leisurely enjoyment.
VAMPI 093LP FURST, RUBEN LOPEZ: Jazz Argentino en la Universidad 2LP (VAMPI 093LP) 25.50
2LP version.
VAMPI 112CD ALCHOURRON, RODOLFO: Sanata y Clarificación Vol. I & II CD (VAMPI 112CD) 16.50
2009 release. Vampisoul reissues two LPs from 1972 and 1974 from Argentine guitarist, composer and arranger Rodolfo Alchourrón. The result is a jazz-tinted sound which incorporates elements of rock, soul, lounge, film soundtracks and even tango. Alchourrón holds a special place in Argentine music, both for his intense production as well as for his ability to set up bridges between different musical genres. In the jazz scene he played with musicians as renowned as Leandro “Gato” Barbieri and Enrique “Mono” Villegas. In the tango arena, he collaborated with Eduardo Rovira, Astor Piazzolla and Rodolfo Mederos. In rock, he’s well known for his orchestral arrangements for Almendra, Miguel Abuelo and Litto Nebia. Since the ’60s, Alchourrón founded and directed a great diversity of groups: from trios up to a big band of 16 players. It is in this context where we can frame his experiences with the Sanata y Clarificación project, dating from the period between 1970 and 1974. The band, made up of top-level musicians, proposed a musical interchange between jazz and rock which was rather unusual in the framework of the music produced in Argentina at that time. The first volume of Sanata y Clarificación, released in 1972 on the independent label Promúsica, incorporates great space for instrumental improvisation while influenced by Italian soundtracks from that period. The second volume, released in 1974, continues the first volume’s propulsive, intensifying arrangements, strong melodic lines and instrumental solos, touching upon not only to jazz and rock, but also waltz and tango. The instability of the local context and the difficulties to promote a project which lacked a commercial orientation provoked the break-up of the band that same year. The difficulties in promoting a project which lacked commercial potential resulted in the band’s break-up that same year, making this CD a welcome reissue of truly inspired musical activity.
VAMPI 114LP KUBISOVA, MARTA: NE! The Soul Of Marta Kubisová 2LP (VAMPI 114LP) 25.50
2LP version. 2009 release. Marta Kubisová was the most popular Czechoslovakian female singer of the late 1960s, heading for an international career but banned by the communist regime until 1989. Compiled from the Supraphon archives, this 1966-1970 selection focuses on her roughest songs, with plenty of fuzz guitars and funky beats, punchy horns and razor-sharp organs underlying her deep and soulful voice. Marta’s first professional recordings for Supraphon date back to 1963, when she was age 21. After spending three years singing jazzy tunes in provincial theatres, in late 1964 she followed her discoverer and mentor, the composer and future Supraphon producer Bohuslav Ondrácek, to the renowned Rokoko theatre in Prague. There she performed with superstar Waldemar Matuska and with her later Golden Kids bandmates Helena Vondrácková and Václav Neckár until 1968. They recruited a rhythm section of young beat musicians, giving the sound a progressive contemporary touch. The horn section, on the other hand, featured top players from various pop, jazz and even classical orchestras. This explosive blend of personalities was responsible for some of the funkiest grooves that emerged from the rather conservative Supraphon studios. In 1969 Marta Kubisová and The Golden Kids recorded dozens of songs which were released on numerous seven-inch singles as well as on two albums: Micro-Magic-Circus and Golden Kids 1 (aka Music Box No. 1). The repertoire contained original compositions as well as cover versions of international pop, beat and soul hits with Czech lyrics. Within the group Marta was usually given the soulful or melancholic material, as it would suit her deep and dark timbre. Additionally, Supraphon finally released Marta’s first solo LP, Songy A Balady, presenting a more personal selection of songs. Extensive notes covering Marta Kubisová’s career by compiler Lukás Machata.
VAMPI 115LP VIKLICKY, EMIL: The Funky Way Of Emil Viklický 2LP (VAMPI 115LP) 25.50
2LP version. 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.
YZL 009CD VA: Bustin’ Out 1984: New Wave To New Beat Volume 4 CD (YZL 009CD) 15.50
Veteran DJ Mike Maguire’s spectacular series chronicling the seismic developments in electronic-based music reaches 1984 on its fourth volume, another stellar collection packed with musical milestones. It’s often widely assumed that 1984 was something of a calm-before-the-storm doldrums period in music as acid house loomed on the horizon. Synthesized music was indeed progressing wildly, hurried along by developments such as hip-hop now trading session bands for drum machines and proto-samplers, while electro-derived beats underpinned the late ’70s disco form to create a dancefloor mutant called boogie. Upgrading electronic tools were affording pioneers and industrial movements new methods to venture into back alleys and darker corners, where sex, anger or psychotic imbalance funnelled through the wide open circuits. Out of the sheer volume of material, Mike has deftly woven an exotic snapshot blend of 1984’s titanic deluge, focusing predominantly on the maverick darker side with trailblazing outings such as the Flowerpot Men’s coruscating “Jo’s So Mean To Josephine,” Cabaret Voltaire’s future-disco masterwork “Sensoria,” Factory band Section 25’s enigmatic classic “Looking From A Hilltop,” Youth and Ben Watkins’ cinematic Empty Quarter project and former Yello synth-wizard Carlos Peron with one of his early solo outings. 1984 was also a revolutionary year for the U.S. dance music underground, represented here by Strafe’s epochal party-starting percolator “Set It Off” and Jesse Saunders’ “On And On,” often credited with being the first manifestation of Chicago’s upcoming house music explosion. As with previous volumes, Mike continues to chart the progress of the industrial movement, itself enjoying a pivotal year when Front 242 launched their electronic body music movement with tracks such as the epic “Commando Mix” from their No Comment album. The set also features harsh, sonically-innovative missives from Australia’s Severed Heads and Canada’s Skinny Puppy. One feature of the series being maintained is the reappearance of important, even under-rated, artists from previous sets, including Anne Clark’s “Our Darkness,” Adrian Sherwood and the mighty Dub Syndicate with “The Show Is Coming.” There was revolution crackling in the air in 1984 and Mike Maguire has again done an inimitable job of bottling it. Extensive sleeve notes written by legendary journalist Kris Needs.
YZLDV 009LP VA: Bustin’ Out 1984: New Wave To New Beat Volume 4 2LP (YZLDV 009LP) 21.00
2LP version.
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