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ACKER 023.1EP SVENDSEN, BE: Catchy Penny & Cosmos Part 1 12″ (ACKER 023.1EP) 12.00
Be Svendsen creates crunchy beats and bouncy basses — no doubt, this is electronic dance music. “Solo Para Mi” is based on a functional yet driving groove, progressively escalating to ever new atmospheric peaks. Mollono.Bass takes up the summery-warm tone colors of the original in his remix but keeps it a little more dreamy and subliminal, while Eule:nhaupt & Molle:nhauer emphasize the song-oriented aspects. “Bulgarian Chicks” is strongly electronic, but there are also unconventional gypsy instrumental and vocal entries.
Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa’s coastal cities have constantly served as creative hubs and Benin’s economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rythmo. Extensively featured on Analog Africa’s previous releases, Poly-Rythmo and its legendary members constitute arguably Africa’s most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rythmo fostered a diverse groove that remained unique to Benin and resonated with the region’s urban centers. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard “Papillon” Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin’s best, soon became a supremely influential member of Poly-Rythmo and was approached by Albarika to record a 7″ single. Realizing the band’s preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA — about 500 euros given today’s exchange rates. The band took advantage of their producer’s cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track LP was recorded twice. Albarika rejected the first recording because of far too much background noise — the possible culprit being an obnoxious organ amplifier — forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin’s rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent’s reputation. The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are now exclusively released for the very first time.
AACDDE 002CD ROB: Funky Rob Way CD (AACDDE 002CD) 17.00
Rob “Roy” Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared out of nowhere with a unique and twisted sound. An admirer of American artists Otis Redding, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns. In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the most sophisticated music equipment available in Ghana at the time — Hofner guitars, Yamaha keyboards and the like. Belonging to the “magnificient” second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly-name the band “Mag-2.” Mag-2 was essentially filled with the best elements of The Parrots, a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the capital. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records — his first and second albums — Funky Rob Way and Make It Fast, Make It Slow, both of which were recorded at Essiebons studios in Accra. Despite Rob’s training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro’s cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and disco boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.
ANDTHEN 001EP WANDLER: La Petite Mort 12″ (ANDTHEN 001EP) 12.00
Crafty, raw, extended techno.
ANKH 001LP HARLEY, RUFUS: Re-Creation Of The Gods LP (ANKH 001LP) 11.50
Exact repro reissue, originally released in 1972. “Re-Creation of the Gods is reminiscent of Rahsaan Roland Kirk’s later work — eg. Blacknuss, with its mixture of spirituality and soul — and Rufus Harley’s bagpipe sounds somewhat similar to the manzella and stritch played by Kirk. Bill Mason’s organ is an excellent complement to Rufus Harley’s bagpipe and sax. The combination hints at the organ/tenor combos of the late ’60s and early ’70s. Although the leader and Bill Mason stand out with their solos, the tight drumming and solid electric bass anchor the music within the soul-jazz tradition and add an earthy quality to the recording. The only track which seems out of place is the 23-second intro (one of the extra tracks), which seems to be from a live show by Rufus Harley’s quintet. The rest of tracks do not appear to have been recorded live, nor are they made by a quintet (rather a trio or a quartet).” –All About Jazz
ALN 025CD TRENTEMØLLER: LateNightTales CD (ALN 025CD) 15.00
“Trentemoller is the Dane who did. He’s been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it’s his solo material that has impacted on the dance community – and beyond. ‘La Champagne’ was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that’s not all he is. You can hear that yearning in his productions and its evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, and This Mortal Coil. But that’s not the story, it’s not where the plot comes from, it’s not where we’re going. It’s just a little indicator to reassure you we know the way. No. For it’s in the dark beauty of Low’s tremulous ‘Amazing Grace’ or even the way that the Shangri-Las’ ‘(Remember) Walkin’ In The Sand’, surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we’re helped along by a generous sprinkling of Anders’ fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemoller’s cover of Chris Isaacs’ ‘Blue Hotel’, sung by Marie Fisker and Steen Jorgensen.” Also includes tracks by M Ward, We Fell To Earth, Thee Oh Sees, Nick Cave & Warren Ellis, Ekko, Kid Congo & The Pink Monkey Birds and The Black Angels.
BSR 4500EP PARKS, VAN DYKE: Wall Street/Money Is King 7″ (BSR 4500EP) 11.00
“Legendary artist, composer and producer Van Dyke Parks has announced the launch of a unique series of 7″ vinyl singles, the first new studio music in over 15 years since he released his acclaimed album Orange Crate Art. Each vinyl single (on his own label Bananastan) will be illustrated by some of the most important and remarkable modern artists of our time. The iconic musician, who has been at the heart of some of the great albums of the last 50 years including Brian Wilson’s ‘lost’ masterpiece Smile, Randy Newman and Ry Cooder’s first recordings and Joanna Newsom’s critically acclaimed 2006 album YS, intends to release six new singles over the course of 2011. Parks has commissioned some of the top contemporary artists in America to illustrate each single with what he describes as ‘a work of art that relates to the music within.’ The first single to be released is the Art Spiegelman-illustrated Wall Street/ Money Is King.”
BSR 4501EP PARKS, VAN DYKE: Dreaming Of Paris/Wedding In Madagascar (Faranaina) 7″ (BSR 4501EP) 11.00
Second in Van Dyke Parks’ singles series, illustrated by Ed Ruscha. Van Dyke Parks said of the singles: “They are from highly different genres, each of them. They don’t cohere. They belong somewhere. But the emphasis on the visual art is a big, big deal. These are the pre-eminent American artists of our time. We’re calling it ‘Nouveau Niche.”
BASMATI 001CD ANANDA, GABRIEL: Selected Techno Works 2CD (BASMATI 001CD) 21.00
Refreshingly different from the common techno mainstream, Gabriel Ananda breaks hearing habits by using well-dosed, deep, structured sounds. Connoisseurs of the uncommon enjoy his straight and fiddly cool beats. Definitions become useless if techno, house and dub merge together as in Gabriel Ananda’s productions. Since his first release in 1997 on the German label Hörspielmusik, by now over 20 singles on imprints like Trapez, Utils, Treibstoff, Platzhirsch and Karmarouge Records followed. Selected Techno Works is a collection of all of his floor-shakers that rocked the worldwide dancefloors during the last years and a “Chill Out” CD with previously-unreleased material for a laid-back time afterwards. “Every 2 or 3 years 50% of the people in the clubs change. I’ve been doing techno music since 1995 and I’ve seen a lot of people coming and going. So I thought, that if you’re a tech-newbie, this CD might be for you to get to know my music. And for the people who are already inside or are about to leave, it’s an opportunity to get a part of my work in one piece. For me personally, I made this CD because I wanted to have something in my suitcase to give back to the people who support me so much. The selection of the tracks are partly the ones I think most people like best and the other ones are my personal favorites. The Chill Out CD has been finished since 2005. It was made just for my friends and myself to calm down and find peace one in a while, but I thought it was a waste of music not to release it. I hope you like it.” –Gabriel Ananda
BASTA 9035 SCOTT, RAYMOND: Soothing Sounds For Baby 3LP (BASTA 9035) 46.00
2011 repress. A limited edition reissue on LP of the 3 original volumes of Raymond Scott’s Soothing Sounds For Baby series, with reproductions of the original LP cover artwork/liner notes. All 3 LPs are printed separately, but shrinkwrapped together so that they can only be sold as a set. Featuring the legendary electronic music of Raymond Scott from 1963, originally issued by Epic Records.
BASTA 9045 SCOTT, RAYMOND: Manhattan Research Inc. 3LP (BASTA 9045) 46.00
2011 repress. Astounding triple LP version of this collection of unreleased electronic music from Raymond Scott’s studio, from the 1950s & ’60s. Previously issued as a double CD w/ book (BASTA 9078). This vinyl edition is presented as three LPs, each packaged and in its own full color gatefold jacket, all shrinkwrapped together (the LPs are not available individually). Contains all 69 tracks found on the CD version. “Over two hours of Raymond Scott’s unreleased electronic recordings from the 1950s and ’60s. In 1946, Scott formed Manhattan Research Inc. (MRI), billed as ‘Designers and Manufacturers of Electronic Music and Musique Concrète Devices and Systems’. His colleague Robert Moog said, ‘Scott was definitely in the forefront of developing electronic music technology and in the forefront of using it commercially as a musician.’ Soothing Sounds For Baby was just a warm-up. With MRI, prepare yourself for something beyond the pleasant parameters of pop. Scott’s electronic experiments took him to uncharted netherworlds. The results are intriguing, compelling, and occasionally diabolic. Where SSFB offers relaxing ambience, the grotesqueries of MRI promise a sonic excursion to the realms of weightlessness, moon-craters, and six-armed aliens with twittering antennae. The recordings range from detergent jingles to decidedly non-commercial — uncommercial, even — experimental adventures in sound sculpture.”
BASTA 9304 VA: Anthology Of Dutch Electronic Music 1999-2010 2CD (BASTA 9304) 22.00
“This double CD, Anthology of Dutch Electronic Music 1999-2010, displays the diversity of the more recent Dutch electronic music: sharpening, statics, dramatic, loud, subtle, detailed…. 26 tracks represent different to approach tape music, concert music for accoustical instruments and electronics, live-electronics, sound installations and environmentals, electronic music theatre, composition and improvisation. The CD features recordings by Thomas Ankersmit, Justin Bennett, Jan-Bas Bollen, Bosch & Simons, Marko Ciciliani, Cathy van Eck, Huib Emmer, Huba de Graaff, Edwin van der Heide, Robert van Heumen, Rozalie Hirs, Luc Houtkamp, Alison Isadora, Bas Kalle, Yannis Kyriakides, Anne La Berge, Roderik de Man, Juan Parra Cancino, Gert-Jan Prins, Joel Ryan, Wouter Snoei, Kees Tazelaar, Hans Timmermans, René Uijlenhoet, Henry Vega and Michel Waisvisz. An essay and annotations by Jacqueline Oskamp compliment the music for this release.”
Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight. Arranged and produced by collaborators and label mates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in the Greenhouse Studios in Iceland, the album collects Puzzle Muteson’s odd and beautiful stories about love and horses, rust and polar bears, heartbreak and birds. Puzzle’s songs are curious sounds from a troubled heart and his lyrics are urgent and open, striking a note with their vulnerable memories. “I Was Once A Horse” is an unforgettable song about nostalgia. The title track pits Puzzle’s longing against waves of dense strings and jagged rhythm, while “Perspex Disguise” sets his naked, translucent vocals against shimmering piano that refracts off epic chords. In “Flamingo Head” he sings; “I left your house. You let me. I left you ugly,” buffeted by guitar and distant murmurs. “Not a single thing could take this magical sight. I’ll find you still,” he sings on “Medusa,” the story of a man tracking down a lost love. Like many Bedroom Community recordings, En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket. Puzzle Muteson could be “folk” or something completely different — instead he’s an intense stranger from the Isle of Wight — at once both familiar and unfamiliar. En Garde heralds a haunting and essential new voice, beautiful, earned and yearning.
SELUR 001EP PUZZLE MUTESON: En Garde 7″ (SELUR 001EP) 11.00
This is the first single from Puzzle Muteson’s debut album En Garde (HVALUR 011CD/LP). The music was arranged and produced by Nico Muhly and Valgeir Sigurðsson and recorded in the Greenhouse Studios in Iceland. The title track pits Puzzle’s longing against waves of dense strings and jagged rhythm. With it comes the bonus track “Brittle Beak.” En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket.
BLP 1593LP DONALDSON, LOU: Blues Walk LP (BLP 1593LP) 11.50
Exact repro reissue, originally released in 1958. “Lou Donaldson’s undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop vein, and the mellower moments aren’t as sleepy as some of Donaldson’s subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. That makes it the definitive release in Donaldson’s early, pre-soul-jazz period, but what elevates Blues Walk to classic status is its inviting warmth. Donaldson’s sweetly singing horn is ingratiating and melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible.”
BST 84368LP SILVER, HORACE: Total Response LP (BST 84368LP) 11.50
Subtitled: The United States Of Mind / Phase 2. Featuring Cecil Bridgewater (trumpet & fluegelhorn), Harold Vick (tenor sax), Bob Cranshaw (bass), Richie Resnicoff (guitar) and Mickey Roker (drums). The only Blue Note release with the song “Acid, Pot, Or Pills.” Gatefold exact repro reissue, originally released in 1971.
LT 1058LP MORGAN, LEE: Tom Cat LP (LT 1058LP) 11.50
“Trumpeter Lee Morgan had had an unexpected hit with ‘The Sidewinder,’ so his more challenging recordings were temporarily put aside. As it turns out, this was one of Morgan’s better sets from the 1960s and he had gathered together quite an all-star cast: altoist Jackie McLean, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Art Blakey. They perform ‘Rigormortis,’ McCoy Tyner’s ‘Twilight Mist,’ and three of the trumpeter’s originals, including the title cut. The advanced hard bop music still sounds fresh decades later despite its initial neglect.” –All Music Guide
Bo Weavil presents a sublime duo recording from old sparring partners Oren Ambarchi and Robbie Avenaim, recorded live in Tel Aviv in 2009. This is a single edit of the performance which perfectly captures the chemistry between Robbie’s busy percussive maneuvers and Oren’s textural overlay. A previous performance of the pair was documented on the Clockwork CD (re-issued by Room40) and prior to this the notorious The Alter Rebbe’s Niggun CD was released on Tzadik. Here, the two come together with an energetic performance of free interplay. Steeped in rock, electronics and feedback, the duo conjures an ecstatic instrumental journey. Momentum builds while shifting around a variety of sonic styles until the entire patchwork is laid bare, exposing all the nuance within. Edition of 350 numbered LPs, housed in a heavyweight silkscreened sleeves.
SIDRA 006LP STARVING WEIRDOS: Rolled In The Midst Of Never-Ceasing Currents Flowing… LP (SIDRA 006LP) 23.50
…Without A Rest Forever Onward. Firstly, this is not for the faint-hearted, but fear not, this is not another noise record. This LP is something else altogether. This is a massive, glorious psychedelic din, a thick fog of dramatic sound events. Starving Weirdo’s latest offering promises to enfold the listener who will experience the ecstatic grandeur of Anton Bruckner as much as the rich industrial drone of David Jackman. This is Lhasa in California — a world drenched in ecstatic thrills and intense ethereal exploration. There are sounds, there are drones, there are rhythms and there are songs — a glorious concoction that moves in a vertical fashion. As we live today, in all this murk; all this twisted history and convoluted present, we can be thankful that these folks in California came together to create such a glorious record for all to bathe in. But this, like all good things, is limited and will not be around forever. Step in now or forever remain the great unwashed. Edition of 350 numbered LPs, housed in a heavyweight silkscreened sleeves.
BOXER 081EP EXTRAWELT: Vorsprung Durch Hektik 12″ (BOXER 081EP) 12.00
Wayan Raabe and Arne Schaffhausen aka Extrawelt present deluxe versions of premium techno. Both title track “Vorsprung Durch Hektik” (trans. “progress through stress”) and “Wasteland” offer an abundant vision of futuristic melancholy constantly in motion while at the same time smooth and well-balanced, like the perfect mix between neon colors and different shades of grey. With “Yummy_Unbroken,” you will be irresistibly drawn onto the main dancefloor.
BB 076CD QLUSTER: Fragen CD (BB 076CD) 17.00
Kluster — Cluster — and now Qluster. Fragen documents the extraordinary shedding of skin of one of the most important German electronic groups. Hans-Joachim Roedelius was there from the beginning (1969), with Onnen Bock taking the place of Dieter Moebius. Little need be said about Roedelius, whose collaborations with Konrad Schnitzler, Cluster and Harmonia earned him a worldwide reputation as a pioneer of electronic music. Onnen Bock (born in 1974), a qualified musician and sound installationist, played a part in the Zeitkratzer ensemble, worked together with the likes of Christina Kubisch and was a sound engineer for the Berlin Philharmonic. Hans-Joachim Roedelius and Onnen Bock are Qluster. The two artists have been meeting up to explore new musical directions together since 2007. Fragen is the first part of an exceptional trilogy, a grandiose new beginning, backed up by 40 years of tradition. Two fundamental decisions, borne of an acutely refined sense of musical self-conception, have shaped Qluster: the use of analog keyboards only and a focus on improvisation through vibrant playing technique. Qluster have jettisoned all forms of ballast pertaining to music and sound. Roedelius and Bock develop their musical aesthetic through seven impressionistic pictures, an aesthetic which borders on ascetic rigor. And yet each piece is motivated by something deeply human, a playful element setting the tone. Qluster’s modus operandi guides the listener towards peaceful, pale blue rooms where airy veils of suspended matter sparkle, as if floating gently to and fro on the breeze. Beyond the veils one senses further rooms, in colors which have lost their names and become sound. To be perfectly clear: Qluster’s music is not psychedelic, neither in the traditional, nor in a wider sense. This is no meditative soundtrack for a “journey to the inner self.” In its own way, however, it does represent a trip to the realms of utopia, where particularly careful listening is required in order to appreciate the music in all its richness and splendor.
BUR 007EP AKA AKA & THALSTROEM: Springtide/Ete 12″ (BUR 007EP) 12.00
AKA AKA & Thalstroem present the first single from their album Varieté (BUR 001CD). This will surely stir up every open air this summer! Must have!
CA 50041LP CALLIER, TERRY: I Just Can’t Help Myself LP (CA 50041LP) 11.50
Exact repro, originally released in 1974. “Terry Callier’s third and final album for the Cadet label is the most soulful and supple of the bunch — Marvin Gaye’s classic Motown LPs from the same early 1970s period serve as a good reference point, both in their richly-detailed arrangements as well as their thoughtful political and social messages. Despite its contemporary feel, however, much of the material on I Just Can’t Help Myself dates back several years — both the powerful ‘Alley-Wind Song’ and the John Coltrane tribute ‘Can’t Catch the Trane’ were initially recorded during the 1969 sessions which later comprised the First Light collection, while the graceful reading of Duke Ellington’s ‘Satin Doll’ was and would remain a longstanding highlight of Callier’s live set.” –All Music Guide
NBLP 7109LP SANTA ESMERALDA: Beauty LP (NBLP 7109LP) 11.00
Exact repro of this overboard 1978 flamenco-disco merger. Lush, epic arrangements with percolating salsa-by-way-of-disco rhythms help you get past the cover art.
LPS 1492LP COLLIER, MITTY: Shades Of A Genius LP (LPS 1492LP) 20.00
Exact repro reissue, originally released in 1965. “Collier’s Chess album is an above-average mid-’60s soul LP, particularly for an artist that never had a big pop hit. Collier’s voice is deeper and more gospel-inflected than that of most woman soul singers of the period. She favors slower material than most soul vocalists did as well, as on her most famous recording, ‘I Had a Talk with My Man Last Night’ (included here); Ray Charles stands out as an influence, as three of his songs are covered. She proves capable on swinging medium-tempo belters too, as on the imaginatively arranged version of ‘My Babe,’ which sounds here more like gospel-soul than the electric blues tune as popularized by Little Walter. It’s quality, varied soul, not simply collector marginalia despite Collier’s obscurity. The top-flight Chess soul production–frequent tasteful brass and strings, yet also some earthy numbers with tough bluesy licks–sometimes recalls the sound of Etta James’ recordings from the same era.” –All Music Guide
Even if no other contemporary music style is as consistently searching for new sound horizons as electronic dance music does, in the end, the tradition of series within these constant developments provides us with well-known structures from the house of Cocoon. Thirty years of lived DJ culture, 11 years of label history and the sixth mix compilation by Chris Tietjen are events that need to be celebrated in 2011. The 26-year-old Frankfurter has been an essential part of the Cocoon family since 2005 and his annual compilation is on the one hand a most welcome definition of the state of modern tech house, and on the other hand, shows his own personal development from promising Rhein Main newcomer to one of the most influential DJs in Europe. In the true sense of Cocoon’s publicized aesthetics of the DJ as a mediator of visions apart from the Sync button, Tietjen presents a journey through the last 12 months of Cocoon Recordings. And, once again, the acoustic cornucopia is full to bursting, containing tracks by Loco Dice, Dubfire, Phil Kieran, Christian Burkardt and many more: from the pop ambient of Fabric resident DJ Arnaud Le Texier (“Elusanes” Beatless Version), Tietjen dives into the depths of dub with Moritz Von Oswald’s “Cocoon Dark Dub” before the Vision Quest remix of Dinky’s “Acid In My Fridge” sets the tone to a more club-esque format. What follows is yet again a tour de force through modern techno where anything goes, from percussive reduction (Johannes Heil’s “The Ace – Butch Remix”), noise-heavy deep tech house (Maetrik’s “Snorkel”), winding and harmonic Detroit techno (2000 And One’s “Tropical Melon – Tim Green Remix”) up to an almost Balearic emotional overflow towards the finale (Chymera’s “Pump”; Johannes Heil’s “Twentythree”) — a picturesque and more than inspiring kaleidoscope of modern electronic music. Other artists include: Argy, Kule Runner, Pan-Pot, Paul Ritch, Psycatron & Paul Woolford, Harrison Crump, Reboot and Chymera.
CS 1020LP COLON & ORCHESTRA, JOHNNY: Portrait Of Johnny LP (CS 1020LP) 11.50
Following his earlier boogaloo-oriented work, NYC’s Latin soul legend moves into salsa and mambo territory. Exact repro, originally releeased in 1971.
CYCLICAL 017EP TADEO: Signals 12″ (CYCLICAL 017EP) 12.00
Tadeo travel from the cosmos and translate messages to techno music, presenting four powerful and effective tracks. Cyclical tracks continues researching new sounds together with cosmic ideas.
DEP 2014LP KOOL & THE GANG: Light Of Worlds LP (DEP 2014LP) 11.50
The seventh album from Kool & The Gang, originally released in 1974. Features the singles “Summer Madness,” “Higher Plane” and “Rhyme – Tyme People,” all true anthems of groove domination. Exact repro, housed in a gatefold sleeve.
DSR 054EP D5: Neutrino EP 12″ (DSR 054EP) 12.50
Repressed — white label, red vinyl, NO artwork. D5, the artist formerly known as Dimension 5, returns to the label where he started. Three times deeply smooth funk techno tracks. His track “Floatation Tank” on the Planet Delsin compilation was favored by a broad range of DJs and licensed to Josh Wink’s mix compilation. This Neutrino EP brings us three times deep funky, warm minimal/techno. Sounds along the lines of Luciano and Aril Brikha — groovy late-night techno. Very deep!
DES 016LP VINCENZO: Wherever I Lay My Head 2×12″ (DES 016LP) 20.00
2×12″ version. Finally, Dessous key artist Vincenzo is back in the spotlight with his third full-length album. Some nine years after Welcome To Zanarkand (DES 006CD), his last long-player, the Berlin-based producer has been making magic in the studio, crafting what is sure to be his greatest work yet. Wherever I Lay My Head is a glorious journey through rich, spiritual and stunningly-crafted electronic sounds. Vincenzo’s crystal-clear production and years of writing experience have culminated in this heroic new work. Two songs feature U.S. house vocalist Lisa Shaw.
DSART 010CD HENNIX, CATHERINE CHRISTER: The Electric Harpsichord CD/BOOK (DSART 010CD) 20.00
Restocked; 2nd pressing with lower pricing. After the limited art edition quickly sold out, The Electric Harpsichord is now reprinted — in its complete form — in a new elegant white boxed edition. Known to the very few, The Electric Harpsichord is possibly THE obscure masterpiece of early American minimalism. Recorded live in 1976 after many years of study under the guidance of Pandit Pran Nath and La Monte Young, it has finally found the perfect home in the Die Schachtel catalog, now in an elegant white boxed 56-page book+CD edition, that gives the work the space and merit it deserves as a unique work of art, complete with two poems by La Monte Young especially written for this edition, and an extensive essay by Henry Flynt. An improvisation performed on just intonation-tuned keyboards put through time-lag accumulators similar to those used by Terry Riley, Hennix has produced one of the most remarkable pieces of music to emerge from the La Monte Young school of minimalism. A Sweden-born composer, who studied in the tradition of Xenakis and Stockhausen in the 1960s, Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970, and pursued studies with both men during the 1970s. While the use of the time-lag in Riley’s works such as “A Rainbow In Curved Air” results in an experience of blissful, focused, samadhi-like calm, Hennix’s drone work has more in common with the chaotic fluxes of psychedelic experience or the mandalas of Tibetan Buddhism. This is a moving eternity, a pulsating, shifting-something like a raga perhaps, insofar as a raga is a specific deity invoked into sound, fluttering inside the matrix of the drone. Catherine Christer Hennix: keyboard and custom sine wave generators. Recorded live at Moderna Museet, Stockholm, Sweden. Mastered by Giuseppe Ielasi.
DA 011EP DUBBEL DUTCH: Remixes 12″ (DA 011EP) 8.50
“Dutty Artz family have been rinsing Dubbel Dutch since they first heard his perpolive singular take on house musick. Repping Austin Texas, Marc Glasser AKA Dubbel Dutch throws down two original tracks and some of the illest RnB refixs heard in forever. Pulling from synth heavy house and late 90’s golden era UK R’n’Garage, these blistering bangers are PURE LIGHT. Check ‘Fem Pressure’ and DD’s remix of Kell’s ‘Be My #2’ to see just how future his sound is.”
Ethereal debut indie album with acoustic rock as well as fat electronics on this colored vinyl LP from Eat Concrete. Friends and musical collaborators for nearly 20 years, Zachary Mastoon (better known as Caural) and Jason Hunt saw the first hints of Boy King Islands emerge in the summer of 1995. Outside in a park together at twilight, their improvisation unfolded as the basis for “Feeling Nowhere” — an emotive and melancholy progression, magically unforgotten years later. Named after a painting by outsider artist Henry Darger, the duo of Boy King Islands was resurrected in the winter of 2002 when — then roommates — they stretched microphone chords around doors and through the thin walls of their north side Chicago apartment to capture the beginnings of what would become their debut: buzzing Fender guitars with the gnarl of tube distortion; the tines of a Rhodes or the warm hum of a Wurlitzer; an mbira plucked through a wah pedal or a wooden box with broken glass and beads shook as percussion; and Mastoon’s whispery and always doubled vocals swimming in a wash of crashing cymbals. Mastoon returned to NYC that next year but, when not on tour or working on releases as Caural, he and Jason sent each other ideas to be fleshed out in infrequent studio sessions deftly engineered by their friend Keith Kreuser. Years later, the resulting collection of fuzzy and swirling shoegaze-influenced pop music spanning nearly 8 years was mixed in Chicago where the two began: with nostalgic echoes but eyes gazing forward. Listen to it loudly. On chlorine-colored vinyl.
EB 083CD VA: King Size Dub Chapter 15 CD (EB 083CD) 10.00
This is the 15th volume in the long-running, super-cheap King Size Dub series, once again showcasing dub music in all its variations. Some notes on outstanding contributions: Soul Sugar is the solo project of the keyboardist from the French band Seven Dub and Tack >> Head presents his first new recording after 31 years of the ex-Sugarhill Gang backing band featuring Adrian Sherwood and vocalist Bernard Fowler. Dactah Chando is a vocalist from Spain and a very talented upcoming artist, and New York’s Subatomic Sound System worked in Europe with Dubblestandart and Lee Perry and pawns a track featuring Treasure. Jamaram from Munich present a very exclusive dub track from their upcoming album and Äl Jawala from the south of Germany also presents a very exclusive dub version from Umberto Echo. Kein Hass Da is a punk band from Hamburg who covers Bad Brains’ “The Meek Shall Inherit The Earth,” featuring none other than Bad Brains bass player Darryl Jenifer, and Aldubb from Berlin is a drummer, producer and remixer who contributes the very stylish and uptempo “Wa Doo Dub,” featuring Ammoye. There’s also a Dub Spencer & Trance Hill track featuring the ghost of W.S. Burroughs. Other artists include: Ruts DC, RSD, Noiseshaper, Carlton Livingston, Martha & The Muffins, Grand Phabao, Up, Bustle And Out, Anthony B. & Gudrun and Maffia Tone.
EDLX 015EP BECK, GARY: Egoist 12″ (EDLX 015EP) 12.00
Created sometime in 2010 during a dark and stormy night in Glasgow, Gary Beck presents the almost-forgotten “Egoist.” At some point, the track ended up in Speedy J’s hands, who immediately decided to play it, ripping apart dancefloors every time it got dropped. With its subtle vocal samples and its sexy groove, this track creates a cool which goes beyond. “Speedy J’s Dub Tool” is a heavy dub brother with a dark and rock-solid bass drum, snare rolls and white noise.
SLP 368LP SESAR, LENNI: Lenni Sesar LP (SLP 368LP) 11.50
Exact repro of this record from a vivid force in Fania Records’ Latin corner. Includes the track “Morris Park,” featured on Vampisoul’s Gettin Soulful comp (VAMPI 042CD).
FAUXPAS 005EP RISING SUN: Lift Up Your Faces 12″ (FAUXPAS 005EP) 12.00
Fauxpas Musik welcomes Rising Sun, who also runs labels such as Styrax and Millions Of Moments and their respective sub-labels.”Lift Up Your Faces” is a grounding yet epic tale in best Bobby Konders manner, flowing and warm. Julius Steinhoff takes it to the floor. “Lonely Clarinet” and “The Sun Orchestra” sing with the birds, funking the last dark thought out and spreading pure love. This limited beautiful piece of colored vinyl comes with an extra-large poster done by Paetrick Schmidt.
FF 157LP BARDO POND: Bardo Pond PIC. DISC (FF 157LP) 41.00
“Formed in 1989 in Philadelphia by the guitar-wielding Gibbons brothers, Bardo Pond’s drug-inspired space rock–complete with droning guitars, heavy distortion, feedback, reverb, and white noise–soon made them cornerstones of the Psychedelphia scene (Aspera, Asteroid No. 4, Azusa Plane) and the same warped galaxy as bands like Hawkwind, Amon Duul II, Spacemen 3 and Mogwai. Now two decades and many albums later, Bardo Pond are still drinking the water in Philly and this latest eponymous album (released in 2010) is just one of its happy consequences. The album eddies in a whirlpool of country psych, with Isobel Sollengberger’s vocals braving the acid-tainted rapids.”
“Italy’s Donato Dozzy constructs nearly an hour of dense ambient fog & early morning techno for his mesmeric debut album K. Initially only available as a limited edition cassette tape. Donato was Panorama Bar’s after-hours resident for 5 years before recently returning home to set up his own night at Rome’s Brancaleone club and spend more time recording in the studio. The album is dedicated to his wife and reflects his experiences DJing during epic daybreak sets at the legendary Japanese outdoor techno festival Labyrinth. As well as travelling the world playing interesting locations he maintains residencies at Bleep43 in London, and The Bunker in San Francisco where he specializes in 5hr+ sets of deep, hypnotic, trance-inducing techno & ambience. He has released sold out EPs on his own Aquaplano imprint, Japanese label Mule Electronic and Belgium’s Curle Recordings. Like the original cassette release, the CD is comprised of two 29 minute sets.” “…one of the most engaging and memorable techno LPs this year.” –Little White Earbuds
FUR 029LP VAGON BREI: Destiny LP (FUR 029LP) 16.00
“Vagon Brie is Victor Ramos from Asturias, resident DJ on Intergalatic FM & recording artist for Strange Life Records (Holland), Minimal Rome (Italy) & Mathematics Recordings (Chicago). The album is a 45 minute representation of a doomed space voyage that investigates fear and terror of a tragedy combined with a sense that there is hope. The album has been featured on Legowelt’s Astro Unicorn radio show and in the DJ sets of I-F (Interr-Ference). The screen printed cover illustration is by Danny Wolfers (Legowelt) and the music has been mastered by Alek Stark.”
GEM 002CD SECRET CINEMA: Minerals 2CD (GEM 002CD) 21.00
The tracks on Secret Cinema’s album Minerals are inspired by the hardness, color and material of various minerals. CD1 consists of dancefloor hammering tech-house and techno as we have come to expect from Secret Cinema. With contributions from Ramon Tapia, Egbert, Cosima and m0h, timeless gems are guaranteed. Alongside these floor-friendly tracks are some more abstract jams. All is woven together in a powerful continuous mix on CD (with download voucher for single tracks). The second CD is an ambient mix consisting of the sounds that form the base of the tracks on CD1, mixed with bizarre instruments, tuning forks and other sounds. Dirk-Jan Hanegraaff and Robert Kroos also known as Mental Youth, collaborated with Gem Records-head Jeroen Verheij on this creation. Perfect for relaxation after the party on CD1. Some might say that this is some of the best work from one of The Netherlands’ top techno producers of the past 18 years.
GEM 012EP SECRET CINEMA: Minerals EP2 12″ (GEM 012EP) 12.00
Part 2/3 of the Minerals EPs from Secret Cinema, featuring tracks “Smooth Talc” and “Crystal System” with Ramon Tapia.
GEM 013EP SECRET CINEMA: Minerals EP3 12″ (GEM 013EP) 12.00
Part 3/3 of the Minerals EPs, taken from Secret Cinema’s full-length album (GEM 002CD). Featured here are tracks “Mohs Scale” with Kalden Bess aka m0h and “Topaz” with Egbert.
GH 248EP NERVEBREAKERS: Politics 7″ (GH 248EP) 5.00
“Deluxe remastered reissue with picture sleeve of 1978 original Wild Child Records single by badass Texas punk rock band! Like all Texas punk the era, this is no letdown either and this 4-song EP has two smash hits!”
GH 249EP NERVEBREAKERS: Hijack The Radio/Why Am I So Flipped 7″ (GH 249EP) 5.00
“Great quality reissue of Dallas, Texas legendary Punk band debut single from 1979, originally releases on Wild Child Records.”
GSF 1009LP QUARTERMAN & FREE SOUL, SIR JOE: Sir Joe Quarterman & Free Soul LP (GSF 1009LP) 11.50
Exact repro of the sole album from Joe Quarterman, originally released in 1973. Socially conscious funk, featuring tracks “(I Got) So Much Trouble In My Mind,” “I Made A Promise,” “The Trouble With The Trouble,” “The Way They Do My Life,” “Find Yourself,” “Gonna Get Me A Friend,” “Give Me Back My Freedom,” “I Feel Like This” and “Live Now Brothers.”
HFN launches new subsidiary Hafendisko, best described as an outlet for some groovy finds. Lightbluemover is the somewhat mysterious new project by a well-known producer gifted with the chance to kickstart this new project exploring Kraut, no wave, and disco influences. “Girn,” featuring the equally mysterious Black Light Smoke, is an extended, wild pitch journey into smoky, synth-voiced slow house. Beautifully mad, pitching synths and a husky vocal all add up as lazy beats lift this stoner-anthem to new levels.
DECCA 34579EP BANANA SPLITS, THE: Doin’ The Banana Split 7″ (DECCA 34579EP) 6.00
Exact repro of The Banana Splits 1969 single for their Kellogg’s television show. Full-color picture sleeve with the lyrics on the back, so you can sing along and relive the wholesome childhood that you definitely never had. Tracks: “Doin’ The Banana Split,” “I Enjoy Being A Boy (In Love With You),” “The Beautiful Calliopa” and “Let Me Remember You Smiling.”
HIGH 097CD POPOVICIU, MIHAI: The Unexpected Truth CD (HIGH 097CD) 17.00
This is the debut album from Romanian producer/DJ Mihai Popoviciu. Recently there seems to have been an easterly wind blowing through the electronic music scene: more and more artists, particularly from Romania, have staked an impressive claim on the dancefloors of Europe’s best clubs and on the ears of its house music audience. Among the luminaries of the trend is Mihai Popoviciu, one of the most innovative producers in Eastern Europe. Mihai has already gained plenty of experience as a producer and DJ — he was only 14 years old when he discovered the electronic underground of his homeland. In 2001, he finally began his own music production, a pursuit which is closely related to his work as a DJ — the one could not exist without the other — two sides of a creative symbiosis. On The Unexpected Truth, Mihai Popoviciu shows two distinct sides of his musical mind. Across these tracks we find, on the one hand, his private and reserved expressions, and on the other a powerful and surging musical attitude. The record is characterized by its unconcerned and easy-going atmosphere, which transforms rapidly into driving percussion and minimal ambience. It is at once varied, original and catchy. Mihai himself considers The Unexpected Truth to be the essence of his artistic work. With this debut album he will appeal to both the party animal and the sofa connoisseur. Regardless of whether you’re wriggling with the groove or chilling out at home, this album will be making the rounds in the deep recesses of your mind.
HI 023EP ELOQ: Galactic Neckbreaks EP 12″ (HI 023EP) 11.00
ELOQ is Copenhagen-raised and based DJ, producer and promoter, August Fenger. As ELOQ, August concentrates on his MPC work with a big nod to the U.S. beat producer scene, but with close links to like-minded producers in Amsterdam, Paris and London. Alongside his love for soulful synthesizers and futurism, ELOQ creates a fresh sound on the Scandinavian beat scene, blending touches of skweee with Dilla and Samiam.
HJR 056CD VLADISLAV DELAY QUARTET: Vladislav Delay Quartet CD (HJR 056CD) 17.00
Vladislav Delay has always been a maverick artist. But after relocating to Hailuoto, Finland in 2008, what he calls “absolute freedom” has become the de facto muse guiding his music. On 2009’s Tummaa, Delay cracked open ambient dub’s hermetically-sealed aesthetic and ushered in elements of jazz-fusion, free improv and industrial noise. Tummaa is dark, restless and challenging. It’s also a stepping stone, one that leads directly to Vladislav Delay Quartet, the musician’s most radical statement to date. Though this absolute freedom is inextricably linked to the relative isolation of his Finnish home, Delay’s latest record is very much a product of collective participation and multiple locales. In Derek Shirley, Lucio Capece and Mika Vainio, Delay has found three musicians more than willing to translate such a non-negotiable concept into sound. A balance is reached between individuality and the demands of the unit. The album’s opening salvo — “Minus Degrees, Bare Feet, Tickles” — is a commanding declaration of independence. Layered with murky static, churning woodwinds and bowed bass, the music is visceral and unsettling. It also has nothing to do with ambient, dub or the myriad micro-genres they have spawned. This is noise — vital 21st-century electronic noise that cuts a sharp angle between Borbetomagus’ wicked maximalism and the wraith-like aggression coursing through black metal’s more drone-based manifestations. That said, VDQ doesn’t deal in sonic aggression, exclusively. Spotlighting Capece’s soaring, avian reed-work, “Killing The Water Bed” is a vaporous foray into avant-garde jazz; “Presentiment” is deep, liquid blues, dripping suggestively from the celluloid of a long-forgotten sci-fi noir. The penultimate piece, “Louhos,” is easily the record’s most brutal in terms of rhythm, volume and density. Recalling free jazz and heavy metal’s cacophonous flirtations in the late 1980s, the massive rock-beat anchoring the maelstrom swirling about it wouldn’t feel out of place on Last Exit’s Iron Path or even Ground Zero’s epic Consume Red. Eventually, clattering electronics, fuzz-spiked percussion and a scalding wash of reeds rise up. Obliterating all forward propulsion by track’s end, they leave a hazy cloud of reverb and feral cries in their wake. Recorded at the former Radio Yugoslavia studios in Belgrade throughout one week, Vladislav Delay Quartet is an expansive and multifaceted listening experience. In Delay’s scrupulous production, the ensemble’s raw and natural interaction finds a deep coherence: the articulation of absolute freedom. Vladislav Delay (drums, percussion), Lucio Capece (saxophone, bass clarinet), Derek Shirley (double bass) and Mika Vainio (electronics, live processing).
HJR 056LP VLADISLAV DELAY QUARTET: Vladislav Delay Quartet 2LP (HJR 056LP) 20.00
Gatefold 2LP version.
HOS 134LP DRUMM, KEVIN: Imperial Distortion 3LP (HOS 134LP) 42.00
“What does a person do when faced with a work like Imperial Distortion? There are rare moments in an artist’s work where they reveal a greater truth. Kevin Drumm has already made such a statement with his last major solo work 2002’s Sheer Hellish Miasma. Where that record took noise music to a new level of near-impenetrable exactitude, Imperial Distortion is an altogether different beast. Beauty as an aesthetic can be as terrifying as horror, desire unfulfilled, romance that lingers and never goes away no matter how disappointing. A preoccupation with death can be the only result. On this extended long form release Kevin Drumm comes face to face with minimal drone music and confronts the genre by providing one of its absolute pinnacles at the forefront; movement. Drone music at its most concentrated and ably performed has build and depth in its tones. Although there might be the illusion of stasis the opposite is true. From the opening twenty minute track ‘Guillain-Barre’ the mood of the album is laid clear. The arrangements are shadowy layers of soundtrack like tones not entirely unlike the work that Popul Vuh provided for Herzog’s films. By track two ‘more Blood and Guts’ with its ominous bell tones its apparent that there is a true nothing that’s associated with these sounds other than the mood inducing hypnosis and the feeling of drowning yet having no ability to fight the slow pull.” On white vinyl, housed in a gatefold sleeve.
HOS 288LP BLACKDEATH: Katharsis: Kalte Lieder Aus Der Hölle LP (HOS 288LP) 17.00
“Hot blood in the frozen wastes, tormented sleeps, no rest, no peace, always some war to be fought. Blackdeath keep fighting, living life as war. On this new album, all of the wildness and violence that Blackdeath have been renowned for have now hardened into an idiosyncratic and cracked style: manic vocals that switch between black rasp and psychotic singing, Nordic style riffs that are somehow bent into a weapon with sharper angles, and a song progression that is equal parts percussive brawl and wide-eyed revelation. After six albums you’d think that they would have plateaued, or grown tired, but no. Rather, here, you find them in the strongest form since the band’s inception back in 1998.They now have finally secured themselves a real drummer, and full-professional studio sound. For some underground black metal bands, that might equal an awkward combination, but Blackdeath have always been stubbornly focused on quality of riff and refined composition of song which translates perfectly in this level of production.”
IDM 001DVD IMPERIAL DOGS, THE: Live! In Long Beach (October 30, 1974) DVD (IDM 001DVD) 19.50
Crazy video documentation (long thought to be lost) of a live show by legendary L.A./South Bay proto-punk unit, The Imperial Dogs. Recorded at Cal State Long Beach the night before Halloween, 1974, fliers for the event promised “an evening of sex, violence, and public outrage,” and this 64-minute DVD delivers the goods. Some people may know The Imperial Dogs from the Unchained Maladies LP that Dave Laing’s Dog Meat Records issued back in ’89. A few may even know the ’78 single they released through Back Door Man. But neither of those actually prepares you for the amazing visual onslaught of the band. In a year perhaps best remembered for Terry Jacks’ “Seasons In The Sun,” The Imperial Dogs (fronted by wasted, he-man writer, Don Waller) were blasting out originals like “This Ain’t The Summer Of Love” (later copped by Blue Öyster Cult) and slamming through Velvets covers as though other people on the planet actually cared. The introduction raps are worthy of transcription, the video transfer quality is shockingly good, the sound is great, and the performance is really amazing. It’s almost unbelievable that this kind of ruckus was being created in ’74, but it was and the evidence is finally available. The package is hep, too. Lotsa good color photos (like Iggy watching The Imperial Dogs playing at Rodney’s English Disco — the only live band there, ever) and thousands of excellent historical words that will place your ass in the ghettos of Long Beach, CA many, many years ago. Really one of the best, least expected slabs of wild history to come down the pike in many a moon. Let us pray a similarly-styled LP will follow before too long. 64 minutes; Mono; black & white; NTSC format, all region; includes a 20-page booklet with notes and rare photos.
LDN 022CD LV (FEAT. JOSH IDEHEN): Routes CD (LDN 022CD) 16.50
Keysound Recordings presents the highly-anticipated debut album from London production trio LV. Routes was written and recorded in intensive bursts over a 12 month period, and heavily features London vocalist Joshua Idehen, who first collaborated with LV on their 2010 Keysound 12″ 38 EP. LV is, at the moment, a studio project, not a traditional band, but “live” playing is still key to their sound — as is serendipity. Their first release as LV was the Globetrotting/Takeover 12″ on Hyperdub in 2007. Although it was not something they were previously involved in, it positioned LV in the “dubstep” scene — although they admit they don’t see their music as belonging to any one genre. Since then, they have released three further 12″s on Hyperdub, including last-year’s kwaito-funky dancefloor phenomenon Boomslang, and have also recorded for other influential labels including Hemlock, 2nd Drop, Ramp/Brainmath, and Soul Jazz.
KSAY MH01-EP SUN RA: The Mike Huckaby Reel To Reel Edits Vol. 1 12″ (KSAY MH01-EP) 14.50
During afterhours, Mike Huckaby produces Sun Ra edits from a dancefloor perspective, using only a mixer and a reel-to-reel player. Now, some of his finest edits are released on The Mike Huckaby Reel To Reel Edits series, containing reworks of classic tracks from the Art Yard catalog which were previously-released on the collaborative series between Art Yard and Kindred Spirits. Housed in a full-color outersleeve including a silkscreen-printed plastic insert by L.A. designer Stephen Serrato. Limited quantities, so don’t miss out!
KSDB 001EP VA: Deep Disco & Boogie Vol. 1 (Part 1) 12″ (KSDB 001EP) 12.50
Kindred Spirits drops its first 12″ from their Deep Disco & Boogie series, a collection of rare and in-demand disco and boogie winners. This volume was compiled by the UK’s #1 disco dealer/digger Zafar Chowdry aka Zaf aka Pussclod. The A-side features a sought-after extended mix of an ultra-rare disco track by China Burton, and on the flip you’ll find the in-demand boogie cut “Set It Out” by Razzmatazz. All tracks are fully licensed and lovingly remastered from the original studio tapes.
KL 070CD WATANABE, HIROSHI: Sync Positive CD (KL 070CD) 17.00
Hiroshi Watanabe returns with his second album for the Athenean label, Klik Records. Since the release of his 2006 album, Genesis, the Japanese veteran producer kept composing music and growing his reputation by creating two albums under his Kaito alias. Hiroshi Watanabe, one of the most recognizable and critically-accepted Japanese ambassadors for house music now presents Sync Positive, which sees Hiroshi delve even further into the techno palette with his unique flair for color and warmth. As a totally immersive body of work built around nine instrumental compositions and one Japanese-oriented vocal track, Hiroshi Watanabe once again shows that he is capable of transporting the listener into his own musical landscape and taking us beyond the here and now.
KOM 228EP AGUAYO, MATIAS: I Don’t Smoke EP 12″ (KOM 228EP) 14.00
Matias Aguayo returns to Kompakt with his first new recordings for the label since 2009’s acclaimed full-length Ay Ay Ay (KOMP 076CD/KOM 205LP). Aguayo takes it back to the dancefloor with his first foray into house music. I Don’t Smoke is here — pure electronic body music. The music here is a tour diary of sorts — tried and tested on the crowds, these tracks were improved and built up, then finally mixed down with Scott Monteith aka Deadbeat.
LAID 001CD VA: Laid Compilation CD (LAID 001CD) 15.50
After 10 vinyl-only singles the Dial sub-label Laid releases a selection of essential house music masterpieces for the first time on CD. Since Dial brought up its eccentric family business in 2000, the love for true house music was always one main inspiration. Highly inspired by the U.S.-based music, a label was needed to be the cosmopolitan sister of Dial. Inviting protagonists like Jus-Ed, Keith Worthy, Patrice Scott, Fred P. and many others from the United States to the legendary Dial Allnighters, exchanging tracks and ideas, and launching a thousand DJ sets worldwide, this is where the concept for Laid was built. It began in May 2009 with Detroit legend Rick Wade — a very classical start. Followed by tracks and 12″s by artists like John Roberts, Fred P., Marcello Napolitano, Lowtec, Christopher Rau and many more, Laid has fulfilled a whole range of styles from traditional to contemporary, from sweet to dark, from clean to rough. Here is a compilation that shows how deep, fresh and colorful the Laid sound still is. House music is here to stay. Other artists include: Lawrence, RNDM, Smallpeople, Kassem Mosse and Black Jazz Consortium.
LINE 050CD HORVITZ, SETH: Eight Studies for Automatic Piano CD (LINE 050CD) 13.00
“Inspired by the work of James Tenney, Gyorgy Ligeti, Charlemagne Palestine, and Conlon Nancarrow, Seth Horvitz’s Eight Studies for Automatic Piano makes use of simple, computer-aided compositional processes to test the limits of human perception and machine precision. It relies on a bare minimum of technical means to explore notions of temporal distortion, iterative process, and elegant complexity. Presented in an immersive concert setting without the presence of a human performer, Eight Studies questions traditional notions of live performance and musical ‘life.'”
Massimiliano Pagliara moved from Lecce to Milan to pursue a dream, approaching club culture from an academic angle, which led to a diploma in theater-dance and choreography. And then Milan’s alternative club scene gave him even more hints of what music was out there, seemingly waiting to be morphed into his very own vision of sound. After he moved to Berlin, this urge became stronger, and soon dancing in an academic context was just not enough, and dancing in legendary clubs like Ostgut took over, until he felt ready and willing to join in the buzz as a DJ. And not before long, Massimiliano Pagliara was the one who got the same crowds moving he formerly was an enthusiastic part of, with knowledgeable selections touching a plethora of bases from disco and house origins, spiked with a good dose of the unexpected, leftfield, obscure and overall utmost grooviness. All of this is delivered with his very own super-charming demeanor, styled with both grace and conviction, coming on like the sweet missionary of nocturnal bliss. And as much as he loves playing the music he loves, producing the music he loves was the obvious next step to take. Having developed an obsession with analog synth sounds, Pagliara gathered vintage equipment and holed up in his studio to work on producing the music he always wanted to produce. And the results were so convincing that they led Daniel Wang to release his debut single on his legendary Balihu imprint. Since then he has spread his lovely melodies and infectious grooves to mainstays like Rush Hour Recordings, Meakusma, Needwant and eventually the seminal club and label haven, Robert Johnson. And thus, Focus For Infinity came to life, Massimiliano Pagliara’s testament to his own inspirations and preferences, transferred into a superb voyage of disco and house transcendentalism that owes as much to electronic pioneers like Patrick Cowley as it does to the legacy of the defining days of Italo disco, synth-pop and Chicago house. But however he may have put his Prophet 5, Korgs and Rolands into action, this album is clearly not clinging to paying tributes. It aims to sing its own song, and dance to its own rhythm. Judging from his acclaimed achievements, it may come as no surprise that this album sounds diverse and personal and is executed with dedication and grandezza.
Double vinyl version with 8 out of the 13 tracks from the CD. Massimiliano Pagliara moved from Lecce to Milan to pursue a dream, approaching club culture from an academic angle, which led to a diploma in theater-dance and choreography. And then Milan’s alternative club scene gave him even more hints of what music was out there, seemingly waiting to be morphed into his very own vision of sound. After he moved to Berlin, this urge became stronger, and soon dancing in an academic context was just not enough, and dancing in legendary clubs like Ostgut took over, until he felt ready and willing to join in the buzz as a DJ. And not before long, Massimiliano Pagliara was the one who got the same crowds moving he formerly was an enthusiastic part of, with knowledgeable selections touching a plethora of bases from disco and house origins, spiked with a good dose of the unexpected, leftfield, obscure and overall utmost grooviness. All of this is delivered with his very own super-charming demeanor, styled with both grace and conviction, coming on like the sweet missionary of nocturnal bliss. And as much as he loves playing the music he loves, producing the music he loves was the obvious next step to take. Having developed an obsession with analog synth sounds, Pagliara gathered vintage equipment and holed up in his studio to work on producing the music he always wanted to produce. And the results were so convincing that they led Daniel Wang to release his debut single on his legendary Balihu imprint. Since then he has spread his lovely melodies and infectious grooves to mainstays like Rush Hour Recordings, Meakusma, Needwant and eventually the seminal club and label haven, Robert Johnson. And thus, Focus For Infinity came to life, Massimiliano Pagliara’s testament to his own inspirations and preferences, transferred into a superb voyage of disco and house transcendentalism that owes as much to electronic pioneers like Patrick Cowley as it does to the legacy of the defining days of Italo disco, synth-pop and Chicago house. But however he may have put his Prophet 5, Korgs and Rolands into action, this album is clearly not clinging to paying tributes. It aims to sing its own song, and dance to its own rhythm. Judging from his acclaimed achievements, it may come as no surprise that this album sounds diverse and personal and is executed with dedication and grandezza.
EAP 101449LP DEVIL’S KITCHEN: Devil’s Kitchen LP (EAP 101449LP) 23.00
“The first ever release by Devil’s Kitchen, perhaps the best of the greatly talented but ‘forgotten’ bands from the legendary San Francisco psychedelic scene of the late 1960s. Devil’s Kitchen played all the major venues in the Bay Area and Los Angeles during this time period, opening for and playing frequently with many very well-known bands, including The Jefferson Airplane, The Grateful Dead, Santana, Quicksilver Messenger Service, The Allman Brothers, Big Brother And The Holding Company with Janis, The Charlatans and many, many others. The band spurned a recording contract offer from Mercury Records in 1968, displeased with the lack of creative control offered them by the label. Consequently, they never released any recordings. There are eight original unreleased tracks on this album and all were taken from the original master tapes that were recorded in 1969 at the Family Dog Ballroom On The Great Highway in San Francisco and the Sierra Sound Recording Studio in Berkeley. The music has a great and unmistakable late 60s acid-drenched West Coast guitar-driven blues-psych sound with snaky electric slide and roaring fuzz guitar throughout. The discovery of these master tapes and this subsequent release of Devil’s Kitchen’s first full length album, more than forty years after the recordings were made, is an exciting find for the collectors of obscure 60’s psychedelia. How a great band like this remained under the radar and unreleased for all these years is mystifying. Limited pressing of 1000 hand-numbered copies. Includes a reproduction of Family Dog handbill from March, 1970, featuring Big Brother & The Holding Company, Kaleidoscope and Devil’s Kitchen. Welcome again to the great San Francisco sound of the late 1960s.”
In a world of crossover and remixes, Macro is the first electronic label to release a CD of pure original works of a contemporary classical/avant-garde composer. Commemorating Friedrich Goldmann’s 70th anniversary, the CD presents four key late works. In addition to the retail version, UK magazine The Wire will distribute 9,000 CDs to its subscribers. It is the first time The Wire has distributed a CD by a single German composer. The label and magazine searched for innovative channels of distribution, in order to surpass the restrictions of a niche market and reach an international audience with a background in other musics, including electronic. Friedrich Goldmann, who passed away in 2009, was one of Germany’s most distinct composers of his generation. His works were commissioned and performed by leading interpreters, including the Berliner Philharmoniker, Pierre Boulez, Ensemble Modern, Arditti Quartet and Daniel Barenboim. His music is not only heard at leading German and European concert halls and festivals, but was also commissioned for major events like Expo 2000 and the 20th anniversary celebration of the fall of the Berlin Wall at the Brandenburg Gate. As a conductor he has recorded CDs with the works of Stockhausen, Henze and Rihm (for Deutsche Grammophon, Wergo, RCA and others). Friedrich Goldmann also was the academy professor who taught Paul Frick — now successful with Brandt Brauer Frick in performing techno with the means of a classical ensemble. He is also the father of Stefan Goldmann, one of the leading producers and DJs of avant-garde techno. He therefore had influence on two key figures of experimentation at the intersections of classical and electronic music. Beginning with the delicate shimmer of “Haiku À 6,” passing through the detailed treasury of “Ensemblekonzert 3” to the gripping vehemence of “Sisyphos Zu Zweit” and “Wege Gewirr Ausblick,” Late Works covers this extraordinarily significant period of the composer’s oeuvre. All recordings were either made live during the first performances (with rehearsal guidance by the composer) or in the studio shortly thereafter with the same performers. Being compiled according to this criterion, the CD makes for a holistic listening experience of Friedrich Goldmann’s late works despite the differences in instrumentations and spaces.
MUSIK 003EP VA: VA IT 2 12″ (MUSIK 003EP) 12.00
Mainakustik presents another edition in their stamp series with tracks from Fausto Messina & Vicente, Giovanni Damico, Die Haustiere, and promising Italian artist Edward, who opens the release with his own understanding of modern house music. Damico’s track is a pure floor-stomper with its low basslines and groovy percussions. Messina and Vincente collaborate with a cool, percussive peak-time monster. Finally, Die Haustiere offers yet another track that perfectly encapsulates the Mainakustik sound. Limited to 300 copies stamped series.
MA 076CD CASH, BRENT: How Strange It Seems CD (MA 076CD) 17.00
The Marina label presents the second release from Athens, GA-based Brent Cash. Brent Cash’s widely-celebrated debut album How Will I Know If I’m Awake (MA 071CD/LP) was released in 2008. The multi-instrumentalist took the long gap to create an even more elaborately crafted follow-up. How Strange It Seems is chock-full of sophisticated arrangements, multi-layered vocal harmonies, extravagant key changes and intricate rhythms. From the start, Cash decided to record his songs like “they did it back then,” so no costs were spared to hire the best players in town and assemble a mini-orchestra featuring almost 30 musicians. The resulting work sounds like a lost pop masterpiece from the ’60s and ’70s. Opening track “I Wish I Were A Song” — which bookends the record — is the song cycle’s lavishly orchestrated overture featuring strings, horns, flutes, tympani and even a harp. It perfectly sets the mood and is extremely rich in detail, scope and color. It’s followed by “It’s Easier Without Her” which sounds like a straight-ahead ’70s AM radio hit à la Todd Rundgren and America. With its infectious Burt Bacharach-like horn motif and a great harpsichord part, it seems like the perfect soundtrack to cruise into golden sunsets along the California coast line. “I Can’t Love You Anymore Than I Do” takes us straight into TV theme territory. Riding on a funky bass line, wah wah guitar and stabbing strings, it could easily be the mischievous love child of The Rockford Files, Dallas and Shaft. You can virtually see the opening titles roll to these delicious sounds. A special feature throughout the album is vocal quartet The South City Voices. Their light and breezy flow adds a lovely dose of sunshine pop to tracks like “The Heart Will Always Work Alone” and “Just Like Today” — evoking groups like The Free Design, The Swingle Singers and Roger Nichols & The Small Circle Of Friends. Title track “How Strange It Seems” is pure Brent Cash brilliance. It starts out as a West Coast singer/songwriter tune, and then gets propelled to new heights by a powerful Brill Building arrangement (even featuring castanets!) — delivered with all the vocal honesty of a Carpenters record. Its lyrics cover one of the main themes of the album: heartbreak turns into a new beginning. The album comes to a conclusion with the epic “I Just Can’t Look Away.” Clocking in at nearly seven minutes, it is an amazing musical journey. Structured in several different sections — like Jimmy Webb’s “MacArthur Park” — it takes you through a rollercoaster ride of a relationship, beautifully set to music in an extraordinarily detailed arrangement.
MEX 093EP COLD SHOWERS: Highlands 7″ (MEX 093EP) 5.00
“Highlands is the forceful debut by Los Angeles based band Cold Showers. ‘I Don’t Mind’ is the sound of a band displaying their influences. Punk washed away in a pool of reverberated vocals, fuzzed out nervous sliding guitar rhythms, thumping bass, and minimalistic metronomic drumming lend a blissful, weightless quality. ‘Near Burn’ expands their sound further. Slowed down with tuneful pop sensibilities, it is more immediate in terms of melody. The music swells and pushes through with just the right little wrapping of echoes. This one takes longer to settle into, but the lyrics are more direct, personal, and anxiety ridden. Shades of Gun Club, X, Section 25 and A Certain Ratio. Essential listening limited to 300 copies.”
MINUS 109EP BAREM: Blue 12″ (MINUS 109EP) 11.00
Barem offers fans a preview of what’s forthcoming on his debut LP After The Storm. The alternate vocal version of “Blue” conjures images of rain-soaked, squall-battered beaches with clouds breaking just enough to reveal the daylight. Also included is Mathias Kaden’s interpretation of the lead track, which takes the skittering drum-fills of the original and brings the percussion to the fore. Meanwhile, D’Julz brings the trippy house sensibility. Also included is a new edit of “Clear” remodeled as a woozy DJ tool.
MOBILEE 079EP HECTOR: What The Hec? 12″ (MOBILEE 079EP) 12.00
Effortlessly balancing a will to experiment with an unwavering commitment to the founding spirit of house, Hector is one of electronic music’s most exciting DJs and producers. With an impressive selection of high profile releases to his name on labels such as 8bit, Tsuba and 2020 Vision, Hector’s release on Mobilee shows he’s still got a lot to give. These three tracks have the acute ability to create their own moment for the night.
MHR 014CD SQUILLACE & MATTHIAS TANZMANN, DAVIDE: Circoloco – The Next Level CD (MHR 014CD) 17.00
Since the late 1980s, Ibiza has developed into a meeting place for the discerning hedonist and people who prefer to party on their holidays instead of quarreling with other tourists over sunloungers. Since 1999, the Circoloco parties at DC10 have been the most consistently legendary events of every season. Every Monday, fancily dressed-up people dance the day away to sets from the world’s best DJs, all under the glorious Balearic sun. It’s no wonder the party series is one of the most-visited on the white island. Circoloco residents, DJs Davide Squillace and Matthias Tanzmann have been integral to the party since 2007, both being big names in the scene for a long time. Tanzmann has been going strong with his label Moon Harbour for more than ten years now, and Davide Squillace, as well as releasing on well-known labels such as Ovum, Sci+Tec and Desolat, also stirs up the music world with his labels Minisketch, Titbit Music and the recently-founded Hideout. Davide Squillace and Matthias Tanzmann have known each other and played together for years now, their legendary back2back sets at Circoloco parties always causing a furor, most recently in Miami, London, and of course at DC10. So it’s no surprise at all that the two were called on to compile and mix Circoloco – The Next Level; the perfect accompaniment for the summer and the new Circoloco season. Artists include: Luca Bacchetti, Carola Pisaturo, Marcin Czubala, Catz’n’Dogz, Audiofly, Nikola Gala, Dan Drastic, Sven Tasnadi & Juno6, Nil By Mouth, Dragosh, Guti, BNZO, Blind Minded, Italoboyz, Adam Port, Daniel Wilde, Matthew Dear, Sascha Dive, Martinez, Luna City Express.
MORR 069LP RADICAL FACE: Ghost LP (MORR 069LP) 15.50
2011 repress. LP version, originally released in 2007. This record started with a simple idea: what if houses had memories? What if, when we lived in them, our stories bled into the walls and became a part of the house? What if our ghosts were always going to haunt the places we’ve lived, a long with everyone else who’s lived there? Some of these songs are from the point of view of people still living their lives in one of these houses; some are from the point of view of those dead and gone, watching over the living or haunting them; some are from people visiting home, after being away for along time, and the familiar ghosts of childhood all coming back to remind you of the way things used to be. This is a quintessential singer/songwriter album, or, rather a songwriting album, with tracks as carefully arranged interiors, chamber folk, pocket symphonies, passionate melodies. Ben Cooper recorded this album almost entirely alone, in a small shed in Jacksonville Beach, Florida: another one of those houses full of stories. He recorded the guitars and drum patterns, the banjos, organs and keyboards and sang in chorus with himself. He let the instruments take a deep breath and created a breathing record, a lively, warm Ghost. Includes a free download coupon.
MUSIQ 056EP VA: African Calling Vol. 2 12″ (MUSIQ 056EP) 14.00
“2nd release of African calling which mule musiq focus the South African deep house scene. The brightest hope of South African deep house scene ‘infected soul’ got two African tech house tracks. On A side, ‘Ritual Instict’ is simple but effective track. If you like the production of Argy or Dennis Ferrer, you will like this song. On B side, ‘Monday Rain’ is more organic and African taste which remind Culoe De Song or Mr Raoul K.”
NWAQ 002LP NEWWORLDAQUARIUM: The Dead Bears 2LP (NWAQ 002LP) 23.00
Reissue of the highly-acclaimed The Dead Bears double LP from Dutch producer Newworldaquarium, originally released in 2007. Covers a wide spectrum from obscure, ultra-fat discofied house tracks to spaced-out ambient soundscapes. Thick thick!! Enter the world of Newworldaquarium. Comes with lovely Delta artwork.
OB 301LP HEATH, KUUMBA-TOUDIE: Kawaida LP (OB 301LP) 11.50
Absolutely essential spiritual jazz masterpiece from 1975. This is an exact repro of the original release; it was also re-released with different cover art with Herbie Hancock and Don Cherry as the artists. In addition to Hancock and Cherry, performers include Buster Williams, Mtume, Ed Blackwell and Billy Bonner. Back cover notes by Amiri Baraka.
OKTAF 003CD MARSEN JULES: Nostalgia CD (OKTAF 003CD) 15.50
In 2005, Marsen Jules won over the hearts of many ambient enthusiasts with his CD debut Herbstlaub (CCO 023LP), released on the prestigious Berlin electronica imprint City Centre Offices. By that time, it was mainly Wolfgang Voigt and his famous Gas project who was associated with elegiac variations of orchestral sound fragments. Soon after its release, Herbstlaub helped to shape the sound of many aspiring artists such as Rafael Anton Irisarri and Deaf Center and was considered to be a kind of blueprint for the now-popular neo classics genre. With Nostalgia, Marsen Jules now delivers the eagerly-awaited follow- up to Herbstlaub, six years after its initial release. The eight tracks on the CD all have a strong taste of yearning and melancholia that picks things up where Jules left them in 2005. Even more than before, orchestral elements are now the center of the elegiac sound tableaus. These fragments allow the willing listener to get a small, but nevertheless intense glimpse into the unique sonic array that Marsen Jules is capable of creating. Desire, rebellion and mortality are the three central motifs that are explored over the course of the 43-minute running time. The opener “A Moment of Grace” transports the listener deeply into the musical universe of Marsen Jules by marrying fragile strings with sparse electronic elements. With its dramatic strings, the title track “Nostalgia” oscillates between stasis and motion, between rebellion and resignation. With “Shadow/Waltz” and “Endless Whisper Of The Old Brigade,” Marsen Jules explores the darker side of his sonic continuum by painting ethereal, droning ambient soundscapes. After two dark and distorted tracks, the album finds its way back to its dreamier side with “Sweet Sweet Longing” and “Kunderas Dream.” Finally, Marsen Jules releases the listener into a better, more peaceful world with the hauntingly beautiful “Sleep My Brother, Sleep.” With his spherical compositions, Nostalgia offers the perfect soundtrack for windy spring nights for everybody interested in ambient, electronica and modern classical music.
HAND 12009EP MO KOLOURS: EP1: Drum Talking 12″ (HAND 12009EP) 12.50
Mo Kolours drops into the One Handed roster like Hawk on a half pipe. The rhythms lead the way here, whether the straight, percussive workout of “Drum Talking” or the crafty vocal manipulation that drives the low-slung bump of “Biddies,” a song that traces an imaginary line between Theo Parrish and Gonja Sufi. “Dead Of Night” mines the symbolism of The Beatles while his own “Bakiraq” resembles a soul classic. This is a set of deep, spaced-out weed shanties.
OVM 9012CD MANIK: Armies Of The Night CD (OVM 9012CD) 12.50
Scoring the soundtrack of a new electronic frontier, MANIK, the young New Yorker named by Mixmag and DJ magazine as the artist to watch for 2011, delivers a prototype debut album Armies Of The Night for Josh Wink’s Ovum Recordings. As the trend for stateside dance music continues to take hold, MANIK propels it further forward with a sublimely original album. Stitched together by Ovum creator, Josh Wink, Armies… is a continuous ebb of energy that continues to surprise as it gains momentum. Inspired by his surroundings in New York City as well as the 1979 cult classic film The Warriors, MANIK portrays the raw, urban grittiness of the city and mimics the picture’s rendering of the underground gang world. Track titles such as “We’re From Coney,” “City Kids” and “Don’t Stop Don’t Run” as well as frequent samples hint at this arcane theme. Touching on a slow and seductive take on house music that fellow Americans Soul Clap, Nicolas Jaar and Wolf + Lamb have brought to the forefront of consciousness, but elevating it to new plains fusing jacking beats, acid funk basslines, and creative hip-hop sampling techniques, MANIK carves his own niche sound through Armies Of The Night. A diverse collection that ripples across generations, Armies Of The Night reaches into the glamorous world of disco in “Nightfall,” taps into classic jacking house for “Ruckus 8OH8,” plays with urban flavors for “Haterville” (made specifically for the Haters) and “Another Day” and dives into the eerie, futuristic plains of techno in “Don’t Stop Don’t Run,” all the while maintaining an intoxicating, nocturnal spirit. Interspersed with playful interludes featuring MANIK’s peers and influences, this musical voyage continually involves the listener in an interactive story of how it came to be. The result is an album that matures with each listen, apt for every situation and a true reflection of MANIK’s pure and honest musical philosophy.
PAPRBOX 012CD VA: Electric Psychedelic Sitar Headswirlers Volumes 6-10 5CD BOX (PAPRBOX 012CD) 57.00
Turn off your mind, relax and float downstream with this second deluxe 5CD boxed set of Eastern-tinged rock, pop and folk from the hippie heyday of the late ’60s and early ’70s. Featuring acts from both sides of the Atlantic, as well as Norway, Australia, Japan, Israel and elsewhere, the package comes complete with a packed booklet offering background information and rare pictures of the artists represented, making the set an essential trip back to psychedelia’s incense-shrouded golden age. Features volumes 6-10 of the compilation series originally released by Purple Lantern Records in a numbered limited edition. Artists include: Tomorrow, The Shiny Gnomes, The Fox, The Mystic Astrologic Crystal Band, The Cosmic Gardeners, Nova Local, Family, Joseph, Cheops, 3 Hur-el, Grail, Tomerclaus, Paroni Paakunainen, Magna Carta, The Click, Catharsis, The Fallen Angels, Violeta De Outono, The David, Euclid, The Unspoken Word, Oriental Sunshine, Wolfgang Dauner Quintet, Truth, The Bit A Sweet, The Flower Travellin’ Band, Tales Of Justine, The Twilights, Wizz Jones, The Saddu Brand, Oregon, K Lawson & 4 More, Pregnant Insomnia, The Mirage, Brand X, The Churchills, Bill Plummer & The Cosmic Brotherhood, Boeing Duveen & The Beautiful Soup, David Hemmings, Gates Of Freedom, The Koala, Blossom Toes, 101 Strings, Greenwood, Curlee & Thompson, The Forum Quorum, Iron Butterfly, John Renbourn, Charlie & Esdor, The Living Room, The Seventh Seal, Balsara & His Singing Sitars, Humble Pie, Quintessence, Sri Atma, Apocalypse, No Strange, Gandalf, Zodiac, The Surprise Symphony, Universe, Alex, The Dave Pike Set, Gabor Szabo, The Superfine Dandelion, The Hobbits, Folkswingers, Them, Chad & Jeremy, Pierrot Lunaire, J.A. Ceasar, Galliard, Shawn Phillips, Brian Bennett, Sopwith Camel, Rick Hayward, The Honeydew, The Flower Pot, The Sugar Shoppe, The Fallen Angels, Doug McArthur, Rebecca & The Sunny Brook Farmers, William Truckaway, The Ceyleib People, Twinn Connexion, The Free Spirits, The World Of Oz, The Virgin Sleep and Tony Scott.
PHS 600065LP HERMAN, WOODY: 1963 LP (PHS 600065LP) 20.00
“…this 1963 edition of Woody Herman’s big band is a strong one, with an emphasis on well-constructed blues charts. Joe Newman’s hard-swinging ‘Molasses,’ which features tenor saxophonist Sal Nistico and trumpeter Bill Chase, is a snappy opener, followed by a driving arrangement of Horace Parlan’s ‘Blues for J.P.’ Nistico takes the spotlight again in a memorable setting of Horace Silver’s ‘Sister Sadie,’ while trombonist Phil Wilson shines as a soloist in both Duke Ellington’s ‘Don’t Get Around Much Anymore’ and the forgotten chestnut ‘It’s a Lonesome Old Town (When You’re Not Around).'” –All Music Guide
ASH 3026LP SPEED, GLUE & SHINKI: Eve LP (ASH 3026LP) 22.00
2011 repress. Phoenix Records presents the first 180 gram virgin vinyl release of Speed, Glue & Shinki’s 1971 debut album, Eve. Ex-Food Brain guitarist Shinki Chen, bass player Masayoshi Kabe (also known as M Glue) and Filipino Vietnam war veteran Joey “Pepe” Smith, who doubled as both the trio’s drummer and vocalist, released two legendary albums in the early ’70s. Eve, the earlier of the band’s two efforts, was probably the band’s only “real” recording, as the self-titled second release in 1972 was put together by Smith from studio outtakes of Chen’s guitar playing and tracks omitted from Eve. This is a bluesy, psychedelic album, with Chen’s Hendrix-style guitar playing firmly underpinned by Smith’s insistent percussion style modeled on the style and technique of his idol, Ginger Baker. The band dissolved immediately after the release of Eve, as the other two members found Smith’s drug-fuelled lifestyle decidedly unappealing (he was a huge fan of amphetamines and diligently applied himself to establishing a prodigious habit). Chen decided he didn’t want to record again, and became a successful live artist, Joey went back to the Philippines and started the immensely successful power trio Juan de la Cruz Band, and Masayoshi Kabe would win fame with the band Pink Cloud. In spite of their short-lived activity, Speed, Glue & Shinki were important first and foremost as pioneers of the Japanese psychedelic rock scene. Gatefold sleeve.
ASH 3034LP STRAWBERRY PATH: When The Raven Has Come To The Earth LP (ASH 3034LP) 22.00
2011 repress. Another lost gem for lovers of Japanese psych and hard rock, this time from the inspirational ’70s prog outfit, Strawberry Path. From its extremely cool front cover to the last track, this is an album that will appeal to garage fans, psych heads, mondo music lovers and acid freaks alike, merging as it does a variety of Western influences, ranging from Jimi Hendrix (check out Shigeru Narumo’s hard psych guitar) to Black Sabbath, Led Zeppelin and Deep Purple. Originally released in 1971, Strawberry Path were the forerunners of Japan’s Flied Egg, one of the most influential Japanese prog bands to emerge in the ’70s. This is hard psych rock at its best, and an album which has soared in value over the last few years. Highly collectable and highly listenable. All-analog pressing housed in a gatefold sleeve. 180 gram virgin vinyl.
ASH 3042CD CAESAR, J.A.: Kokkyou Junreika CD (ASH 3042CD) 17.00
Tokyo playwright, director and artist J.A. Caesar sprang to prominence in the early ’70s largely through his work with Shuji Terayama’s Tenjo Sajiki Theatre, specializing in vaguely sinister music reminiscent of a Hammer House Of Horrors soundtrack. 1973’s Kokkyou Junreika release, often considered Caesar’s finest work, was culled from the 5 hours of music written for the original play, distilled down to an album’s worth of ageless chants, Buddhist mantras, heavenly invocations and fuzztone guitar vamps supported by Caesar’s droning electric organ and the eerie female vocals of Yoko Ran, Keiko Shinko and Seigo Showa. An album that sits comfortably alongside early Ash Ra Tempel, Cosmic Jokers and Atem-period Tangerine Dream. Those that like their music with a healthy dose of gloom, look no further. Digitally remastered. Numbered, limited collector’s edition housed in a gatefold sleeve.
ASH 3045CD LES RALLIZES DENUDES: Cable Hogue 2CD (ASH 3045CD) 23.00
Another crucial release from the highly influential and reclusive Japanese psychedelic noise band Les Rallizes Dénudés. Originally formed in 1967, the band was known for its ties to avant-garde theater groups (as typified by Shuji Terayama’s troupe) and leftist political groups, and their feedback-drenched live shows and use of strobe lights and mirror balls onstage earned them comparisons with The Velvet Underground. In 1970, bass player Moriaki Wakabayashi was involved in the hijacking of Japan Airlines Flight 351, orchestrated by the Japanese Red Army. Singer Takashi Mizutani was allegedly offered a role in the hijacking, but he turned it down. Cable Hogue is a CD release compiled by Mizutani from the original tapes he used for the Rallizes video which was released in 1992. Digitally remastered. Housed in a numbered, limited edition 2CD card wallet.
PING 025EP HEY: Summer Of Seven 3/7 7″ (PING 025EP) 12.00
Hey is Helmut Erler, one half of Hey-Ø-Hansen, the fabulous Austro-dub band from Berlin that already did three releases for Pingipung. In “Wuzlguzl,” he presents a children’s song from Austria. In his original dialect, he sings about the five fingers on the hand and what they have to do with the plums on the tree! The flip turns the song into a psychedelic lullaby.
PLUS 8116EP SILVERSHOWER: Early Fever 12″ (PLUS 8116EP) 11.00
German techno veteran Ian Pooley resurrects his Silvershower alias for his first release on Plus 8 since 1996. The EP finds Pooley moving into the shadows and pursuing a darker, rougher sound than the Brazilian-influenced productions for which he is best-known, nodding to Silvershower’s past as well as moving the alias into the future: “Blue 2011” reworks a track from an older EP; “Early Fever” brings a more classically Chicago-influenced sound to the fore; while “Sinister” and “Whiteout” accentuate darker aspects.
PFR 119EP NIGGEMANN, ALEX: Lately 12″ (PFR 119EP) 12.00
German producer Alex Niggemann raises his game with three tracks taking in heavy acid bass, Chicago house vibes and inventive, smooth-flowing arrangements. “Lately” is a real stomper in the classic Poker Flat tradition. Haunting, acidic, modern and club-guaranteed! “Madness” lifts the tension higher with a sub-heavy Chicago bass attack, 2011-style. Alex has fused the best of both old and new that leaves behind rigid sound in favor of funkier, warmer and totally fresh vibes.
PD 1062LP WHITNEY, MARVA: It’s My Thing LP (PD 1062LP) 11.50
One of the most heavily-sampled funk albums of all time (besides all the other ones). Produced by James Brown, It’s My Thing was originally released in 1969 and feature Brown’s band, such as Fred Wesley, Jimmy Nolen, Maceo Parker, Alfred Ellis and Clyde Stubblefield. Tracks include “It’s My Thing” (sampled by N.W.A., DJ Food, Public Enemy, Run DMC, etc.) and “Daddy Don’t Know About Sugar Bear” (sampled by Cassius). Exact repro.
PRE 032CD SINGING SKIES, THE: Routine And War CD (PRE 032CD) 15.50
The Preservation label presents the debut album from Sydney’s The Singing Skies, the songwriting project for musician Kell Derrig-Hall. His first solo venture, Kell has previously contributed to records and live performances for the likes of Jack Ladder, Rand And Holland and Seaworthy. On Routine And War, Kell stands front and center with a presence built on old-school simplicity. Spare, disarming and open, these songs flower slowly with plaintive guitar at their core, often with a country lilt or a spellbinding, serpentine feel. Kell’s stark and soulful voice is buoyed by the achingly beautiful harmonies of Lia Tsamoglu, who also provides warm, enveloping keyboard sounds throughout. Now otherwise known as pop artist Melodie Nelson, Lia is Kell’s long-term partner and collaborator, the pair previously engaging in more experimental realms as Moonmilk. Also integral to Routine And War are its string arrangements — both stirring and touching — from Biddy Connor, (Laura Jean, Grand Salvo) lifting and weaving through lyrics that by turns prove haunting, piercing and gentle in spirit. Other guests include Laura Jean on piano and Laura Jean band percussionist Jen Sholakis. Routine And War was recorded by Simon Grounds in Melbourne, who also produced the seminal early works from Underground Lovers as well as albums by Grand Salvo and Laura Jean. In balancing subtlety with passion, Routine And War finds a rare poignancy. It is a delicate, intimate and most affecting debut. Mastered by renowned Italian composer Giuseppe Ielasi.
APL 10493LP LUCIEN, JON: Mind’s Eye LP (APL 10493LP) 11.50
Exact repro, originally released in 1974. “Lucien’s rich, sultry baritone carries songs like ‘The Pleasure of Your Garden’ and ‘Adoration’ with convincing ardor. His socially conscious lyrics in songs such as ‘Soul Chant,’ ‘World of Joy,’ and ‘Ghetto Song’ are infused with a spiritual vibe that is positively inspiring. This is contemporary soul/jazz that holds within it all that is fine and precious in popular music: lyrics that hold our attention and musical arrangements and playing that move us out of ourselves.” –All Music Guide
LPM 1507LP POWELL, BUD: Swingin’ With Bud LP (LPM 1507LP) 11.50
1957 session from jazz pianist Bud Powell, featuring George Duvivier (bass) and Art Taylor (drums). Powell also recorded for Blue Note and Verve, in addition to his classic ESP-DISK recording Live at the Blue Note Café, Paris 1961 (reissued in 2007 on ESPDISK 4036CD). Exact repro reissue.
RINSE 019CD YOUNGSTA: Rinse: 14 CD (RINSE 019CD) 15.50
This is the 14th edition of the Rinse label’s compilation series, mixed by Youngsta — his fourth mix for Rinse/Tempa. Previous releases include Dubstep Allstars volumes 2 and 4 (TEMPA 004CD/006CD), and I Love Dubstep (RINSE 007CD) alongside Geeneus. Rinse: 14 features an upfront selection of dubstep’s deeper sounds, including four exclusive tracks. Youngsta is world-renowned for his flawless mixing and meticulous selection and he has been a resident at famed dubstep club night FWD>> since its inception in 2001. He is also one of the longest-running DJs on Rinse FM, having held a weekly show for 7 years. Continuously pushing the sound forward, he has been on air since he was 13, starting off on the now-defunct London pirate radio station Freek FM. Since 2004, he has been the dubstep buyer for legendary London record store Blackmarket Records (now BM Soho) and an A&R at Tempa. Rinse:14 sees him further solidify his place as one of the best dubstep selectors in the world, curating a heavy-hitting “eyes down” selection of dubstep’s deeper sounds. Opening up with “Down” by SP:MC and LX ONE, it sets the tone of what’s to come on the 20-track compilation. Taking you on a journey through the deeper and darker side of dubstep, Youngsta’s uncompromising selection is more evident here than it has ever been, concentrating on the sound that he has always encompassed and represented on dancefloors worldwide. The mix features four exclusive tracks including “Organic Step” and “Xylophobia VIP” by Icicle and “Wilderness” and “Darkstar” by Verse. Although he’s not yet known as a producer, Youngsta has undoubtedly had a strong influence on the progression of the sound and has co-produced two tracks on the compilation: “Momentum” alongside Icicle and “Arcane” with Kryptic Minds. Other artists include: Freeze, Matt U, Cyrus, DJ Madd + Chris SU, Alys Be and Distance.
LAUNCH 037CD GNOD & WHITE HILLS: Gnod Drop Out With White Hills II CD (LAUNCH 037CD) 16.50
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. Released on CD for the first time, it will also feature a previously-unreleased bonus track. 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.
RH 115.2LP HUNT, GENE: Chicago Dance Tracks Part 2 2LP (RH 115.2LP) 23.00
Part two of two 2LPs of never-before-released tracks from the archives of Gene Hunt — rare, newly-unearthed Chicago house barn-stormers from the ’80s. Gene Hunt shares his ancient treasures with us — up to now, this stuff resided only on reels! Featuring a truly all-star line-up. Part 2 includes unreleased tracks from Virgo Four, Craig Loftis, Farley Keith Williams, Virgo & Adonis and even a track by Dion, who later on went on to kickstart Common’s career and more recently has been Kanye West’s sidekick. Also included is a rework of Lil Louis’ “Video Clash” and a mash-up of Marshall Jefferson and a Larry Heard track, which was a Music Box/Ron Hardy favorite. The vinyl release holds seven tracks, all presented in their original length and includes one vinyl-only bonus track, Virgo & Adonis’ “Trust.” All tracks have been restored and remastered from the original, first generation reel-to-reel tapes. The artwork shows original Chicago flyers and the release comes with an insert with artist interviews, a Gene Hunt interview by Jackmaster Farley and original photos from back in the day. Also features reworks by Zernell Gillie and DJ Cease aka George Dupree.
RH 115CD HUNT, GENE: Chicago Dance Tracks CD (RH 115CD) 17.00
Rush Hour continues to unearth never-released Chicago house classics from the ’80s, also known as the golden era of house music. This time RH teams up with Gene Hunt, who started out DJing in 1986 at the tender age of 14. Gene soon became a key DJ in the local scene due to the many gigs he did at legendary hotel parties, like Bismarck, La Mirage, Sauers, Da Vinci Manor, AKA and the Riviera. He was also a resident at the Hyatt Park Athletic Club, where he DJed alongside Ron Hardy. Gene gradually became Ron’s protégé. Ron passed his musical knowledge onto the youngster and the pair started recording music together as well. While being on the scene, many local producers gave Gene reel-to-reel tapes of their new productions for Gene to play out in the clubs. Many of these were never released and most producers lost their own tracks over time. Luckily, Gene filed away his copies like a librarian, and now, 25 years (or more!) later, the time has finally come to share this great music with the rest of the world. The tracks included here are all rough, uncut versions, oftentimes homemade drum computer jams, which never made it to final production at a professional studio. They represent early output of the artists involved, some tracks dating back as early as 1982-1983. The compilation features unreleased tracks by Mr. Fingers, Steve Poindexter, Ron Hardy, Farley Jackmaster Funk, Virgo Four, Virgo & Adonis, Steve “Silk” Hurley and even Dion, who later kickstarted Common’s career and more recently, has been Kanye West’s sidekick. It also includes reworks and original versions that were never properly released, like Ron Hardy’s original version of “Sensation” or Gene Hunt’s version of “Donnie” and Mike Dunn’s rework of Gherkin Jerks’ (Larry Heard) “Acid Indigestion,” or reworks of classic Lil Louis and Larry Heard tracks. These tracks were deemed not commercial (i.e. radio-friendly) enough by labels such as Trax or DJ International, but were all the more popular in the Chicago clubs. These were the tracks that people lost their minds and danced their asses off to, hence Chicago Dance Tracks. This release is jam-packed, with 12 tracks in total. Some tracks have been edited down to fit the format. All tracks have been restored and remastered from the original, first generation reel-to-reel tapes. The artwork shows original Chicago flyers and the package comes with artist interviews, a Gene Hunt interview by Jackmaster Farley and original photos from back in the day. Other artists include: Marshall Jefferson, Zernell Gillie, Craig Loftis, Farley Keith Williams and DJ Cease.
SSR 273LP VA: The Rhythms of Black Peru LP (SSR 273LP) 17.00
“Afro-Peruvian music is one of the most elusive genres in the world. Not only is it practically unheard outside the borders of Peru, but even the people of Peru are unsure of many aspects of its history. The roots of this music date back to the mid 1500s, but over time the Afro- Peruvian culture and its music faded. So much so that by the mid 1900s, most remaining black Peruvians had never even seen a Cajon (a wooden box drum that is the definitive Afro-Peruvian instrument). From the mid 1950s through the 1970s, Peruvian labels such as El Virrey, IEMPSA, and Odeon supported an Afro-Peruvian revival with the release of hundreds of Afro-Peruvian albums. Today Salsa and Rock music rule the airwaves in Peru, but Afro-Peruvian music is far from dead. In the spring of 2010 Secret Stash Records traveled to Lima to learn more about this music and seek out songs to compile for LP release. The Rhythms of Black Peru is a collection of some of the most important Afro- Peruvian recordings of all time. It includes some of the most prolific figures in Afro-Peruvian culture such as Nicomedes Santa Cruz (credited by many as the most significant person in the Afro-Peruvian revival), Chabuca Granda, and Zambo Cavero. This vinyl-only (+MP3 download card) compilation is the perfect introduction to this percussion driven fusion of African rhythms and Latin melodies.”
SRNDS 002EP BERMUDA: Ihasama 12″ (SRNDS 002EP) 12.00
Bermuda is a rare project from Kimmo Oksanen and Roberto Rodriguez. Fusing synthed-out deep house and disco vibes, the talented pair have crafted a real blast from the past with the super cool retro-styled “Ihasama.” The release comes in three fantastic versions: the thrilling Nacho Marco remix, the funky Jay Shepheard reinterpretation and an extended club edit.
SHAD 131CD TRUBROT: Undir Áhrifum CD (SHAD 131CD) 17.00
In 1969, Trúbrot was the first super-group ever founded in Iceland, comprised of members of Flowers and Hljómar. After their debut album with vocalist Shady Owens, this second album was released in 1970 without Shady on vocals. After a last concert in Iceland with the original line-up, they invited Led Zeppelin to hang out and became friends with Jimmy Page and Robert Plant. When Jimmy and Robert returned to their hotel at four o’clock in the morning, they were amazed to discover that the sun was still shining bright. The sight of the midnight sun, the snow capped glaciers and the Icelandic geysers apparently inspired them to write “Immigrant Song” for the third Led Zeppelin album. Trúbrot was very much influenced by the electric music of Crosby, Stills, Nash And Young, Led Zeppelin and Keith Emerson. Trúbrot went to London to have Orange amplifiers custom-made for the band and to Copenhagen to record Undir Áhrifum at the Wifoss Studio. The album became one of the best albums of 1970. Really amazing male English vocals, great arrangements, guitars and organ, couched in the best kind of psychedelic/progressive rock, strongly influenced by the British Underground. Trúbrot recorded two more albums which will be released on Shadoks, too. Tony Branwell of Apple Records said that this band was one of the two best that he had ever seen perform on stage. Members include: Gunnar Pordarson (guitarist and composer), Rúnari Júlíussoni (bass player and singer), Magnús Kjartansson (organist) and Ólafur Gardarsson (drummer).
SHAD 132CD O BANDO: O Bando CD (SHAD 132CD) 17.00
This album was recorded in 1969 in São Paulo by five guys and a beautiful singer named Marisa Fossa. The production was state-of-the-art, hosted by the three top producers in Brazil. It was recorded in Scatena studios in São Paulo with 8-channel equipment, which was the best you could get at the time. The music has sophisticated brass arrangements very much on par with U.S. bands Chicago Transit Authority, The Flock and Blood, Sweat & Tears with the charm and rhythms of Brazilian exoticism. If you like the album by Liverpool, you’ll like this one, too. It’s a real summer record that should make stoned psychedelic listeners move their hips and dance or at least tap their feet. Great guitars, smashing vocals, samba rhythms, horns, tons of effects — a real trip to the Brazilian musical underground. Members include: Rodolpho Grani Junior (Rudy) (bass, acoustic guitar & vocals), Paulo Augusto de Castro (Paul) (lead guitar, acoustic guitar & vocals), Americo Issa (Meriquinho) (rhythm guitar, acoustic guitar & vocals), Eduardo Portes de Souza (Dudu) (drums & percussion), Diogenes Burani Di Grado Filho (Dió) (drums & percussion), Emilio Carrera Guimil (organ) and Marisa Belmonte Fossa (percussion & vocals).
SHIN Q02 SHINDIG: Shindig! Quarterly No. 2 MAG (SHIN Q02) 11.00
“On the cover: Donovan. The trailblazing observations of a psychedelic troubadour; The Electric Prunes: Underground! Europe! David Axelrod! Fake Prunes! The saga concludes; The Merry-Go-Round: The rise and fall of Emitt Rhodes’ Californian Beatles; The Lovin’ Spoonful: John Sebastian’s travelogue of the ’60s club scene; The Outsiders: The story behind their psychedelic masterpiece CQ. Plus Ronan O’Rahilly, John Leckie Incredible Hog, Dennis Coffey, Mick Abrahams, Michaelangelo Jpt Scare Band, Merry Clayton, West Coast Pop Art Experimental Band and much more!”
SIN 025EP ZADIG: P8 12″ (SIN 025EP) 12.00
First outing on Sino by Paris-based up-and-coming techno producer, Zadig. “P8” is a mind-blowing, dark dancefloor anthem, while “Reflection N” delivers a dubbier and more melodic approach to Zadig’s sound. All in all, this is an EP to be hailed as a milestone in the Sino catalog. Don’t miss it!
SKUDGE 001CD SKUDGE: Phantom CD (SKUDGE 001CD) 17.00
Stockholm’s biggest sound Skudge drop an immaculate studio mix of their Phantom album for CD format. The result is a dramatic listening experience, demonstrating why their music has been so popular with all kinds of deep-minded deejays the world over. The mix includes the unreleased track, “Breaking Strain.” Formed in the summer of 2009, the duo have moved out of near anonymity to become precious favorites of deep, warehouse-styled house and techno fans. Their output to date has molded together classic ideas and modern aesthetics with a keen sense of minimalism: their looped soundscapes are often bare, but never lacking, and the intersection between house and techno seems to be the point at which the duo most often find themselves. As a result, that’s the area most explored on their debut album, Phantom, which conjures up exactly the sort of adjectives you should imagine given its title. It kicks off with eerie chambers of grainy sound, synth melancholy and frosty mists that hang in a beatless air for just over three minutes. From there, the thumping beats swing until the end of the album — sometimes accompanied by a little trippy sonic color, sometimes devoid of anything but filters, echo and decay, and sometimes paired with cavernous claps, but always with a solid, ground-shaking resonance and, more importantly, a noticeable analog vitality. Although the bold forms Skudge produce are optimized for maximum dancefloor impact, there’s also a deftness to their designs: sounds and vocal snippets are subtly, selectively employed to imbue each loop with an extra infectious sense of swing or to underline a groove or accentuate an emotion.
SV 101LP OBNOX: I’m Bleeding Now LP (SV 101LP) 12.50
“Strictly limited to 500 copies, with no repress, this is the debut solo LP from Lamont ‘Bim’ Thomas, the guy behind the drums of This Moment In Black History. Lamont ‘Bim’ Thomas has a discography as distinguished and extensive as about anybody in Ohio Underground Rock and Roll. From My Unkill Wayne, to the Bassholes, to This Moment in Black History, to the Puffy Areolas, Bim has played on a long list of records that make the collector scum of the world get red in the face and short of breath. However, ask your typical record collector who Bim is and you’ll most likely get a blank stare. That’s because, for the last twenty years he’s been ‘behind’ the drum kit, working as the backbone for some of the great Ohio underground bands of our time. On these recordings, though, we’ve got the man at center stage, singing, playing drums, guitar, back-ups and whatever else. The result is a mixture of Ohio punk rock and Detroit soul, the likes of which don’t come around very often.”
SFT 001LP FORD & LOPATIN: Channel Pressure LP (SFT 001LP) 19.00
“The production duo’s debut full-length album is a highly focused study in the effects of consumer electronics that touches on sensual bangers and hyper-spherical anthems prime for the dance floor. The record was engineered by another childhood pal, Al Carlson, and mixed by Prefuse 73 who states: ‘Mixing these ideas that span from high school notebooks into a present sonic territory is F+L’s right on conceptual evolution.’ There’s a fantastical, futuristic narrative arc running hard throughout the album. As a result, Channel Pressure functions somewhat as a concept album, following a loosely knit epic involving a teenage anti-hero (Joey Rogers), violent robo-jocks, and a record industry run by a super computer.”
SVT 060CD SCHWIND, NIKO: Good Morning Midnight CD (SVT 060CD) 17.00
For his second album, Niko Schwind has produced ten tracks of house music that follow a musical journey from a pop-infused intro to musical dancefloor anthems. Good Morning Midnight starts out with the vocal house track “Good Morning” that features singer Fran. This collaborative track is a slow-paced house groover with Fran’s whispered vocals acting as the perfect starting place for this album. The use of the piano seems central to Niko’s productions in this track and it remains a central element on the album. “Shine” is a track that slowly pulsates through a very prolific oldschool bassline, featuring some great vocal samples and, yes, a wonderful harmonic piano melody. Things get a little more technological on “Playground Love,” which features the typical “Schwind”-groove that is comprised of some punchy beats and vocal samples on the loop. Then, “People” kicks things off in a deeper direction. The deep and slow-paced synthesizer melody juxtaposes the quite hectic nature of the loop and the bassline on this track. The result is a beautifully deep hit that seems perfect for the start of the peak-time. Aiming for the peak-time itself is the track “Midnight” that is best described as percussive tech-house that features some pretty wasted vocals, stomping bass sounds and pizzicato strings. For the second part of the album, Niko got together with some of his closest production partners. First up are two tracks with his label buddies from Channel X with whom he has produced two melodic tech-house tracks. “Back From The Bar” sounds like the title suggests: a little wobbly, a little drunk, a little crazy, but also pretty magical. “Don’t Turn The Lights On” is a more straightforward dancefloor track with the trumpet playing the main part in this. “Wake Up” featuring Staller is another percussive and very funky tech-house affair with some real vintage organs and vocal samples. Things stay very funky on the track that Niko did together with Oliver Koletzki. “Master Of Ceremony” is a chopped-up house track with epic dimensions. When things get to the piano breakdown, they get very musical and colossal before dropping back into a great house track. Last up is “Coming Home,” a very slow-moving ambient track that features Patrick Blasa. This almost jazzy and leftfield song with some great vocals perfectly closes the circle of the album that started slow and ends in a similar way. Niko Schwind is a magician when it comes to producing very fine and mature pieces of house music that are sure to work great on the dancefloor.
STIR15 008CD VA: Motorcitysouled: Selected Remixes 2004-2010 CD (STIR15 008CD) 17.00
Matthias Vogt and Christian “C-Rock” Rindermann form the deep house syndicate Motorcitysoul. After their debut (Did You Expect It?/Infracom 2004), their mix CD (Back Up/Infracom 2007), and their last studio album (Technique/Simple 2008) the two DJs and producers present their first selection of remixes that have been released between 2004 and 2010. The remix is one of their favorite dishes, so it’s no wonder that more than 30 artists or labels have asked for a Motorcitysoul remix treatment since the duo joined forces in 2004. All of their remixes have been regarded as high quality by the media and DJs worldwide. So far artists like Chez Damier, Ian Pooley, Abdullah Ibrahim, Brett Johnson, Solomun & Stimming and Johannes Heil have ordered the extra Motorcitysoul polish. Motorcitysoul remixes have found their way to labels like Cocoon, Dessous, Freerange, Liebe*Detail and Junior Boys Own/Defected. Creating a remix is a versatile production practice built around various philosophies — what is the remix meant for? How should it sound? Should it be an addition for the club heads or a musical adventure that takes the listener on a journey? Every Motorcitysoul remix has its own vibe and is meant to respect the idea behind the original track. Motorcitysoul merge their trademark sounds and styles with the original track. Vogt and Rindermann communicate in a musical way with the original artist. Their unique style is built on the combination of their nearly 20 years of experience in sound & production. The two really incorporate the flavor and sounds of the originals they’ve remixed and achieve individual sound aesthetics for every remix they do. Thus, almost any track can be turned into a Motorcitysoul remix… it can be “Motorcitysouled,” if you will.
SR 327LP DUB TAYLOR: Lumière LP (SR 327LP) 15.50
LP version. This real masterpiece of concrète and synthesized music hasn’t been available since its original manufacture in 1973, originally released by Varèse International Records. Dub Taylor is a U.S. composer, producer, engineer and designer born June 22, 1948 in Burbank, California. He has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist. He has studied with pianist Richard Bunger and composer Karlheinz Stockhausen. “Lumière evolved over a period of three years from 1969 to 1972. I started by recording random sounds: jets taking off at LAX, my girlfriend laughing and screaming, my cat Bartok biting a microphone, conversations, etc. I also sampled music, film soundtracks and TV and radio broadcasts. During this period I acquired the first self-contained portable synthesizer, the newly-designed ARP 2600. I began to envision an electronic and musique concrète piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. In June of 1972, I did a preliminary version of elements of the piece. By October I was ready to put it all together. I set up all these reel-to-reel machines with tapes I had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 IPS Revox A77 tape deck. My idea was to create a sound collage with form but without losing spontaneity and an element of randomness. So I rehearsed my fade-ins and fade-outs and the starting and stopping of the various playback decks and when I was ready I went for it, “playing” all these machines like a musical instrument in this mad moment of creation. In effect, Lumière was a “live” performance. The only later additions were the silence gaps inserted near the end of the piece using pieces of blank leader tape.” –Dub Taylor
T 329HLP GAYE, MARVIN: Let’s Get It On LP (T 329HLP) 14.00
Gatefold 180 gram exact repro reissue, originally released in 1973. Marvin Gaye’s status changed from “single” to “in a relationship” while this album was being recorded, hence its being hailed (by Russians, even) as “one of the sexiest albums of all time.”
TR 138CD COLE, LLOYD: Cleaning Out The Ashtrays 4CD BOX (TR 138CD) 46.00
For singer/songwriter Lloyd Cole, now is the time for Cleaning Out The Ashtrays — for sorting through dusty boxes of cassettes, DAT tapes and CDs in his Easthampton hideaway, to take stock and try to make sense of all that forgotten music. All those lost songs; half remembered sessions, much-missed friends and fellow-musicians and gifted co-producers. A goldmine of music from 21 years as a solo artist. Here, then, are 59 — count ’em — nuggets from the Cole vaults. Four CDs bursting with alternate versions, rare B-sides, cover sessions (Lou Reed, Marc Bolan and Leonard Cohen songs among them), and a few tracks that the record companies — and on occasion, even Lloyd himself — just didn’t get at the time. The launch of the new, along with a healthy appetite for touring his folk singer set around the world, has helped establish a vibrant online community of Cole fans. Countless queries about lost B-sides and rumored remixes sowed the seeds of the Cleaning Out The Ashtrays project which Cole has researched and compiled himself. Now, all of us can share in the riches that lay hidden inside that dusty old box. Includes a 36-page booklet with notes on each CD by the artist himself.
TEMPA 005CD KODE9: Dubstep Allstars Vol. 03 CD (TEMPA 005CD) 17.00
2011 repress, originally released in 2006; this is the third volume in Tempa’s Dubstep Allstars series, mixed by Kode9 and hosted by Space Ape. Dubstep Allstars: Vol. 03 is the dubstep mix CD re-imagined. Armed with a mic and the same 10″ dubplate weapons, Kode9 and Space Ape approach it all from a completely different trajectory. The majority of the tracks are fresh, upfront and unreleased, however, they have also been chosen to fit the Kode9 vision, with his creative energy ensuring that this mix is more than just the sum of its parts. South London-based producer and DJ Kode9 is the founder of the Hyperdub site and label. He has been a resident at Forward>> (dubstep’s founding club night) since its inception, and has hosted the Forward>> show on London’s Rinse FM. 28 tracks from the likes of Pressure, Warrior Queen, Geeneus, Digital Mystikz, Skream, D1, Calenda, Loefah, DJ Krave, N-Type, Plasticman, Benga, Random Trio, Cyrus, Blackdown, Geiom and Burial.
TEMPA 006CD DJ HATCHA/DJ YOUNGSTA: Dubstep Allstars Vol. 04 2CD (TEMPA 006CD) 21.00
2011 repress, originally released in 2006; this is the fourth volume in Tempa’s Dubstep Allstars series, mixed by DJ Hatcha and DJ Youngsta. Dubstep Allstars Vol. 04 presents a clash between two of the most influential dubstep DJs. Taking one CD each, these dubplate masters present the finest in upfront beats. From Skream to Digital Mystikz, Loefah to D1, these are the freshest sounds to come out of the London dubstep scene in 2006. Croydon-based Hatcha began DJing back while it was all UK garage and witnessed the birth of dubstep circa 2000. But it was as Forward>> resident in around 2003 that he personally changed the course of the dubstep sound, ushering in a new era with his exclusive dubplate selection. Also a Forward>> resident, Youngsta’s sound really coalesced early in 2005, when his ultra-dark, skunked out “halfstep” dubstep defied dancefloor expectations and smothered headz in dread bass. His pinpoint sharp mixing and visionary selection marked him out as a master DJ. Together, Hatcha and Youngsta are a formidable force and Dubstep Allstars Vol. 04 sees them in heavyweight form, from dub skankers to bass wobblers, dark halfsteppers to percussive rump shakers, bass is in the space. Other artists include: Mala, Headhunter, Hijak, Kromestar, Benga, Coki, Walsh and Distance.
SONG 006CD PRONSATO, BRUNO: Lovers Do CD (SONG 006CD) 17.00
It was in 2008 that Bruno Pronsato released his last album, Why Can’t We Be Like Us (HELLO 010CD), and in the meantime he’s kept very busy — primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on The Song Says (Bruno’s label). He’s continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he co-produced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork’s top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno’s work to date, Lovers Do is experimental without being snobby — or to use his own term, “accidentally avant garde” — but this one takes it further than the others. It has a looseness that’s truly rare in techno; scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling Rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes; one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno’s best club tune in years, the eerie and delirious “Feel Right.” Brian Eno once described his own music as a place you occupy rather than a thing that happens. Lovers Do is such a place; a lovely, impressionistic scene with amber tones and murky figures, dim street lights and dusty shadows. Bruno spent two years composing Lovers Do at his home studio in Prenzaluerberg, Berlin. His muse Ninca Leece makes scattered cameos throughout the record, and “Feel Right” features vocals from a raft of Bruno’s friends and contemporaries, including Vera, Margaret Dygas, Marc Schneider, Marco Rafanelli, Alex Petit and Pheek.
THRONE 014EP BICEP: EP2 12″ (THRONE 014EP) 12.00
Bicep’s second release for Throne Of Blood. With a deeper take on the analog house sound that has become their signature, EP2 represents a step forward for Bicep and provides a brief peek into still more of the classic house music that informs their signature sound. While “Silk” rides a warm bassline reminiscent of classics like Baby Ford’s “Ford Trax,” it never goes for the jugular. Buchla synth expert Mark Verbos provides a remix on the flip.
TONE 043CD WATSON & MARCUS DAVIDSON, CHRIS: Cross-Pollination CD (TONE 043CD) 14.50
Touch presents a piece by British environmental sound archivist Chris Watson and a collaboration between Watson and British composer, producer and keyboard player Marcus Davidson (Spire). “Midnight At The Oasis” is a 28-minute time compression from sunset to sunrise in South Africa’s Kalahari Desert and features the dense and harmonic mosaic of delicate animal rhythms recorded in this remote habitat. The piece was first performed at the Marquee in Parliament Street, York, on September 13th, 2007 as part of SightSonic’s contribution to the BA Festival of Science. The Kalahari Desert is a vast and open space where most of the wildlife is nocturnal. After sunset, the dunes, grasses and thorn bushes are patrolled by an emerging alien empire — the insects. “Midnight At The Oasis” presents an unseen soundscape from this beautiful and hostile environment. “The Bee Symphony” is a project by Chris Watson originally for Pestival (an international arts festival dedicated to “insects in the arts and the art of being an insect”) in 2009 to explore the vocal harmonies between humans and honey bees in a unique choral collaboration around and within the hives of an English country garden. Recorded live at The Rymer Auditorium, Music Research Centre, University of York, England on December 17th, 2010 by Tony Myatt, using a Soundfield SPS200 microphone recorded onto an Edirol R4 (surround version) and 2 x Neumann U87 microphones via Grace Microphone Preamplifiers, recorded onto an Edirol R44 (stereo version). Composed and arranged by Marcus Davidson using recordings made by Chris Watson & Mike Harding and diffused through a 4.1 Genelec system by Chris Watson.
This is the debut release by elusive producer Holy Other. Following on from critically-acclaimed records by Balam Acab, oOoOO and How To Dress Well, With U is the fourth release on Tri Angle records. Taking the alien kinetics of UK garage, the euphoric highs of vocal house and the slow sensuality of R&B, Holy Other has created a sound that’s as melancholy as it is beautiful, spectral and yet slightly at unease with itself. Playing these five songs feels like a slow, solitary walk into the city night, lights flashing around you, muted where once they seemed to shine more brightly. With U was recorded in Berlin, Gothenburg and Manchester, where Holy Other currently resides.
UA 5577LP WOMACK, BOBBY: Understanding LP (UA 5577LP) 11.50
Exact repro of this 1972 album, following Communication. Features “I Can Understand It” (later covered by The Valentinos, Calvin Richardson, and The New Births) and the timeless “Woman’s Gotta Have It.” His cover of Neil Diamond’s “Sweet Caroline” is transcendent. If you’re about to jump off a bridge, Womack has the only voice that will make you come down.
UALA 199LP WOMACK, BOBBY: Lookin’ For A Love Again LP (UALA 199LP) 11.50
Exact repro of Bobby Womack’s 1974 album. The title track was his second number one R&B single. Grinding R&B rhythms, vibrant Muscle Shoals production and Womack’s lacerating vocals make this a crucial album from one of the greatest soul singers of all time.
UY 047EP HAGELSTEIN, RUEDE: Who’s Me? 12″ (UY 047EP) 12.00
Ruede Hagelstein indulges in some self-examination for Upon You. The first track is dark and romantic and holds steady at a relaxed 120 bpm. The second track deals with some paraphrased piano-playing and the third track contributes a definitive minimal touch, sounding a bit like Peter And The Wolf at the LSD Opera. Hop, hop, off you go then, my lovelies…
VAMPI 073CD WILLIAMS, ANDRE: Movin’ On With Andre Williams CD (VAMPI 073CD) 12.00
2006 release. Vampisoul is proud to release a CD by the genius from Detroit, Andre Williams. Compiling some of his more funky soul tracks from the ’60s, originally released by Fortune, Avin, Sport, Wingate, Ric-Tic, Checker and Chess, and featuring previously unreleased songs. Andre recorded over 50 songs for Fortune including: “Bacon Fat,” “JailBait,” “Pass The Biscuits” and “The Greasy Chicken.” Andre began recording under various pseudonyms such as The Five Dollars and The Don Juans. He became known as a record producer and songwriter, composing such tunes as: “Shake A Tailfeather,” “Cadillac Jack,” “Funky Judge” and “Twine Time.” He was hired and fired as staff producer and A&R man numerous times by Barry Gordy at Motown. Mr. Rhythm (as he was nick named by Redd Foxx) produced records for Mary Wells, Stevie Wonder, The Dramatics, The Chi-Lites, Ike & Tina Turner and even penned material for George Clinton’s Funkadelic. Andre was always a wild man with the ladies and never said no to a party and by the 1980s Andre Williams found himself down and out — living on the streets and at the end of a crack pipe. In 1996 Andre bounced back in a big way — he cleaned up his act and began making music again. His comeback album, Greasy, was recorded for the St. George and Norton labels which put him back on the live performing circuit and back in the conscious of the music buying public. In 1998 Andre released his sleaze-rock masterpiece, Silky, on In The Red Records, which proved to be a commercial and critical smash for Andre. Since the release of Silky, Andre has toured the US and Europe numerous times and his following has grown larger and larger. He toured a number of times with the Jon Spencer Blues Explosion, who wound up recording with Andre as well as crediting him as executive producer on their Acme album. This record is going to be as good as it gets and so is Andre Williams. Lord have mercy!
VAMPI 075CD BENITEZ AND NEBULA: Night Life/Essence Of Life CD (VAMPI 075CD) 12.00
2006 release. Eddie Benitez’s story is full of contrasts: a classical trained child prodigy turned Latin rock superstar while hanging out in his teen years with the likes of Charlie Palmieri, Louie Ramirez, Tito Puente and pretty much all the crew from the Fania All-Stars… and making a name for himself while at it. His debut album on Fania, Night Life, brought him to the spotlight in 1976, earning his band Nebula rave reviews and the props of many of his peers, including names like George Benson, Al DiMeola and Carlos Santana. He also has the distinction of being the first Latino act ever to be featured at the mythical CBGB’s. Between Night Life and Nebula’s second release, Essence of Life, lays a three-year hiatus, yet the band never stopped touring and playing the rock circuits. . Produced by late studio wizard Louie Ramirez, one of Latin music’s most creative and complete gentlemen, Night Life left an impressive mark, featuring the then up-and-coming Ruben Blades on background vocals and the virtuoso team of Nicky Marrero (a key member of the Fania All-Stars and one of the most influential percussionists of all time) and the late Frankie Malabe (a revered conga stylist and innovator as well as a stalwart of the essential Alegre All-Stars in the ’60s and early ’70s). By the time “Essence of Life” was recorded, Nebula had already undergone a critical lineup change. Because of disciplinary problems, the original band was dismissed, with only Greg Hernandez and Nancy O’Neill remaining from the original band. The remaining members consisted of keyboard/trombone player Johnny Caro, Nancy’s brother Dino Cedeno on vocals, drummer Joe DiCarlo, Tommy Hebb on bass, Jose Morales on timbales and additional keyboard player Larry Dvoskin. Former band member Jimmy Cruz doubles on background vocals for the album as well.
VAMPI 092CD VA: Gozalo! – Bugalú Tropical Vol. 2 CD (VAMPI 092CD) 12.00
2007 release. This is the second volume in Vampisoul’s series of tropical Peruvian music of the ’60s. The casual music enthusiast might not think that Peru was a hotbed of tropical music in the 1960s and ’70s, but with an indigenous tradition of Afro-Latin percussion on the coast, and an obsession with mambo in the ’50s, Peru was actually the perfect place for the Cuban and Nuyorican sounds of son, boogaloo, and guaracha to take root. The proximity of Colombia and Venezuela made sure that cumbia was popular as well. The MAG label from producer Manuel A. Guerrero Silvestre captured this emerging pan-Latino sound in Lima, with the help of a few visiting Cubans, Puerto Ricans, and South Americans. While artists like Mario Allison, Alfredo Linares, Nilo Espinosa, Silvestre Montes, Tito Chicoma, Charlie Palomares, Ñico Estrada, and Willie Marambio may not be household names, the tasty tunes they cut over 30 years ago are a rare treat for the Latin music enthusiast, and will finally come into the spotlight thanks to this compilation. This second sampler gives you another sabroso taste of a very special period in Peru’s musical and social history.
VAMPI 092LP VA: Gozalo! – Bugalú Tropical Vol. 2 2LP (VAMPI 092LP) 25.50
2LP version.
VAMPI 097CD KUTI, FELA: Lagos Baby (1963-1969) 2CD (VAMPI 097CD) 17.00
2008 release. Fela Kuti (1938-1997) was the first and brightest African super star, and a music genius of colossal dimensions, considered by many the unrivalled king of African music for more than 30 years. Vampisoul presents a compilation of his work in the ’60s, before naming his band Africa 70 and becoming the first African music rebel. After staying in London between 1958 and 1961, where he studied at the Trinity College of Music, and prior to his first visit to the States, Fela was back in his Nigeria home with his band The Koola Lobitos serenading nightclubbers with jaunty highlife jazz and Afro soul music. What you can hear in this compilation is Fela Ransome Kuti (not Anikulapo) and His Koola Lobitos, doing an irresistible, torrid and infectious rhythmic mix of West Africa’s highlife music, jazz, soul and funk. Licensed from the Fela Kuti Estate and Premier Records, this deluxe Vampisoul package features extensive notes by African specialist Max Reinhardt and artwork by artist Victor Aparicio.
VAMPI 110LP BLACK MERDA: Force Of Nature LP (VAMPI 110LP) 16.50
LP version. 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.
VAMPI 117CD VA: Back To Peru Vol. 2 2CD (VAMPI 117CD) 22.00
2009 release. Volume two of this collection of the rarest grooves from Peru, including garage stompers, psych-pop, raunchy funk, Latin rock and anything in between. The shards of the tremendous musical explosion that took place in Peru between 1965 and 1975 are still scattered. Those who are lucky to find them remain hypnotized by their charm forever. During that magical decade Peruvian rock bands fed from all possible influences. The original surf, rock and beat sounds were joined by psychedelic experimentation and the cult of the acid. Some bands went even further and explored the field of music fusion as well as the most remote confines of their mind. And most of it is here! We welcome you, then, to a new overview of a scene whose diversity mirrors a society based on a powerful mix of races and cultures. One of the great sources of inspiration was the rock, psychedelic pop and soul music that came from the United States and England. The songs by artists like The Jimi Hendrix Experience, Iron Butterfly, The Beatles or Mitch Ryder & The Detroit Wheels had such a great impact that they ended up merging with traditional Tropical rhythms, giving birth to new and surprising music styles such as “psychedelic guajira.” Some bands, like Los Holy’s, Los Comandos, Los Jaguars or Los Siderals, chose to turn up the reverb on their amps and do without lyrics for their fantastic surf instrumentals, which sometimes incorporated arrangements in the style of Joe Meek. Other groups went for a rougher approach. Los Saicos, Los Shain’s or Los Drag’s represent the wildest type of teenage abandon with their beat rhythms and garage energy. Hallucinogenic plants and the consumption of other illegal substances brought about total experimentation to Peruvian music, both in terms of composition and arrangements. Songs such as the bluesy “Efectos” by Los Teddy’s and “Cuarto Oscuro” by Los Zheros reflect this new psychedelic scene. After the lysergic effects came hard and acid rock, full of heavy riffs and plenty of fuzz and wah-wah pedals, surprisingly adopted and practiced by bands like Pax, Telegraph Ave and Traffic Sound. Traditional folklore also suffered the effects of the foreign rock invasion. Native styles such as cumbia incorporated elements from rock, which resulted in curious tracks such as “Onstá la yerbita” by Los Destellos, featured here.
VAMPI 129CD VA: Highlife Time 2: Nigerian & Ghanaian Classics 2CD (VAMPI 129CD) 22.00
…From The Golden Years. This is the second volume in Vampisoul’s Highlife Time series, chronicling Nigerian and Ghanaian highlife heroes both renowned and sorely under-represented. Professor John Collins (musician, composer, prolific writer about African music and eminent musicologist at the University of Ghana) has traced the roots of highlife music back to the 1880s on the Gold Coast, now known as Ghana. He sees it as a fusion of rhythms from the West African coast, from Europe, from the Caribbean and from African-Americans in both South and North America. During the Second World War, swing was introduced by British and American servicemen based in Ghana. As a result, the large dance orchestras gave way to the smaller highlife dance bands. The most famous was the groundbreaking Tempos band, led by trumpeter ET Mensah, which incorporated Afro-Cuban percussion, played by the band’s finest drummer, the pioneering Kofi Ghanaba (aka Guy Warren of Ghana). It was their brilliant fusion style that made such an impact on Nigeria in the 1950s. Nigerian journalist Benson Idonije, however, is by no means alone in believing that while Mensah must be saluted for the cultural legacy he left behind, he was not responsible for introducing highlife to Nigeria: “Highlife has always been with us (Nigerians), at least since the guitar or mandolin banjo was introduced to our folk and indigenous music to bring about its very first contact with Western instrumentation and music. That type of music just did not attract the kind of mass appeal that Mensah’s Tempos band generated.” When Mensah’s highlife first blew into Nigeria, Bobby Benson’s Jam Session Band were playing mostly swing and ballroom tunes along with the other leading Nigerian dance bands. Bobby had the foresight to realize which way the musical wind was blowing and highlife then began to dominate his repertoire. Over time, his 11-piece band featured the future stars of Nigerian highlife: Sir Victor Uwaifo, Bayo Martins and trumpet players like Zeal Onyia, Roy Chicago, Chief Bill Friday and, of course, an ambitious young player called Victor Olaiya. By 1952, Olaiya had become the leader of Benson’s second band, Alfa’s Carnival Group, but then he felt his moment had arrived and he launched his own highlife band, the Cool Cats, at the West End Café in Lagos. The many influential Nigerian musicians his bands spawned and nurtured over the next two decades included Sir Victor Uwaifo, John Akintola (aka Roy Chicago), Peter King, Cardinal Rex Jim Lawson, Eddie Okonta, Agun Norris (of Empire Orchestra), Celestine Ukwu (of Anambra), Bala Miller, AC Arinze, Osita Osadebe and, most famous of all, Sunny Ade, Tony Allen and Fela Kuti. Highlife became the fashionable soundtrack to independence in both countries (Ghana 1957, Nigeria 1960) and an essential foundation to the new musical styles that were to develop — but as the ’60s rolled on, the music evolved differently in each country, diverging as different forces came into play. However, in both countries economics meant that big highlife bands were difficult to maintain, and the ever-growing popularity of the electric guitar, aided and abetted by the sounds of the successive waves of the beat, blues and rock booms from the USA and the UK, meant that guitar highlife became a very cool direction to take. Rex Lawson and Sir Victor Uwaifo led the development of the guitar-oriented variant of highlife, but the terrible crisis of the 1967-1970 Nigerian (or Biafran) Civil War brought its own set of musical changes. In 1971, the Soul To Soul music festival was held in Accra. Several legendary American musicians played, including Wilson Pickett, Ike & Tina Turner and Carlos Santana, and in the subsequent Ghanaian roots revival new guitar bands and stars arose in Ghana. Includes artist photos and extensive liner notes by experts Rita May and Max Reinhardt.
VAMPI 45029EP BANDA UNIAO BLACK: Yeah Yeah Yeah 7″ (VAMPI 45029EP) 8.50
“Yeah Yeah Yeah” is one of the most dancefloor-friendly cuts from Banda Unaio Black, with a sparse, driving beat and lyrics sung in both English & Portuguese. This is backed with an exclusive instrumental mix that doesn’t lose any of the original’s handclap and melodic flavor. Super limited edition of 500 copies.
VAMPI 45043EP BLACK MERDA: Take A Little Time/Let Go 7″ (VAMPI 45043EP) 8.50
Two songs recorded in 2008 in their hometown Detroit with the help of ex-Detrot Cobras Jeff Meier (who has recorded sessions with White Stripes, Nathaniel Mayer, The Gories). Black Merda’s unique style of music has been called funk-rock, black-rock, psych-funk, black psychedelic funk and a host of other names.
MRSSS 501LP CRAMPS, THE: Songs The Lord Taught Us LP (MRSSS 501LP) 25.00
First reissue on vinyl of The Cramps’ full-album debut on Illegal Records, originally released in 1980. The jacket reads “File under: sacred music” but only if one’s definition includes the holy love of rockabilly sex-stomp, something which the Cramps fulfill in spades. Years later, this album still drips with threat and desire, both testament to the band’s worth and Alex Chilton’s just-right production. On 180 gram vinyl.
MRSSS 502LP CRAMPS, THE: Psychedelic Jungle LP (MRSSS 502LP) 25.00
First ever reissue on vinyl of The Cramps’ second album, and the same atmosphere of swampy, trashy, rockabilly-into-voodoo ramalama reigns supreme. Originally released on IRS Records in 1981, The Cramps’ style comes through big time, with Lux Interior throwing in yells, yipes, and other sounds, where appropriate. 180 gram vinyl.
WPH 012EP DJ YELLOW: Night In Tranzylvania 12″ (WPH 012EP) 12.50
“Night In Tranzylvania” by DJ Yellow has been a huge favorite with label boss Red D and his Belgian crowd ever since it was released on the criminally-overlooked album Intermission on Project Recordings in 2008. But now it is back in all its glory and supported by “Angel’s Part,” a killer ambient track which also featured on that album, “Je t’M,” a new track by DJ Yellow and a Russ Gabriel remix of the title track.
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