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12K 1066CD KIRSCHNER, KENNETH: Twenty Ten 3CD (12K 1066CD) 26.00
“Following 2008’s critically acclaimed double-CD Filaments & Voids, Twenty Ten sees Kirschner’s use of real-world instruments become even more accomplished while still remaining steeped in conceptual outlines, meticulously married with computerized processes that emphasize the natural instruments’ flaws. Like most of Kirschner’s work, he starts the listener off easily, introducing the instrument or set of instruments for a particular piece with relative pragmatism. However, things don’t remain so simple for very long, as the works’ harmonic balance gives way to microtonal relationships and beautifully crafted computerized decay. By the end of his long compositions, you find yourself wondering how you got where you were, having been completely drawn into Kirschner’s sound-world and thrown out the other side as if tossed into a churning sea. Disc One starts off with the shortest piece of the set (a mere 23:40), ‘January 4, 2011’ (all of Kirschner’s compositions are titled for the date on which they were started). This piece, created with metallophones and xylophones from a local school, is perhaps the most chaotic, and the most natural, we’ve ever heard Kirschner’s music, as two simultaneous layers of subtly microtuned percussive bells roll and skip, sped up, slowed down and playing off of one another. Natural, because there was no computer trickery, only hours of playing and recording edited down to this ‘short’ length. As almost the polar opposite, the second track on Disc One (the only disc with more than one piece), ‘November 7, 2010’, takes piano, strings and celeste into severely microtonal territory – at first perhaps a difficult listen, but at the end of the 42-minute piece it somehow all makes sense. It’s a dynamic recording whose high-pitched bowed sounds whisper across low piano notes, leaving the listener sometimes holding their breath, afraid to disturb the delicacy.”
A1 9002LP RIMSHOTS, THE: Soul Train LP (A1 9002LP) 11.50
Exact repro of this record from this All Platinum/Stang label house band, featuring funk crate-digger gold on tracks like “Soultrain Part 1 & 2,” “Born Funky” and “In Cold Blood.” Also includes the Gang Starr-sampled “A Hot Day In Harlem.”
AMIRW 033LP VIDA/KEITH FULLERTON WHITMAN, BEN: Aggregatepulseripper (Damaged IIII)/080114 LP (AMIRW 033LP) 19.00
“Amish is pleased to announce the third iteration in its Required Wreckers Series, a split LP featuring new and exclusive work from Ben Vida and Keith Fullerton Whitman. Having collaborated over the last decade as a trio with Greg Davis, this release features new solo-work by two of America’s most important emerging sound artists. The first side of this release debuts a new composition from Ben Vida. In keeping with his recent patchwork-based compositions, Aggregatepulseripper (Damaged IIII) continues to explore Vida’s interest in both digital and analog control sources, a compositional process that refuses to fetishize one technology over another and, more interestingly, appears to displace the musician’s hand from the compositional process. The flipside of this LP features Keith Fullerton Whitman’s third in a series of splits (previous releases have included No Fun Production’s b/w Carlos Giffoni and Amethyst Sunset’s b/w with Mike Shiflet) documenting a particularly productive period in his creative output–a series of ‘synth concerts’ from 2007 and 2008. Recorded on January 14, 2008 at PA’s Lounge in Somerville, MA, this piece documents the fourth in Whitman’s solo synthesizer sets. Throughout the recording one can discern talking from the audience and ambient room–tone noise, as well as sound coming from different sources spread throughout the room–a small battery powered speaker on stage right, a giant Barbetta on stage left. Each speaker was fed into a different patch irrespective of its frequency response. Whitman uses a hybrid system of digital and analog sound sources that, with the exception of a single 4096 bd delay, is presented here without treatment, overdub, or sequencing of any sort.”
LP version. 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.
AALPDE 002LP ROB: Funky Rob Way LP (AALPDE 002LP) 21.00
LP version. 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.
ANN 015EP DELTA FUNKTIONEN: Setup Three: O/F/F 12″ (ANN 015EP) 12.50
Delta Funktionen delivers his third and final part in his Setup series. More freaked, frantic and robotic as ever before.
AREAL 059EP PAN/TONE: Rescue Me 12″ (AREAL 059EP) 12.00
“Welcome to the mobile matrix. I am H.E.L.L., your automated telephonetics assistant. Connecting to hypothalamus. Press 1 to erase, 2 for positive stimulation, or 3, if you would like to talk directly to one of our sales assistants who will be right with you in your flat in only five minutes. “Peep.” “Hello.” “Hello. I’ve composed a song for you. Here it is.” Includes remixes by Ryan Davis and Basteroid.
ARPA 003EP DJ SODEYAMA: Life 12″ (ARPA 003EP) 12.00
The third release on Arpa Records is from label owner DJ Sodeyama. This release sees the ever enterprising DJ return to his roots with an uplifting house track with a deeply-rooted acid bass and a booty-shaking groove that can explode on any dancefloor. For the remixes, Arpa Records have been lucky enough to invite the talents of the one and only Radio Slave, who provide over 12 minutes of pure, unadulterated minimal bash.
SD 1629LP BROWN JR., OSCAR: Movin’ On LP (SD 1629LP) 11.50
This 1972 record from Oscar Brown Jr. should have made him as successful as Marvin Gaye or Curtis Mayfield. Arranged & conducted by William Eaton. Featuring Oscar Brown, Jr. (vocals), Cornell Dupree (guitar), Richard Tee (piano), Bill Salter (bass), Jimmy Johnson (drums) and Ralph MacDonald (percussion). Exact repro, manufactured by Rhino.
SD 8145LP PICKETT, WILSON: The Sound Of Wilson Pickett LP (SD 8145LP) 11.50
Exact repro of this 1967 album, manufactured by Rhino. Covers of Bobby Womack’s “I Found The One,” “Something Within Me” and “I’m Sorry About That,” plus originals “I Found A Love” and “Soul Dance Number Three.”
BMS 034CD GOOGOOSH: Googoosh CD (BMS 034CD) 15.50
“The East’s best kept secret? Despite being a national treasure to generations of free-thinking Iranians and one of the most well-known and loved songbirds from the East, Faegheh Atashin (most famously known as Googoosh or Gougoush) is ironically also the performer of some of the rarest, heart-melting pop music in the world. Originally pressed on the diminishing vinyl format in the mid-1970s her songs and performances were banned after the Iranian revolution of 1979 resulting in her records, and millions of others, being forbidden, hidden and destroyed. Preserved in some part via the rise of global compact cassette culture in the 1980s some of Googoosh’s most famous songs have become anthemic amongst international Iranian communities whilst in darker contrast dozens of 45 b-sides and commercially stunted album tracks remain as distant and nonexistent memories in the mind of the most devout fans and fastidious vinyl librarians. Finders Keepers’ first Googoosh release focuses on a handful of these lesser-spotted tracks – the ones that didn’t get away. Herein many will find the singer at her beguiling best with an urgency and yearning in her voice that is arguably unrivaled by so many contenders under the often disposable femme-pop umbrella. Mid-tempo pop peons with pulsating rhythm sections awash with expertly orchestrated strings (akin to that of some of the most intense Italian or French film composers) provide the backdrop for unrequited love songs revealing poetic premonitions of impeding cultural heartbreak. Other carefully selected tracks take cues from Googoosh’s most unlikely influences, such as jazz, bossa and early disco, unconsciously inducing political paranoia from the era’s imminent anti-pop restrictive regime. Combining inspiration from a deep-rooted history of Persian poetic verse and indelible Arabic songcraft these lost tracks, from the artist known amongst Farsi speaking fans throughout the world as ‘Iran’s Daughter,’ have most certainly, finally earned a place in the hearts of ‘outernational’ music lovers like yourself.”
BBM 1107EP MR RAOUL K: The Balafon Teachers 12″ (BBM 1107EP) 12.00
Mr. Raoul K crafts a relentless groover that sends everyone on the floor into the higher state of consciousness called trance. He layers track upon track and builds a solid grooving base for the balafon — a handmade percussion instrument not unlike a marimba that gives Guinean music its characteristic flavor. The vocal loop on top draws you deep into the vortex of nested percussion, African melodies and thick basslines. Already tested by Âme with stunning results. One-sided release.
BEC 5772785 SYD MATTERS: Brotherocean LP (BEC 5772785) 23.00
2010 release. Syd Matters, whose real name is Jonathan Morali, combined the names of two members of Pink Floyd, Syd Barrett and Roger Waters, to create his stage name. For songwriter Jonathan Morali and his band Syd Matters, song-writing can best be described as an adventure. Listen to the gentle persistence of “Wolfmother” or “River Sister” as they instill their entrancing melodies, reaching deep into the soul, while “Hi Life” and “Lost,” thanks to their arrangements, both sound like instant classics without forsaking any of their unquestioned originality. The use of a simple change in harmony coupled with a burst of chorus song in “Halalcsillag” shakes up the listener’s internal compass, sending him spinning into unknown territory. The songs “We Are Invisible,” “A Robbery” and “Hadrian’s Wall” drift out in such a pure and simple way, but are anything but ordinary. This is song-writing that breaks with the mundane whilst managing to avoid falling into the trap of trying too hard to be different or obtuse. Song-writing that, in the words of Jonathan Morali, moves between the familiar and the unknown as easily as one drifts from reality into dreams. All the artistry of Syd Matters is summed up here: the extraordinary accomplished with ease, genuine originality free of any artifice, a voice of confidence that is healthily indifferent to known musical genres and fashionable gimmicks. The five travelers in Syd Matters chose not to weigh themselves down with any unnecessary baggage and their album only goes to prove how right they were. Includes a download card for the mp3 version of the complete album.
BEC 5772833 RINGER, CATHERINE: Ring N ‘Roll 2LP+CD (BEC 5772833) 26.50
Catherine Ringer is the former singer from the famous French band Les Rita Mitsouko, formed by Fred Chichin (her late husband) and herself. From the hit “Marcia Baila” in 1985 to their last album Variety in 2007, they have worked with the likes of Tony Visconti, Iggy Pop, Sparks, Jesse Johnson, William Orbit and Serj Tankian. In 2009, Catherine decided that it was time to compose and produce her first solo album on her own. In collaboration with Mark Kerr, Azzedine Djelil and Jean-Baptiste Brunhes in her own studio, she recorded different instruments, from piano to drums. She also reworked “Rendez-Vous,” a track recorded in 1998 with Coba, the Japanese accordion-player and adapted the “Adagietto” from “Mahler.” Housed in a gatefold sleeve, this collector’s edition includes a vinyl-etching on side D and a CD of the entire album.
ACRE 025EP HYETAL: Diamond Islands 12″ (ACRE 025EP) 11.00
“Diamond Islands” is the title track and the lead single from Hyetal’s debut album Broadcast. Hyetal effortlessly combine such diverse influences as John Carpenter, Boards Of Canada, early ’90s computer games and Prince with the sound system dynamics of cutting-edge UK bass music. Boddika provides the re-rub, a low-slung, rolling arpeggio diced with vocal cuts and a propulsive 4/4 rhythm.
BLKRTZ 001CD DEADBEAT: Drawn And Quartered CD (BLKRTZ 001CD) 15.50
Scott Monteith aka Deadbeat releases an album for his own label BLKRTZ. It has been 12 years since Monteith quietly launched his Deadbeat music project with an unassuming performance on the street outside a Montreal café as part of the first edition of the city’s now internationally-lauded MUTEK festival. And while the venues and audiences have grown steadily and seriously in the years since, the crackling dub sonics, deep grooves, and rumbling bass which characterized that performance have remained a constant in his live and recorded work, and earned him a substantial number of devoted followers the world over in the process. Having worked with a virtual who’s-who of the most respected labels in the industry over the last decade, Monteith now takes the plunge into the murky depths of labelhood, launching his BLKRTZ imprint with no less than a full album of new material. “When I received the news a few months ago that ~scape was officially closing its doors, I was incredibly sad to hear it.” says Monteith from his new home in Berlin. “Though I hadn’t worked with them in a few years, I always saw ~scape as the natural home for a very important part of my work. Not necessarily the more listening side of things per se, but certainly the most unconcerned with genre or function, from a creative standpoint the most free, I guess. Barbara and Stefan worked very hard to promote a great deal of quite marginalized material over the years and did a lot to help me and many other artists out personally who otherwise would have had a much harder time of it. Though I’ll be concentrating on my own work for the first few releases, it’s my hope that BLKRTZ can serve a similarly honorable purpose in the years to come.” In celebration of the label’s inaugural release, Monteith has teamed up with long-time friend and world renowned video artist, Lillevan, to create an immersive audio/visual performance quite unlike any other.
BNR 060LP HOUSEMEISTER: Music Is Awesome PIC. DISC (BNR 060LP) 20.00
Everybody better bring some towels, because Housemeister is about to soak the world in electro champagne. Presenting his third full-length album, the dirty don of club music has done it again, touching ravers’ hearts and hitting them right on their heads at the same time. Within the arts, good ideas are hard to find, and masterful musical output is pretty hard to achieve — and with a thousand shitty drugs flooding the streets of music today, it isn’t everyday that you come across grade A stuff like this. Music Is Awesome is shit that’s straight from the kitchen, and Housemeister has produced this batch like a 5 star chef. It seems playing clubs and crowds all over the world do add to a player’s game. Add class and confidence. Add experience and excellence. Add balls as well as balance, and 15 years of hardcore DJ-dom to be able to come out and kill like this. Music Is Awesome: Could any phrase be more simple and true? Could any DJ come up with a better beat-down of arty-farty music chit-chat, nipping critics in the bud, just like that!? And how could someone who’s played a million records maintain such compass and focus? The unique studio-zoo of tools and toys he uses, his refreshing, hands-on, open-minded production approach, the iconic brand he’s built, all showcase Housemeister’s special qualities. This picture disc vinyl release is made for techno-monster collectors. Featuring contributions by Boys Noize and Jan Driver. Mastered by Lupo at Dubplates & Mastering, Berlin.
BPC 235EP MR. STATIK: Even Giants Have A Soft Spot 12″ (BPC 235EP) 12.00
With “Ganymedes,” Mr. Statik adds an elegant footnote to techno history by releasing the first dance music track which pays direct homage to a figure from Greek mythology. Mr. Statik gives him a warm serenade with a subtle spring in the bassline, jubilant hand claps, an uplifting melody line and a misty-eyed vocal from the Telefon Tel Aviv singer Joshua Eustis. “Be Free” features vocals from K.atou and “Imagine” dives deep into peak-time vocal tech-house with hypnotic crooning from Carlos Valdes.
BPC 236EP DANCE DISORDER: Metallic Italic 12″ (BPC 236EP) 12.00
Dance Disorder are Georgina Fernandez aka Baby G, and Robin Crafoord, and this 12″ combines classic Italo-dance ingredients with a dash of new wave flair. “Metallic Italic” uses a powerful, straight-up beat, catchy melody lines and trance-inducing sequences to conjure up a wonderfully dense synth-pop atmosphere that is equally irresistible on the sofa and on the dancefloor. Co-production credits go to Tobias Freund, and there are also remixes by Snuff Crew and Jeremy Glenn.
BB 082EP PYROLATOR: Neuland/1 12″ (BB 082EP) 12.50
Pyrolator (Kurt Dahlke) is back, after a hiatus of 24 years, on lurid, yellow 12″ vinyl. Dahlke is currently using a Monome as an input device, programming a kind of matrix of rhythms, chords and melodies. He likes to work with loops, refining them and piecing them together. The Lightning II enables him to translate the various musical parameters by means of two rods and movements in the air. This allows him to control everything — pitch, filters, length of the pieces, etc.
CADENZA 063EP MERVEILLE, CESAR: Maayancholy 12″ (CADENZA 063EP) 14.00
Cadenza welcomes Cesar Merveille for his debut solo release on the label. Maayancholy is a beautiful and heart-wrenching record, showcasing the French producer’s delicate musical palette. Guti composed the piano elements on “Maayancholy” with simplistic, singular key arrangements and piercing chord sequences. Luciano picks up the remix duty with a 16-minute interpretation. As condensed cymbals and piano chords are electronically warped, urgency prevails and groove sets in, securing Luciano’s twisted version as the perfect companion for the simplistic original.
T 1511LP JACKSON, WANDA: There’s A Party Goin’ On LP (T 1511LP) 11.50
Oklahoma City’s Wanda Jackson toured with Elvis and was a local rockabilly radio sensation. Country-music guitarist Roy Clark plays on this album. Hotly-tipped by the lady at your Zumba class.
CARGO 001LP VA: Five Years Of Cargo Edition 2LP (CARGO 001LP) 20.00
2LP version. In 2006, Leipzig-based DJ and producer Matthias Tanzmann set up Cargo Edition to serve as an extension of the stylistic spectrum of its parent label Moon Harbour Recordings. Five years on has seen Cargo Edition develop into an independent platform with its own unique voice and family of illustrious artists, each adding to the label’s character; from the multi-layered and melodic tracks of Sven Tasnadi, Markus Schatz and Juno6, to the detailed aesthetics of Michael Melchner, from the reduced, dry sounds of Vera to the functional house of Ekkohaus. On top of A&R-ing Cargo Edition, Matthias Tanzmann also contributes his own original and remix work for the label. Unsurprisingly, the label is very excited to celebrate the fifth anniversary of Cargo Edition with its first label compilation. As well as the whole Cargo Edition family submitting their own exclusive tracks, new friends and members such as Livio & Roby, Ralph Sliwinski and Skipson also contribute exclusive material. On the bonus CD, Berlin resident Ekkohaus reviews Cargo Edition’s history with a very special DJ mix. In his own words, “I selected the right moments from the Cargo Edition discography to create a flow that allows the label’s signature sound to unfold, and showcases its spectacular artists.” With the bonus mix, Ekkohaus demonstrates that he’s not only an outstanding producer and live act, but also a great DJ.
CLR 046EP TOMMY FOUR SEVEN: Ratu/G Remixes 12″ (CLR 046EP) 12.50
Tommy Four Seven is at the forefront of the new generation of techno artists, creating his trademark deep and uncompromising sounds. An impressive example of this extraordinary production ethos is evident on his debut album Primate (CLR 010CD). This is the first volume in a series of 12″s featuring remixes of Tommy’s album tracks, starting with “Ratu” remixed by Perc and “G” remixed by Regis.
COR 087EP REEVE, MARK: Daybreak On Mars EP 12″ (COR 087EP) 12.50
On his Cocoon debut, Mark Reeve presents himself in all his stylistic bandwidth: “Daybreak” combines a highly-functional tribal bass-pumping with mighty dub chords that make the sun shine even in the most remote corner of the club, while “Morning On Mars” gives priority to the hypnotic effect of percussion. Mark Reeve is definitely a name to remember in 2011.
CORR 001EP NHAR: Thelema 12″ (CORR 001EP) 12.00
Correspondant has been Jennifer Cardini’s residence at Rex Club Paris for 8 years. The parties have been legendary and now, Correspondant has become a label. Nhar began his productions alongside Kevin Scherschel as the 22 Crew and has since then worked with minimal house imprints Modelisme, Plak and Mobilee, amongst others. Plein Soleil also contributes a stunning re-interpretation.
“The result of a first time meeting between boundary pushing cellist Okkyung Lee and legendary vocalist Phil Minton, ANICCA presents a set of four explorations of timbre and of minds. Recorded in studio in London and presented in hand screenprinted sleeves designed by Okkyung especially for this release, ANICCA is a very limited, heavyweight pressing. Liner notes have been provided courtesy of artist Christian Marclay, a frequent collaborator of both Okkyung and Phil, who rightly declares: ‘Beware, this is scary stuff!’ Recorded acoustically and with the aim to capturing the rawest, smallest, biggest and most beautiful sounds of their respective instruments, Okkyung’s cello and Phil’s voice sound nothing like they should. At their most powerful the resonance of both strings and vocal cords trade places, merge and tangle to create a storm, a wave and a crackling fire. But each gust of the wind is preceded and followed by the hush tones of two strangers meeting for the first time. The Korean track titles allude to a stillness encountered in such a meeting, a void ready to be filled with willing stabs at forming friendship. Soon this nothingness is filled with ‘chanting and banging, hooting and hacking’. Numbers are exchanged and songs are sung together in exuberance and quiet beauty. The track ‘Mu-Byun’ ends on such a delicate note, a moment of mutual understanding. But true to the album title ANICCA’s true meaning of ‘impermanence’, this fleeting moment is torn apart by the following ‘Mu-Jin’ which begins with a guttural growl by one instrument only, the voice. Following ANICCA is witnessing a constant state of flux. Just as the strings meet in celebration, turmoil pulls them apart and therein lies the thrill of this music.” Hand-numbered, limited edition of 350.
“Gnomic no-fi plunk, wheeze, rattle and moan courtesy of an unfortunately monikered (well…at least to English language readers anyway…it probably means something just lovely in Finnish…) supergroup comprised of Jonna Karanka aka Kuupuu, Laura Naukkarinen aka Lau Nau and Merja Kokkonen aka Islaja that draws from the seemingly eternal well of stoned detuned mischief that feeds the viaducts of the Finnish underground. The sheer density of acts positing variants on this same post-Amon Duul/Siloah-like freakout stylee there gives rise to questions of bandwagon hopping, but that’s a discussion for another time. For the here and now, this first release of theirs is a choice manifestation of heavy-lidded third-mind acoustic weirdity that’s as ungainly as it is mystically/chemically blasted.”
“Portrait is Haley Fohr’s third LP and a massive step in her growth as a musician and artist. While pursuing a degree in recording and ethnomusicology she has become proficient in the studio. The result – radically unexpected qualities of cohesion and hi fidelity posit Portrait’s narratives in a space that we’ve yet to experience. This sort of playing the game in the way that the game is usually played, I think is usually called a sell-out. And had her intent faltered to the slightest degree that conclusion might be apropos. But it’s merely an effort to strip the canvas bare and get face to face with things. And it’s Haley’s intent that continues to be championed, as it has endured the acts of recording and performing and yet still stands strong and pristine. The rare qualities of strength and character can only be attributed to a rare artist. The modest, clarion sparkle of Portrait would not have been expected, or even achievable, considering the arc of Symphone and Sirenum, and it stands as a cornerstone and a monument, a testament to the daily practice of channeling her 21 yr old, roiling emotions into sound recordings.”
DSR 088CD BELTRAN, JOHN: Ambient Selections 1995-2011 CD (DSR 088CD) 17.00
Delsin is proud to present this best-of ambient compilation by one of their all-time producer heroes, John Beltran. The 16 tracks presented here include “Collage Of Dreams,” as featured on HBO’s Six Feet Under series, and other material from his sought-after albums originally released on Peacefrog and R&S. Beltran is a staple of the Detroit techno scene, releasing records on the Retroactive label that would later develop into his trademark contemplative, melodic style. Includes cuts from Earth & Nightfall (1995), Ten Days Of Blue (1996), Moving Through Here (1997), Going Home (2006), The Sky EP Series No. 2 (2000), his Placid Angles release The Cry (1997) his self-titled Indio release (1999), Americano (2002) and Human Engine (2006). With extensive liner notes from the artist himself.
DESOLAT 016EP BOREM, ALLI: Scotch Your Mind 12″ (DESOLAT 016EP) 12.00
With the toughness of Detroit house and the weirdness of Chicago acid, “Scotch Your Mind” will absolutely destroy all dancefloors. Allì Borèm jumps headfirst into digital-age hedonism with these two reduced, swinging cuts that have all the abandon and humor of a late night lock-in. This gentleman hails from Rome and as a DJ he has been responsible for plenty of discoteca mischief. Expect these two playful, bleepy, bouncing tracks to give you much joy on the dancefloor.
ZEIT 012CD RATTI, NICOLA: 220 Tones CD (ZEIT 012CD) 17.00
The Die Schachtel label presents a work that points out a crucial turning point in the artistic life of the well-known Italian guitarist and composer Nicola Ratti. In 220 Tones, Nicola Ratti chooses to play instruments that cannot live without electric tension, such as the synthesizer, Farfisa organ, record player, electric guitar, reel-to-reel recorder and CRT television. The relationship between the material instruments and the non-material electrical flow brightens the instruments themselves and creates a deep energy as well as an intense atmosphere that streams through the whole piece. The perfect balance between all these features is proficiently combined with the mastery of the musician as well as the imagination of the composer, making the listener feel the charm and seduction of live performance much more than the usual recording dimension.
This is a four-handed musique concrète composition by electroacoustic Italian composers Fabio Selvafiorita and Valerio Tricoli. This single-track piece was conceived and realized between Milan and the Giudecca Island, in Venice, which is the location of the field recordings and reel-to-reel tape treatments. The work stresses and questions the dramatic and alchemical potential of a musical landscape marked by water: visceral and metaphysical at the same time, full of narrative suggestions. Death By Water is intended as a comment on the fourth movement of T. S. Eliot’s poem “The Waste Land,” with its theme of renewal and regeneration.
A joyful product of mutual understanding between these two outstanding composers, described by Manuel Zurria in the booklet with the following words: “Philip gave me the key to enter a secret and wonderful room, full of fabulous things and made me discover a part of me I did not know.” Much more than a journey through sound, this work is a reflection on our modern world and the role played by music and soundscapes. It’s a journey through traditional instruments and modern techniques of sound production, from the usual electronic ones to the ultimate icon of contemporary society: the iPhone. Here, music has been reduced to a mere suggestion, a medium used in order to discover the potential of the player, plucking at his heartstrings. The wide range of sounds shares a common feature of the composers’ will: to experience music as a whole, without limits and boundaries related to the specific instrumental destination. Two worlds melt here and the result of this blessed encounter is well expressed by the title.
DIGI 008LP MIND OVER MIRRORS: The Voice Rolling LP (DIGI 008LP) 18.00
Mind Over Mirrors might not be a household name, but the brain behind the project, Jaime Fennelly, has been involved in numerous acclaimed and respected projects over the last few years. Primarily known for his work as an integral member of Peeesseye, he’s also involved with Acid Birds, Manpack Variant and Phantom Limb & Bison. The Voice Rolling is his first solo record in five years and the first under this new moniker. First and foremost, this is a harmonium record and that’s important to remember because it doesn’t sound like any other harmonium record you’ve likely heard. Nearly all of the sounds created were made using a medium-sized Indian harmonium and then processed electronically via tape echo, harmonizer and other guitar pedals. Add in the fact that it was recorded to tape and you get a dense, warm record full of grit and emotion. On “Barely Spun” and again on “Round, Around,” Fennelly bends slowly-building, repetitive melodies into massive sonic mountains. There is so much joy and ecstasy flowing out of “Round, Around” that it will remind you of how you felt when you first heard the pure expressions in Sacred Harp singing. The music on The Voice Rolling is rampant with an over-arching feeling of being alive — something that’s all-too-often absent in experimental music. Fennelly has an innate ability to manually construct looping bass patterns that sound almost arpeggiated, but have considerably more depth. The rawness and repetition of pieces like “Brickfielder” and “Point Hammond” feel more in line with American primitive blues than any sort of Indian ragas. Turn Roscoe Holcomb’s voice into a harmonium and stretch it out and you’re going down the right path. Fennelly put the album together in Chicago, but the organic undercurrents throughout were a product of three years of remote living on an island off the coast of Washington State. It is music that embraces both sides of the coin. This is a visceral listening experience that, at times, will make you want to stand up, raise your arms to the sky and scream. Recorded to tape by Jaime Fennelly and mastered by Scott Colburn with art by Serena Lander. Cut to vinyl by Dubplates & Mastering, Berlin.
DIRT 052EP DIRT CREW: Glance 12″ (DIRT 052EP) 12.00
Dirt Crew present two great remixes. Pol_On and Good Guy Mikesh & Filburt laid their hands on Dirt Crew’s “New York” and “Groove” and there is also a new track called “Glance” — a deep groover with jazzy and soulful hooks.
DOY 646LP WHITE, JOSH: Ballads – Blues LP (DOY 646LP) 23.00
“One of the greatest American folk-blues singers of all time, Josh White (1914-1969) is perhaps the artist most responsible for introducing African American folk and blues to white America. By the time this intimate collection of lesser-known spirituals, prison blues and protest songs was released in 1957 for Elektra, Josh White was just beginning to make a comeback after having his career nearly destroyed by a McCarthy blacklisting. Although White was not a Communist, he was outspoken on issues of Civil Rights. He famously was the first black artist to give a White House Command Performance (1941) and earn a million selling record (with One Meatball in 1944). In 1963 he was ranked America’s third most popular folksinger (after Harry Belafonte and Pete Seeger) and performed at Martin Luther King, Jr.’s March On Washington. By his death in 1969 he was the best-known folk-blues musician in America.”
DOY 647LP VA: Harry Smith’s Anthology of American Folk Music Vol. 4 2LP (DOY 647LP) 32.00
Subtitled: Country Music & Bluegrass. “The great lost volume to Harry Smith’s legendary Anthology of American Folk Music! Although these songs were compiled at the same time as the original volumes (famously released on Smithsonian Folkways in 1952), Volume 4: Country Music & Bluegrass remained mysteriously unissued for almost 50 years! Like the previous volumes these recordings come mostly from the late ’20s and ’30s, with the central focus being on old time country and bluegrass music by artists like the Monroe Brothers, the Carter Family, Robert Johnson, Bukka White, Leadbelly, Uncle Dave Macon, Sleepy John Estes and more! The importance of Harry Smith’s work cannot be overstated. Not only did he single-handedly save much of American folk music from extinction, but when he handed his record collection over to Smithsonian folkways in 1952, he opened the floodgates for the American folk revival of the following decade and beyond.”
ECHOCOL 015EP RESOE/MIKKEL METAL: The Copenhagen Split 12″ (ECHOCOL 015EP) 12.00
Echocord Colour presents a split EP of the Copenhagen heroes Mikkel Metal and Resoe. After his latest 12″ on Echocord, Mikkel Metal shows us the more techno-side of his universe with this killer peak-time bomb. Resoe presents a more dancefloor-oriented track, for fans of Dettmann/Klock, Shed, Sandwell District and Pattern Repeat. Pink vinyl this time around.
BEC 5772110 JUSTICE: Cross 2LP (BEC 5772110) 26.50
Justice’s highly-acclaimed debut album and the most essential party record of 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice’s unique talent is to be found where least expected. Take for example “Let There Be Light” and its strident angry electro, driven by a jabbing bassline; “D.A.N.C.E,” a pure piece of vicious house sang innocently by a choir of children; “Newjack,” a funky parody of the opulent times of the French Touch; “Phantom,” taking over where “Waters of Nazareth” left off to drift towards “Phantom Pt. II” and its head-swirling disco violins; “Valentine,” an erotic melancholic nursery rhyme, like a tribute to Vladimir Cosma and “Tthhee Ppaarrttyy,” a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma’s panty-wetting romantics, Camel’s prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or “ABC” by the Jackson 5. Cross isn’t a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
BEC 5772848 SEBASTIAN: Total CD (BEC 5772848) 15.50
SebastiAn has followed such an impressive path, that it’s hard to believe that he’s only now releasing his long-awaited debut album. But the facts are clear: here it is, after several EPs (H.A.L, Smoking Kills, Ross Ross Ross, Motor), a record compiling his many remixes for Daft Punk, Kelis and The Kills among others and a co-production of the soundtrack for the film Steak with Sebastien Tellier and Mr. Oizo, in which he also played one of the leading roles. Ever-elusive, he unveiled yet another side of his creativity in composing a philharmonic score for Notre Jour Viendra, Romain Gavras’ first film. One of the creators, along with Justice, of the Ed Banger sound, he is without a doubt the label’s most unusual figure. An iconoclast maverick, he readily defies the rules to deliver a dirty and violent kind of techno that coughs and spits; music to his image: human and visceral. Super prolific and constantly effervescent, this musician has managed, in the space of a few years, to redefine electronic music and is ready to astound everyone once again with Total, a definitive and meteoric first album. Featuring contributions from M.I.A and Mayer Hawthorne. Housed in a two-paneled digipack with a 20-page booklet.
World’s End Girlfriend is a Japanese composer whose work blends complex sound structures with beautiful melodies, reaching from electronic glitch to jazz-infused rock to modern classical. Captivating, enthralling and like nothing you’ve heard before, WEG makes for a surprising yet central addition to London contemporary music label Erased Tapes (Ólafur Arnalds, Peter Broderick, Nils Frahm, Rival Consoles). His brand new album Seven Idiots is now finally released outside of Japan. Shifting seamlessly from catchy pop hooks to elaborate orchestrations and brutal IDM drones, it’s an irregular pop album filled with twists and turns that will have you reaching for the repeat button. At first recorded with vocals, he took the unusual composing method of building up the songs before erasing all of their vocal parts. By dismantling and re-constructing each track, WEG has produced a genre-defying album that truly transcends categorization. World’s End Girlfriend hails from Nagasaki Kyushu, Japan and currently resides in Tokyo. Fascinated by his father’s classical music collection, he began his foray into sound at the tender age of 10, creating his early compositions on keyboard, guitar, tape recorders and computers. To date he has composed more than 600 songs, for the most part unreleased testaments of his early experimentations.
FABRIC 114CD JACKMASTER: FabricLive.57 CD (FABRIC 114CD) 17.00
“Jackmaster reveals the inspirations for his Numbers label and events in Glasgow and beyond. Dubstep, Detroit techno, classic house and booty bass are just some of the subjects on his quickfire syllabus. Jack’s DJ style is quick and eclectic, favoring an exciting and direct approach over a polished or super-tight style. A typical set could include anything; hip hop, house, dubstep, grime, UK funky, garage, disco or techno.” Artists include: The Fantastic Aleems, Inner City, Gregor Salto, Model 500, Kim English, Anthony Shakir, Martyn, Geiom feat. Terrible Shock, Doug Willis, Jook 10, Larry Heard presents Mr. White, Addison Groove, SBTRKT & Sinden, Splack Pack Shake, Mad Mike featuring Davina, Sia. CLS, DJ Deeon, The Outlander, Splack Pack, Underground Resistance, Thomas Bangalter, Fix, Hudson Mohawke, Machinedrum, DJ Funk , AFX, Skepta, and Radiohead.
FENOU 014EP RUSSELL, SEBASTIAN: Far Around Us 10″ (FENOU 014EP) 12.00
Sebastian Russell is one of the most exciting discoveries on Mo’s Ferry’s 10″ label Fenou. This beautiful 2-track record reveals his eccentric and catchy interpretation of modern house music. As usual, this is a limited edition, hand-stamped 10″.
FR 078LP TUUSANUUSKAT: Nääksää Nää Mun Kyyneleet LP (FR 078LP) 21.00
LP version. Tuusanuuskat is a collaboration between Es and Tomutonttu. The name of the project Tuusanuuskat is a play on words derived from the phrase “tuusan nuuskana,” (trans. “total shambles”). It is a Finnish saying that is used when something has broken to a million pieces. The phrase is generally used in a playful context, and often received with laughter. If you Google “tuusan nuuskana,” some of the first hits you’ll get are: “After birth; private parts tuusan nuuskana,” “Ferrari tuusan nuuskana” and “Steve Jobs mansion tuusan nuuskana.” Yes, they have chosen their name wisely. Es is a project of Sami Sänpäkkilä, a musician, filmmaker and the head of Fonal Records. To date, he has released five full-length albums, and made tons of short films and music videos. He also scored the soundtrack to the Swedish award-winning film Apflikorna. His music and films are experimental moodscapes that explore the themes of melancholy, pathos and hope. Tomutonttu (trans. “dust gnome”) is a human by the name of Jan Anderzén, a visual artist and leader of the respected avant-garde sound group Kemialliset Ystävät. Toy reed streams, mutilated vocals and groovy loops of animal noise are just some of the colors used to create the whirling mess that is the lonely song of Tomutonttu. His discography is a labyrinth reflecting the nature of his music. Together, they have prepared an experimental cocktail that sounds like two drunken masters of music, conducting the protons and neutrons travelling from their instruments to their skulls and back, to create a musical nucleus. The packaging displays Fonal’s customary attention to detail. It includes a striped acetate film, that when placed over the cover, creates an animated sequence of images. The illusion works on the persistence of vision principle. The covers are designed and produced by Jari Suominen (of fellow Fonal recording artists Jarse and Shogun Kunitoki). Limited edition run of 500 copies.
FR 079EP JARSE: Alas 7″ (FR 079EP) 12.00
A hypnotic bow to electronic music pioneers from a modern living room spiced with psychedelic guitar riffs, Jarse is a project by Jari Suominen (Shogun Kunitoki, Kiila). The intro on the track is the first recording featuring Jari’s brand new self-built synthesizer based on the original design and schematics of the Sähkökvartetti, the instrument used by the first electronic band in Finland, led by M.A. Numminen.
FREUDE 005CD MARIAN: Only Our Hearts To Lose CD (FREUDE 005CD) 15.50
This is the debut collaborative album from Marek Hemmann and Fabian Reichelt as Marian. The longtime Freude-am-Tanzen artist Marek Hemmann is recognized as a great tone-romantic amongst the techno live artisans, which immediately makes him a candidate for musical integration, demonstrated by his releases as a soloist as well as part of the duo Hemmann & Kaden. The typical Hemmann sound is a reduced, housey electro-sonic, often swinging, at times melancholic, but always with a dreamy security set with rhythm accents. In 2009, Hemmann released his full-length debut In Between (FREUDE 004CD/LP), and with that he managed to craft electronic sound stories into album-length. In singer Fabian Reichelt, Hemmann found a brother in spirit. Reichelt had previously been established in the acoustic scene, and had his start at 25 in the electronic realm. As a live vocalist, he has been a rather exotic figure in the house and techno arena and for that reason alone, he is now quite the man about town. Their first release, the Left/Right EP was a bonafide hit, and this work melodically continues that work. Only Our Hearts To Lose is music that goes further than merely from the dancefloor to the bar. It is music that makes space for your own thoughts, telling stories in classic song structures without sacrificing the unique aesthetic. Yes, this is pop music at its best: electronic, melodic, driven and naturally suitable for the club. Only Our Hearts To Lose is like sharing a moment on the club floor or on the balcony, between a tender sunrise and the deepest dance night.
FPMV 001EP VAREID, MARIUS: Sang Til Sara 12″ (FPMV 001EP) 12.00
Here’s a little taster of things to come on Marius Våreid’s forthcoming album on Full Pupp. Also included is a bonus track + a little bonus Prins Thomas version. As always, these tracks have been road-tested for months, rocking the house from Oslo to Tokyo.
HELLO 019LP SIMKO, KATE: Lights Out 2LP (HELLO 019LP) 20.00
2LP version. This is the debut full-length album from Chicago-based Kate Simko. From delicate fluttering percussions on “Beneath” to “Machine’s Mantra”‘s effortless yet hypnotic drone, lines are blurred, genres are paired, and musical visions are created. From the magnetic Chicago vibe in “Mind On You,” to the dark, sexy meanderings of minimal mastery in “Last Breath” and “Bikini Atoll,” to the shuffling, Perlon-influenced “Mira Vos,” Kate offers up an impressive lot of songs that crossover from headphone listening to ignite the dancefloor. Her intricate rhythms and time-stopping harmonies offer up the perfect balance of savvy intellect and sensory pleasure. From song to song, the journey continues and after a vivid nine theme showcase, the voyage closes with the contrasting and groove-ridden “Had It All.” Summing up the creative emotion of “Lights Out,” “Had It All”‘s powerful rhythms and acid synth lines contrast with an aura of melancholy eeriness and vocals that are endearingly shy. The closing song’s wide-eyed groove and powerful passion leave us at a juncture outside of genre boxes and full of inspiration. Inspired by her peers, Kate has performed with leading artists like Ellen Allien, Magda, Anja Schneider, Sonja Moonear, Camea, and Cassy, earning their respect. Kate is supporting this release with a live world tour — a stunning and innovative cinematic event entitled “Lustre” alongside intermedia artist Jeffrey Weeter. Combining sound and image from worldwide cities and collaborators, “Lustre” will showcase moving and still images conjured by each individual album track in a highly-anticipated HD video display. No two performances will be the same while the film’s integrity still remains intact. Lights Out and “Lustre” is an experiment in non-linear storytelling and real-time creation, bringing the excitement of live music to a cinematic experience. As the artist herself explains, “I looked at the album as an art project — an installation of ten pieces that together form their own unique being.”
Tom Clark, Todd Bodine, Philip Bader, Dale and Daniel Dreier aka Highgrade Disharmonic Orchestra are an act that combines all their many and varied qualities. “Way Too Far” is a live recording with urban beats and pulsating flashes. “The Other Night” appears to hijack the veranda of a villa in the American South. Crisp rhythms are backed by muffled, thumping beats, a trumpet laments, a sexy sleep-talker emerges amongst gentle piano sounds. This is Southern passion under the disco ball.
HAFTW 008CD CARETAKER, THE: An Empty Bliss Beyond This World CD (HAFTW 008CD) 14.50
This is the second album from James Leyland Kirby’s alias The Caretaker, following up 2008’s Persistent Repetition Of Phrases (HAFTW 003CD). Leading medical research explains how Alzheimer’s patients who endure increasing memory loss can still recall songs from their distant past. The prefrontal cortex is among the last brain regions to atrophy. With this in mind, The Caretaker once again recalls fifteen occasions where memories were locked in a timeless and haunting loop. The Caretaker is the work of James Leyland Kirby, also sometimes known as Leyland Kirby, The Stranger and V/VM. Mastered at Berlin’s Dubplates & Mastering. Artwork features another specially commissioned painting by Ivan Seal.
IMMER 004EP BROKER/DEALER/PSYCHONAUTS: Dig Deep/World Keeps Turning 12″ (IMMER 004EP) 12.00
Two massive hits from the past which have been brought back into the light of the day by Michael Mayer. Includes a remix by Highfish & Zander of Psychonauts’ “World Keeps Turning.” Also, Broker/Dealer’s “Dig Deep.”
ITS 006EP RVDS: Acid Moon EP 12″ (ITS 006EP) 12.00
Four raw, deep acid tracks. It’s moony: the first track is a TB-303 monster which shows us the way to the acid moon — the ritual makes us crazy while the moon-beats move our feets (thanks to the TR-707). The moon signals make us travel in space, on another level. We land on the moon and take a walk. It’s a poem and it’s acid. Limited to 303 copies.
KALKPETS 020EP FRICK, PAUL: I Got Through EP 12″ (KALKPETS 020EP) 12.00
Paul Frick is back with another massive EP on Kalk Pets. The 3-track EP kicks off with “I Got Through,” which is a prime slice of jazzy house. Divine house beats and jazzy synth licks are interspersed with a spoken word monologue by Crawford. “Shoot & Roll” features Milian Vogel and is a funky tune with disco leanings. “Into The Void” is more downtempo and is the perfect closing number.
KLPS 8050LP LOVIN’ SPOONFUL, THE: Do You Believe In Magic LP (KLPS 8050LP) 20.00
Exact repro, originally released in 1965. The band owed as much to Motown as jug band and folk music, which shows in songwriter/multi-instrumentalist John Sebastian’s autoharp and innovative contact mic’d ukulele. The Lovin’ Spoonful were the premier feel-good folk-rock group of its generation — and these days it actually still sounds good, regardless of whatever deep-listening doomsday cloud you’re falling from.
KK 059CD DAKOTA SUITE: The Hearts Of Empty CD (KK 059CD) 15.50
Following the release of The End Of Trying (KK 046CD) on Karaoke Kalk in 2008 and 2009’s The Night Just Keeps Coming In (KK 051CD), Dakota Suite are back with a new album of equally mesmerizing beauty. The band are led by Chris Hooson and completed by David Buxton and previously also Richard Formby. They released their first album in 1998 and The Hearts Of Empty marks the significant milestone of being the band’s 10th full-length studio album. All the compositions on The Hearts Of Empty are performed by David Buxton with a perfectly sparse instrumentation. This sublimely minimal combination of piano, double-bass and percussive brushes makes for a truly captivating sound. David really exhibits a mastery both in the concise nature of the arrangements as well as in their precise delivery. Every note sounds as if it is played with directed emotion, carefully placed and skillfully executed. Of course, it’s a cliché from the jazz scene, “it’s the notes you don’t play…” but the grain of truth within this generalization certainly applies to Dakota Suite. Their music is at times sombre, meditative and withdrawn, but never is it forced or over-cluttered. Every melodic and rhythmic change seems to flow naturally with the result that the music creates a wonderfully relaxed listening environment. Indeed, jazz has a strong musical influence on the style of the songs; most noticeable in the lilting piano refrain of “Eskimo Nebula” and the impeccable rim-shot and brushes drum work on “Vermont Canyon Road.” And while this rich, organic acoustic timbre pervades the entire album, there are a few exceptions, such as the scientifically-titled interlude “M-Theory” and the entrancing ambient tune “The Ladder,” which see a brief excursion into the more digital world of experimental electronics through the use of synths and looping. The energy of the recordings conveys a well-defined mood, such as on the title track, which is reserved yet uplifting at the same time. Although Dakota Suite may be inspired by jazz, they have taken it in an entirely different direction. The Hearts Of Empty goes way beyond the traditional concept of a jazz trio, foraying into fields such as new music, experimental and neo-classical, amongst other new terrains.
KRCD 028CD PRINSPOLO: Jukk CD (KRCD 028CD) 15.50
Prinspóló is the alter-ego of Skakkamanage’s front man Svavar Pétur Eysteinsson. Prinspóló sings about the important things in life, like food and senior citizens. His quirky lyrics and catchy tunes have gathered him some popularity in the downtown Reykjavík music scene and among suburban housewives. Prinspóló has released one EP called Einn Heima and Jukk is his first LP. The album contains nine songs in Icelandic about candy, hips, Spaghetti Bolognese and marriage. “Jukk” is an Icelandic slang-word meaning “everything, something and nothing.” Prinspóló performs with a band consisting of members from FM Belfast, Reykjavík! and Sudden Weather Change.
KLA 008EP SCHORIES, OLIVER: Organ Freeway 10″ (KLA 008EP) 12.00
On this EP, Oliver Schories delivers a summer track which immediately puts you into a good mood. Just get on his “Organ Freeway,” there’s no speed limit. The B-side is somehow darker and moodier, sinking in layers of sounds, directed by the low-tuned piano. All together huge summer tunes which are released on lovely 10″ vinyl.
KOMP 093CD TEJADA, JOHN: Parabolas CD (KOMP 093CD) 14.50
The Kompakt family welcomes one of America’s most celebrated producers in dance music, John Tejada! Born in Austria, he relocated to his current home of Los Angeles at the age of 8 and, following a brief career in hip-hop, found his home in electronic music. If you’re even the slightest fan of the genre, you’ll be hard-pressed not to have heard his music over his decade+-long career. Whether on his own Palette Recordings, Poker Flat, or Plug Research — plus a Fabric mix CD under his belt, it’s thanks to a steady stream of massive releases that he remains a mainstay in the charts of Beatport and uncountable DJs. He is also half of the long-standing City Centre Offices act, I’m Not A Gun (together with Takeshi Nishimoto). As Tejada himself explains: “I wanted to experiment with some longer phrases again and to step away from the analog sequencers more and get back to using my hands to create the melodies. I also feel for the first time in quite a while I’ve made an album of songs for myself without worrying about the usual pressures.” Kompakt presents his extraordinary new album Parabolas. Resident Advisor called Tejada “one of the most notoriously meticulous producers around” — an unmistakable proof lies within these recordings. Genres collide and combine with an unraveling of blissful layers. The opening track, “Farther & Fainter,” offers a musicality today’s techno and house often lacks — an accomplishment that resonates throughout the album. Tracks such as “Subdivided” and “Unstable Condition” reflect the wondrousness of Aphex Twin’s Polygon Window project, something that could only be re-animated and brought to 2011’s standards by Tejada. Parabolas is a true highlight in John Tejada’s deep catalog — bold words indeed for a producer who is known for unexpected variation and tremendous musical imagination.
MOS 014EP AROY DEE: Beauty And Life 12″ (MOS 014EP) 12.50
Aroy Dee presents his 8th release on his own M>O>S Recordings label — dreamy, floaty melodic techno with a heavy remix from Morphosis. The track “Beauty” is reminiscent of his label’s first release, a basic dreamy, melodic house track. On the B-side we find man of the moment Rabih Baeani aka Morphosis dropping a solid, heavy remix that puts things into perspective.
MOSDEEP 006EP R-A-G: Rage EP 12″ (MOSDEEP 006EP) 12.50
M>O>S Deep presents an EP by this new Amsterdam underground jacking crew, consisting of M>O>S label boss Aroy Dee, G-String, known from the infamous Intergalactic FM and Amsterdam’s best-kept production secret known as Marco Spaventi! Five times house beauty and energy.
MIA 016CD KRENG: Grimoire CD (MIA 016CD) 15.50
The less we know about Belgian sound alchemist Pepijn Caudron aka Kreng, the better. We know his debut release L’Autopsie Phénoménale De Dieu (MIA 010CD) appeared seemingly out of nowhere on the Miasmah label in 2009, but other than that, very little tangible information has surfaced. This sequel, the blackly-monikered Grimoire simply re-enforces Caudron’s shadowy legacy with a similarly dank concoction of cracked strings, creaking percussion and half-heard dialogue. Thankfully, however, Caudron has refined his craft in every way, from the artfully-restrained layering of samples to the deliriously magickal atmosphere he manages to conjure up. There is the sense even from the first few seconds of the record that you are transported out of time and reality, and as hoarse, alien breaths croak over oily bass drones, the poignant spoken words “You don’t belong here” become an apt anchor for the entire album. It seems almost too easy to compare Grimoire to a film soundtrack at this point; sure, Caudron has listened to his fair share of chilling scores but Grimoire is more than simply homage, and maybe the clue is in the title itself. Grimoires are books of magic, the most important of which had a stranglehold on cultures both ancient and more recently than most people probably care to realize. These books have slipped into folklore and legend, and like those faded pages of incantations, there is something deeply mystical and indescribable about Kreng’s music. Caudron’s background in theater no doubt forms a strong foundation for his compositions, but there is so much about his work that only creeps into the light after countless hours of study. These songs are best suited to moonlight, strong spice-laced liquors and the dark recesses of our painfully dull existence. Pepijn Caudron has formed a grimy, surreal ode to not only the past, but also what the future might hold, and from the sounds of it, we’re not getting off lightly.
MFP 056EP CASCABEL GENTZ: Electric High 12″ (MFP 056EP) 12.00
Cascabel Gentz is the ambitious side project of two producers — Los Angeles resident [a]pendics.shuffle and Dilo from Buenos Aires. Since 2009 they have been getting together in the studio and creating an individual mix of house, techno and minimal spiced with their own vocals and guitar riffs. The tracks here are complemented by remixes from Gurtz and Alejandro Mosso.
MOBILEE 080EP SEBO K: Mr. Duke 12″ (MOBILEE 080EP) 12.00
Sebo K is a given name in any serious house music collector’s bag and Mobilee adds another slab of wax. “Mr. Duke” is nothing short of a summer anthem, opening with a delicately-constructed rhythm pattern that eventually makes way for beautiful synths that build and lift your hands in the air with them. It warms you up just as the sun does, re-appearing from behind a cloud and covering your body in its rays. Includes an alternative version.
MOJUBA GOD1 DAMIER, CHEZ: Time Visions 1 12″ (MOJUBA GOD1) 14.00
An epic downtempo excursion from Chez Damier, “Why” takes his music to the next level and it’s accompanied by two classic Prescription cuts: an unreleased version of “Sometimes I Feel Like” from Hip To Be Disillusioned (with Ron Trent) and the Noni hymn “Teach/Keep Me (Satisfied).”
MORR 105CD FM BELFAST: Don’t Want To Sleep CD (MORR 105CD) 15.50
This is the second studio-length album from FM Belfast. For the past four years, this Icelandic electro-pop group have been perfecting the art of reading an audience and connecting with it, using their steadily-growing skills to hone a music that catches easily, yet runs deep; an art of performing that can — and usually does — induce unique and euphoric states in large crowds of people, or just in your headphones. It is harsh and technical, warm and embracing and organic, thoughtful and giddy and cool and inclusive. Those who have ever seen them perform or listened to their debut, How To Make Friends (KRCD 012CD/ KRLP 012LP), can and will verify this. Don’t Want To Sleep is a logical conclusion to two years of making friends and taking in experiences and sounds and adventure. It is also a worthy successor to their debut, a natural progression that retains its predecessor’s spirit and builds upon it while exploring new territories. The songs retain the bouncy and joyful spirit of How To Make Friends, yet veer off into territories that the band have hitherto left unexplored. There are slow songs and introspective ones; calm, drifting meditations mixed with calls to arms and potential dancefloor workouts. Tracks like the beautiful “Noise” and “We Fall” depict serene dreamscapes that still burst with power and rhythm. The understated “Winter,” with its anxious bite and underlying warmth, captures the essence of the overpowering Icelandic winter in its suffocating embrace. “Vertigo” entices and enthralls and “American” bops, gallops and is impossible not to sing along to. It is rare that an album will make you want to dance while possessing the ability to lull you to sleep (you’ll have dreams of dancing). Don’t Want To Sleep is such an album, a friend in early morning and late at night. The songs were written and recorded by FM Belfast (guests include Retro Stefson’s Unnsteinn Manúel, Borko’s Borko and mighty trumpeter Eiríkur Orri Ólafsson), produced and recorded by Árni Rúnar Hlöðversson and mixed by Kristinn Sturluson, Gunnar Örn Tynes and Árni Rúnar Hlöðversson. Helmut Erler mastered the thing at Dubplates & Mastering, and the cover was designed by the band and Bobby Breiðholt.
MORR 105LP FM BELFAST: Don’t Want To Sleep LP (MORR 105LP) 17.00
LP version with poster, MP3 download code and full-color printed innersleeve.
MORR 106CD BUTCHER THE BAR: For Each A Future Tethered CD (MORR 106CD) 15.50
Joel Nicholson first gave us a glimpse of his deepest thoughts in 2008 with his debut as Butcher The Bar Sleep At Your Own Speed (MORR 082CD/LP), an album that dealt with the fleet-footed uncertainties of growing up — recorded in the intimate light of his bedroom. Since then, Joel has moved into a whole house in Manchester, the rooms of which must be sunny and flooded with light, for the latest songs, with all their delicate melodies, conjure up images of sparkling particles of dust dancing in the sunlight. Taken as a whole, the songs on For Each A Future Tethered make an album, and its an album with which Joel not only continues telling his own personal story, but which adds a new chapter to the history of great songwriting in the tradition of musicians like Nick Drake, Paul Simon and Elliott Smith. Nicholson has also shown new sides to his creativity in his arrangements. While the songs on the debut album were largely based on the traditional folk instrumentation of guitar, banjo and vocals, on For Each A Future Tethered there’s a wider range of musical accompaniment, with the inclusion of trumpets, clarinets, harmoniums and pianos to name a few, resulting in a richer, fuller sound. The music is somewhat reminiscent of label mates Seabear, on “Bobby” for example, but also of indie-pop greats such as The Lucksmiths. Some songs — like the confident lullaby “Cradle Song” and “Blood For The Breeze” — could be folk standards, while others set new standards for folk music. Right from the word go, the opening number “Sign Your Name” shows an astonishing measure of depth and tremendous fluidity, where Joel’s voice becomes entwined in the sound of the instruments. Butcher The Bar play folk-pop with a big heart, and anyone who ever wanted to throw their arms around the whole world should feel loved back when listening to this album.
MORR 106LP BUTCHER THE BAR: For Each A Future Tethered LP (MORR 106LP) 17.00
LP version.
NNF 212LP UMBERTO: Prophecy Of The Black Widow LP (NNF 212LP) 14.00
Repressed! “The one Umberto performance we had the rad fortune to bear witness to involved at least a dozen dudes, dads, and ladies all on stage wearing sunglasses at night and shredding keyboards/keytars bathed in a sea of fog machinery and strobe lights and extraterrestrially-costumed interpretive dancers. Shit was BEYOND. Umberto mastermind Matt Hill allegedly went to legit music school back in the day and used to play bass for Expo 70 (Justin/Expo released the debut Umberto tape/CDR, From The Grave, on his Sonic Meditations label) before splintering into his current electro-satanic Goblin worship guise — and we for one can’t get enough. Prophecy Of The Black Widow is his sophomore LP and though the badass evil Italo goth-synth horror-score blueprint of Grave remains, the main variation is subtle vibe-shift from 70s Argento/Carpenter-isms into more early/mid-80s new wave creep-scapes. There’s still plenty of eerie nightmare keyboard riffs and vintage witch-disco breakouts but the synths squelch with more of a neon retrofuturist bent and there’s even one brazenly feel good soaring-into-the-sunset closing credits anthem (the literally-titled ‘Everything Is Going To Be Okay’). Whatever prophecy Prophecy is foretelling, we’re on board. Black vinyl LPs in jackets with sick fake-3D lettering and art by Seth Johnson. Edition of 485.”
NUMERO 037LP FATHER’S CHILDREN: Who’s Gonna Save The World LP + 7″ (NUMERO 037LP) 20.00
Deluxe gatefold LP version. Includes a bonus 45, “Linda Movement” b/w “Intellect.” “As much spiritual adherents of black sounds as they were of black Islam, Father’s Children was born in the dirt and grime of Washington, D.C., and incubated in local producer Robert Hosea Williams’ less-than-immaculate suburban beltway garage. Hailing from the Adams-Morgan neighborhood, in 1973 Nick Smith, Billy Sumler, and Ted ‘Skeet’ Carpenter created a lost document of gritty soul, concerned with its own time and place, stripped of the L.A. gloss that permeated the group’s own 1979 ‘debut’ for Mercury. Unreleased until now, Father’s Children’s true freshman offering is an amalgam of sunny vocal group harmonies, fuzz-guitar solos, shimmering keys, bubbling percussion, spiritual prophecy, and dub experiments. Who’s Gonna Save The World gets the full Numero treatment, with extensive notes and scores of unpublished photos.”
ORN 018EP FURSTENBERG, MARKO: Selected Remixes 2 12″ (ORN 018EP) 14.00
The new Ornaments presents some of the best remixes by Marko Fürstenberg, now pressed on vinyl for the first time. Remixes of tracks by D.Diggler, The Nautilus Project and Gabriel Le Mar.
New repress. Previously issued on CD by Phoenix Records, now issued on deluxe LP format as well; 180 gram pressing. Reissue of the second Flower Travellin’ Band album, originally issued by Atlantic Records in Japan in 1971. Satori is a conceptual hard rock/psych album driven by Hideki Ishima’s furious guitar licks which erupt and explode over the harmonic heart beat of the drums and bass. Yamanaka’s banshee-like vocal style turned him into an occidental Iggy Pop or Robert Plant while the band itself was rapidly becoming Japan’s answer to Led Zeppelin. Satori is a huge album in every way. From power chords to Eastern-tinged North African six-string freak-outs and crashing tom-toms, the band flexes its collective muscle from start to finish. In short, this is a real rock classic of the type they simply don’t make any more.
ASH 3016LP FIFTY FOOT HOSE: Cauldron LP (ASH 3016LP) 22.00
Repressed. Deluxe LP format only; 180 gram pressing. Cauldron was Fifty Foot Hose’s first and most famous recorded work, released on Limelight Records in 1968. Founded by Cork Marcheschi, the band played continuously around the Bay area of northern California throughout the mid-’60s. Marcheschi, who had developed a taste for R&B and the avant-garde music of composers such as Edgard Varèse, started out as the band’s bass player, but his interest in experimental music prompted him to develop his own musical instrument, similar in function to the hybrid developed by Simeon Cox, and which was the underpinning of the Silver Apples’ sound. The band played a lot of gigs, but the experimental nature of their music tended to perplex audiences unused to such sounds. However, a four-track demo led to the band signing on the experimental Mercury subsidiary, Limelight Records, and under the eye of producer, Dan Healey (later to work extensively with the Grateful Dead), Cauldron appeared in 1969. As the album didn’t fit into any particular mold, it largely went un-noticed at the time, but to the modern listener, this is an album that has stood the test of time particularly as Marcheschi used just about every electronic device known to man, including audio generators, echodette, squeaky box, siren, ring oscillator circuits and two Theremins. Given Cauldron’s lack of success, the band disintegrated, although several members were to quickly resurface in the musical Hair. However, by the late ’70s and early ’80s, interest in the band’s singular sound was rekindled, with the likes of Pere Ubu, Throbbing Gristle and Chrome all deriving inspiration from its music. An important and influential album.
ASH 3041LP KOSUGI, TAKEHISA: Catch Wave LP (ASH 3041LP) 22.00
Takehisa Kosugi is an inter-media artist and performer who started his career back in the ’60s in Tokyo. With his first band Group Ongaku (free anarchist-conceptual improvisations) he was introduced to the Fluxus avant-garde movement. During the ’70s, he was a member of the mystical, psychedelic, droning rock band Taj Mahal Travellers. He co-founded the band in 1969. Since the end of the ’70s until now, he has released several solo albums and commissioned works for events and sound installations. His album Catch Wave (1975) is an absolute progressive masterpiece, bringing Takehisa Kosugi’s musical talent to territories usually reserved for kosmic Krautrock. 180 gram vinyl, housed in a gatefold sleeve. Numbered edition of 1,000.
PING 021EP KACIREK, SVEN: The Kenya Reworks 10″ (PING 021EP) 12.50
The response to Sven Kacirek’s album The Kenya Sessions (PING 020CD) was overwhelming. Pingipung now releases a 10″ vinyl with reworks of tracks off the album. Lawrence reduces “Kayamba Tuc Tuc” to its essence — an edit full of wisdom with heartfelt warmth. Taprikk Sweezee builds his soul-glitch beats with ease and there’s also a rework of “Paperflowers” by Kacirek himself. The secret highlight is the exclusive Kacirek track “Takaye Village.”
PFR 120EP BUG & CLE, STEVE: Seven Hills 12″ (PFR 120EP) 12.00
The Berlin-based partnership of long-time friends Steve Bug and Clé has reared many a classy deep house tune in its time. Now, we’re due another full EP with Seven Hills. From humble beginnings, a riotous, epic track grows, fusing the Poker Flat boys’ patented analog production and natural ear for melody. “Monkey Shoulder” drives a deep, blazing night-time vibe all the way home. Smooth, filtering chords and spacey stabs swirl in a magical, futuristic-yet-classic house jam.
REC 073EP HYPNOLOVE: Holiday Reverie 12″ (REC 073EP) 12.50
Hypnolove are a cult band from Toulouse, France. Their first album Eurolove included the pop song “Mademoiselle,” which featured across French National radio stations, a Kiss cover, a track featuring Feist and even a punk track. Logic dictates the first single, which comes with Mickey Moonlight’s dubs, old-school style. No other remixes will be available; simply the original tracks and their dub versions, released on limited edition 12″ vinyl, with cover art by Manu Cossu.
RM 012EP SAILOR MOOD: RM12 12″ (RM 012EP) 12.00
This is RetroMetro’s first vinyl outing. The four tracks of sweet soul music from Sailor Moon take you right back to that time when a bassline could bring a tear to your eye, and a one-note synth line could make your heart burst with joy. Simple, raw and emotionally-charged, this EP is as much a love letter to R&S and great, almost forgotten European artists like Frank De Wulf, as it is to Chicago legends like Phuture and Steve Poindexter.
REV 016LP VOICES OF THE MILLENNIUM: Voices of the Millennium LP (REV 016LP) 15.00
Restocked, new lower pricing. Originally released in 2003. “The never-finished project of legendary producer, scenemaker, and Beach Boy collaborator Gary Usher’s utopic, but short-lived Together Records. Hoping to cash in on the label’s only ‘name band’ Sagittarius in 1969/70, Usher arranged new Sagittarius demo sessions in hopes to release a follow-up album. Sagittarius was really just Usher, Curt Boettcher and members of The Millennium. In their original demo form, bereft of electronic trickery, it is possible to now hear these songs as the logical development of the soft pop style their writers had been working in since 1965. Despite the studio mastery and innovative use of technology that the Millennium, Usher, Boettcher and Olsen are renowned for, it really was and is all in the songs… and these are truly some of their best…”
RUM 201104LP WILLIAMS, LARRY: Here’s Larry Williams LP (RUM 201104LP) 21.00
“Born in New Orleans and raised in California, Larry Williams is from the hard-driving school of R&B, whose fellow classmates included Little Richard and Robert Parker. He was a good-looking, piano-pounding, singer-songwriter – a rough, rowdy Rock & Roller who wrote and recorded some of the best songs of the ’50s. A seriously underrated artist, his influence reached far beyond his low chart tally. John Lennon was a big Williams fan and The Beatles covered no less than three of his prime cuts on their earlier albums. This high quality vinyl reissue is a mandatory, all killer-no filler, addition to the wild-action section of any respectable DJ’s flycase.”
RUM 201105LP MITCHUM, ROBERT: Calypso – Is Like So… LP (RUM 201105LP) 21.00
“While filming in Trinidad in 1957, Robert Mitchum soaked up local music talent like Lord Melody and Mighty Sparrow, resulting in this amazing experiment of pure Caribbean calypso in which the number one icon of Hollywood coolness insists on imitating the broken English of many of the original calypso artists (this is ‘dis’ and ‘the’ is often dropped), while singing a bunch of traditional Caribbean songs (complete with the requisite steel drums, congas and backing horns) along with a few Elvis-styled rockers. Includes 2 rockabilly bonus tracks the artist recorded in 1958.”
RUM 201106LP HAWKINS, SCREAMIN’ JAY: The Singles 1954-1957 LP (RUM 201106LP) 21.00
“A comprehensive collection of the early, pre-debut LP, singles from one of the most controversial frontmen of early rock and roll. With his classically-trained bass-baritone singing voice, Hawkins conjured up ghoulish images both on stage and on his records. Hawkins, evoking voodoo images and using bone-rattling sound effects, simultaneously entertained and bewildered rock’n’roll fans. Featuring his all-time classic ‘I Put A Spell On You’ along with 15 hard to find classics from his Okeh Records days.”
RBDN 001EP DISCO NIHILIST: Running (Far Away) 12″ (RBDN 001EP) 12.00
Disco Nihilist is a rather special project. Firmly rooted in American electronic music traditions, Mike Taylor’s records on Love What You Feel or Construction Paper roam the grey area between Chicago’s jack urgency, Detroit’s funky machine soul and the raw magic of vintage drum machines. His style is natural, murky, filthy and raw to the core. This six track EP is an exercise in grinding beats, squelching acid lines, graceful pianos and heartfelt rhythms without any paralyzing retro romance.
RH 034EP CARTER BROS.: Full Disco Jacket 12″ (RH 034EP) 12.50
This virtually unknown duo from Down Under presents an epic, disco-laced house workout that reminds of a mixture between Neworldaquarium and Moodymann, put in a blender and fiercely shaken around. “Full Disco Jacket” is so infectious, it will surely be a party-starter the world over. Besides the main and dub mix, it features a swinging, dubbed-out remix from Nebraska, which you know will be quality.
Heavy and funky Chicago house tracks from Tom Trago and Awanto 3 (aka Steven de Peven) as Alfabet. This series is all about warm and dusty house music. It will run for 13 two-track singles, totaling 26 tracks, each track representing a letter. “Chicago Thank You” is dedicated to the city of Chicago and its music. The infectious groove sucks you in and the added funk keeps you moving. “Waus Music” (trans. “house music”) has been doing some serious dancefloor damage already.
SINO 105LP DOSEM: Parallel 2×12″ (SINO 105LP) 20.00
Parallel is the bold debut album from rising star Dosem. The Catalan producer behind such hits as “Silent Drop” and the sexy smash “Beach Kisses” unveils his futuristic vision on a double album that takes listeners from Girona’s sultry shores to the throbbing heart of the world’s best dancefloors.
SOL 172CD CONTROLLED BLEEDING: Odes to Bubbler CD (SOL 172CD) 17.00
“Controlled Bleeding was formed in 1978 in Boston. Over the years members have come and gone and the band has transformed and reinvented itself numerous times. Odes to Bubbler contains the first new recorded work by Controlled Bleeding in the last five years. There are two live tracks and four recorded with Martin Bisi in the summer of 2010. The remainder of the album consists of rare tracks spanning the band’s very musically diverse last decade, some featuring Joe Papa’s signature vocal work, others including guest players like Ruins drummer Tatsuya Yoshida or Weasel Walter. Then, of course, there are some meditative textural pieces and harsh sonic caterwauls, but it somehow all ties together. Odes to Bubbler is presented in a deluxe screen-printed sleeve made from textured paper with a metallic silver finish. The CD is packed inside a golden inner sleeve. The packaging is stunning inside and out, and will have pride of place in collections. Limited pressing of 500 copies.”
SONIC 017EP EXPANDER/TADEO: The Waggler/The Wiggler 12″ (SONIC 017EP) 12.00
Soniculture’s label boss Expander kicks it with an EP that will rock the most demanding dancefloors, including a remix from Tadeo. “The Waggler” is a bass-driven ride on a rollercoaster of madness. Tadeo delivers another approach, making it more pumping and enhanced with a touch of retro and a combination of futuristic sounds. With “The Wiggler,” Expander rides towards a more hypnotic direction, still fuelled by heavy bass lines and analog sounds.
SPC 104EP BENOIT & SERGIO: Let Me Count The Ways 12″ (SPC 104EP) 12.00
Having flexed their synth-pop muscles on releases for DFA and Visionquest, DC duo Benoit & Sergio return to Spectral Sound for a victory lap around the dancefloor. “Let Me Count the Ways” is the perfect, hands-in-the-air final anthem of the evening. “Let Me Count the Ways (Autumn Version)” strips the beat back to its bare essentials and builds it up again over nearly 12 minutes, recalling Arthur Russell’s more minimal moments.
SPV 70162CD POPOL VUH: Das Hohelied Salomos CD (SPV 70162CD) 16.50
2005 reissue. 6th album, from 1975 (“The Song of Soloman”). The first of two for United Artists. This takes the sound and line-up of the previous album, adds sitar and tabla and creates even more of a cosmic-power universe of transcending sound. Includes three previously-unreleased bonus tracks: “In den Nächten auf den Gassen III,” “Schön bist Du vor Menschensöhnen (alternative Session)” and “Mitten im Garten (alternative Piano Version).”
SPV 70172CD POPOL VUH: Letzte Tage – Letzte Nachte CD (SPV 70172CD) 16.50
2005 reissue. 8th album, from 1976 (“Last Days – Last Nights”). Includes three previously-unreleased bonus tracks: “Wanderschaft – Wanderings,” Gib hin (session version),” “Haram Dei Ra (alternative version).” “Daniel Fichelscher, who was Fricke’s main collaborator in Popol Vuh and also the ex-drummer of Amon Düül 2, really makes his presence known here. This is in both a compositional (he co-wrote three of the songs) and instrumental sense, as his spindling guitar lines and jagged percussion are all over this one, arguably even overshadowing Fricke.” — Ground And Sky
SPV 70212CD POPOL VUH: Bruder Des Schattens – Sohne Des Lichts CD (SPV 70212CD) 16.50
2006 reissue. 12th album, from 1978 (“Brother Of The Shadow – Son Of The Light”). Sort of a return to the serene sounds of albums 2-4; relaxing piano/guitar/percussion instrumentals, with the omnipresent Eastern flair. One bonus track: “Sing, For Song Drives Away The Wolves.”
SPV 70232CD POPOL VUH: Die Nacht Der Seele: Tantric Songs CD (SPV 70232CD) 16.50
2005 reissue. 13th album, from 1979, (“The Night Of The Spirit”). Djong Yun and Amon Duul II’s Renate Knaup reappear beside the steady duo of Fricke/Fichelscher, and more oboe/sitar embellishment. Contains four previously-unreleased bonus tracks: “‘Mantram der Stirnberuhrung I,” “Zusammenkunft,” “Mantram der Stirnberuhrung II” and “Im Garten der Ruhe (Piano session version).”
SPV 70242CD POPOL VUH: Sei Still, Wisse Ich Bin CD (SPV 70242CD) 16.50
2006 reissue. 14th album, from 1980 (“Be Quiet, You Know I Am”). Originally a one-off for Klaus Schulze’s Innovative Communications label, the opening moments contain a massive ritual chant, with some of Fichelscher’s heaviest guitar playing pushing choral ensemble multi-voices to spectacular heights. Includes a bonus track, “King Minos III (Studio Version).”
STUDIOS 005EP TRAGO, YOUNG MARCO & AWANTO 3, TOM: Physical Thrill 12″ (STUDIOS 005EP) 12.50
Awanto 3 and Tom Trago should already be familiar to those who know Studio Soulrock. They would like to welcome a new name to the label: Marco Sterk aka Young Marco, an Amsterdam-based producer and DJ. This trio has produced a track which will give you, literally, a “Physical Thrill.” With a whispering voice in the background and plug-in synths that sound high-end, this track will bring you to higher ground. Remixes by Axel Boman and Genius Of Time.
SF 066CD GROUP DOUEH: Zayna Jumma CD (SF 066CD) 15.00
Repressed. On tour in North America, June/July 2011! Group Doueh’s latest record is here and the plot continues to thicken! From the gorgeously cracked yet all-embracing opening drum roll of “Zayna Jumma” (the title track), it’s evident this band is hell-bent on redefining the sound of its influences and in turn, shape the future sound of its surroundings. It’s musical alchemy in its purest, most remarkable form, pushing at the boundaries of geographical divergence while simultaneously speaking to the shared resonances between Western rock rhythms and the pulse of the Saharan trance tradition. Since its inception, Group Doueh’s ability to craft pop hooks from a foundation of saharoui roots music has been a manifestation of sheer song craft and innovation. The tracks on Zayna Jumma are a deeper excavation of the group’s forged terrain: a collision of contemporary Afro-Saharan grooves balanced with the searing modalities of Doueh’s desert origins, finally nuanced by the transcendental pop/rock/desert blues elements honed from gestating in the fringes of the Sahara desert. For the latest installment of this Dakhla family’s musical dynasty, Doueh recruits his next eldest sons El Waar (synth) and Hamdan (drum kit), and wife Halima is augmented by three female back-up singers. The band keeps evolving and this album reveals its newest phase — that of a formidable ROCK unit. The songs on this record were recorded in 2010 — a busy year for Doueh, maintaining its day job as the go-to group of the Saharan wedding industry while still managing recording sessions and a tour with Tony Allen (Fela Kuti’s long-time drummer). On the heels of this momentum, Zayna Jumma is released to coincide with the group’s 2011 spring/summer tour of the UK, Europe and a first-ever U.S. tour. This band continues to redefine the musical landscape and keep listeners amazed and transfixed. It’s the perfect ecstatic music for the impending apocalypse, a rogue sound rooted in the past and yet boldly harnessing the aural possibilities of the landscape ahead… go ahead and jump aboard. Recorded on location in Dakhla, West Sahara in 2010 by Hisham Mayet.
SRLP 001LP ZHIVAGO, FRANKIE: The Age Of Flying High LP (SRLP 001LP) 30.00
“Originally pressed in miniscule quantities on the tiny Ultra/Alwa label in Miami in 1977, Frankie Zhivago Young’s The Age Of Flying High remains one of the masterpieces of the Island Soul sound. Recorded over a short few days in 1976, the album combines soul, funk and reggae influences with Bahamian Junakoo and Goombay rhythms, drawing from the rich musical landscapes of North America and the Caribbean.” High quality 180 gram vinyl reissue, with paste-on covers made in Japan. Includes a full-color insert with historical photos and liner notes.
SRLP 002LP RAIL BAND: Rail Band LP (SRLP 002LP) 30.00
Incredible first time ever reissue of the Folk Rail Serie 1 record from Mali’s legendary Rail Band, originally issued in 1973. High quality 180 gram vinyl reissue, with authentic paste-on covers made in Japan, insert with liner notes and photos. Licensed from Syllart Productions. “Reissue of Holy Grail RCAM013373. One of the most incredible pieces of music to have come out of the African continent during the 70s, mixing jazz, funk and traditional Mandingo melodies, available for the first time in over 30 years!”
SFR 029EP DOP: Your Sex 12″ (SFR 029EP) 12.00
A dark, brooding and characteristically cheeky affair, “Your Sex” opens up this dOP creation with a stripped-back beat and looped vocal. Low-end bass builds up the title-track to a crescendo that engulfs the senses in deep acid frequencies. Skipping into subtle and kinetic territory, “Half Naked” flirts with reverberating, whispered vocals and crisp, percussive beats. Paul Ritch tackles a remix of the title track, elevating those throbbing bass elements to new levels, hypnotizing the feet, body and mind.
TAIGA 016LP TORAL, RAFAEL: Space Elements Vol. III LP (TAIGA 016LP) 15.50
According to Rafael Toral, the Space Program is all about a simple idea: to perform abstract electronic music under jazz values. The result is full of fascinating paradoxes: “melodic without notes, rhythmic without a beat, familiar but strange, meticulous but radically free.” Taiga now releases its most eloquent example so far: “Space Elements Vol. III is the strongest and musically most diverse statement within Rafael Toral’s Space Program to date. You will experience “jazz on electronics” in full effect — a totally new language in sound.” –Staubgold; With blooming sound, compliments of the mastering by James Plotkin (not found on previous releases in the Space Program), Space Elements Vol. III has a very rhythmic, percussive character. It unfolds a fresh set of collaborations with an array of drummers and percussionists, while Toral’s electronic phrasing reaches previously-unheard heights of maturity. Edition of 500 LPs featuring João Paulo Feliciano’s artwork and graphic design by NOTYPE. Pressed on 200 gram plasma virgin vinyl, the LP was cut with DMM.
WIRE 329 WIRE, THE: #329 July 2011 MAG (WIRE 329) 8.50
“On the cover: Roy Harper (Still in the crease in his 70th year, English music’s old cricketer looks back over five decades of singing into the storm). Features: Errorsmith (The Berlin instrument designer plays ghost in the machine with his beat programming); Nils Økland (The Norwegian Hardanger fiddler and improviser talks Ole Bull with Julian Cowley); Collateral Damage (David Keenan makes the case for music beginning at home); Global Ear: Beijing; Cross Platform: Adolf Wölfli (Brian Morton analyses the musical dimensions of the Swiss outsider’s dense, troubled artwork); Invisible Jukebox: People Like Us (Vicki Bennett, playful sound deconstructionist, welcome abroad The Wire’s mystery record selection); John Wall (How the London sampling composer is raising his game with improv input and truculent avant garde poetry); John Maus (Joseph Stannard meets the Minnesota pop savant and punk theorizer who’s fracking the last resources out of 1980s electro synth sounds); Epiphanies (Novelist Luke Williams enters the anechoic chamber with memories of John Cage).”
THEOM 013R-EP D-PULSE: Velocity Of Love 12″ (THEOM 013R-EP) 12.00
The long-awaited vinyl release of D-Pulse’s “Velocity Of Love” with a new, richer sound and additional vinyl-only remixes. Two new remixes from Mario Basanov and Andrew Starodumov, plus the Hot Toddy mix featured on Ministry Of Sound’s Late Night Sessions compilation.
THR 272CD BAMBA, SORRY: Volume One 1970-1979 CD (THR 272CD) 14.00
“This release compiles rare tracks from Mali’s Sorry Bamba. Sorry’s greatest legacy is his time as the leader of the Regional Orchestra of Mopti, which later became known as the Kanaga Orchestra, and it is this period documented on Volume One 1970 – 1979. Many of these songs are previously unreleased and most are highly sought after as originals are nowhere to be found Alex Minoff and Ian Eagleson (both of Extra Golden) have worked closely with Sorry Bamba to compile and fully restore this collection of songs for official release.”
THR 272LP BAMBA, SORRY: Volume One 1970-1979 2LP (THR 272LP) 20.00
2LP version. Printed innersleeves with notes and photos.
THR 276CD WHITE HILLS: H-p1 CD (THR 276CD) 14.00
“Musically, H-p1, White Hills’ second full-length for Thrill Jockey, expands on the explorations of previous albums in ambience, noise, and space rock all led by guitarist Dave W.’s blistering guitar solos. The cover is a stark, colorless landscape, a metaphor for the status quo, while the inside and the record are an attempt to break free from this bland existence. The music and the photo inside are loud, colorful, exuberant, and alive. H-p1 is the cry for the disenfranchised, the exposure of the ills that the corporate-controlled governmental system has put in place. This seventeen minute song is the summation of the album, the point when the protagonist delivers his realization and vision of a solution to the masses. There is another way. You don’t have to be a drone.”
THR 276LP WHITE HILLS: H-p1 2LP (THR 276LP) 19.00
Gatefold 2LP version with printed innersleeves and an MP3 download code.
VA 038EP MARCHESE, CESARE: Aether EP 12″ (VA 038EP) 12.00
Vakant welcomes the man formally known as Cesare vs. Disorder, for the first time releasing under his given name Cesare Marchese. Yet another formally-trained musician in the Vakant camp, Cesare’s music has progressed with more and more depth and melody. While just a 4-track EP, the Aether EP covers much ground, spanning after-hour afternoons to indie-influenced incorrigibility, but always with that certain kink and freak that comes from a background of techno and global-trotting night-life revelry.
VAMPI 003CD STONE, SLY: Seventh Son (63/67) CD (VAMPI 003CD) 12.00
2002 release. On this album you can hear Sly & The Family Stone in their early developmental years. Although the dates are fairly unknown, these previously unreleased tracks were recorded by Sly Stone at Autumn Records. These are songs recorded from 1963 to 1966, some never even seeing the light of day until now. Liner notes by Sly “connoisseur” Mick Collins (The Dirtbombs, The Gories).
VAMPI 030CD CANDIDO: Brujerias/Latin McGuffa’s Dust CD (VAMPI 030CD) 12.00
2004 release. One of the world’s leading congueros, Candido recorded this Brujerías (witchcraft pieces) in 1971 with the band of Tito Puente (of which Candido was a member), who counts this album as one of his own. That should give you an idea about how good this stuff is. Candido was not only the man who first played two and three congas simultaneously, but was a percussive and melodic genius. Featured here in a small group setting along with the company of Tito Puente’s arrangements and Israel López’s “tumbao” double bass on several songs. The set is an impeccable batch of jazzy percussion tracks –with Candido leading on congas, and the group grooving behind him.
VAMPI 034CD VA: Pachuco Soul CD (VAMPI 034CD) 12.00
2004 release. A collection of vintage east-LA grooves from the vaults of Rampart Records. For the East Side kids, Eddie Davis was The Man. Eddie founded what would become the Motown for the California Chicanos, Rampart Records. From the beginning of his career as a record producer in 1958 into the early nineties, the groups gave rise to a unique genre eventually dubbed “The West Coast Eastside Sound” or “Pachuko Soul,” applied specifically to the music coming out of East L.A. in the early 60s from bands formed by Mexican American musicians. Eddie “was trying to do with Chicanos what Motown was doing with Blacks.” Davis’ “family of musicians” was an outlet of expression for the young Chicano scene, and helped give legitimacy to the culture of lowrider cars, “cholos and cholas”: Mexican American kids had found their own scene and dances. Davis was in the right place at the right time, and his dedication to the music helped a scene of young L.A. musicians establish a new sound, completely new to the industry, that would expand and in turn nurture future generations of artists to come. The Eastside Sound has survived generations of music scenes. From 1965 Rampart’s biggest selling record ever, Cannibal And The Headhunters’ unedited version of “Land of 1000 Dances,” to The Romancers — the group that set the mold to the East Sound — to the Salas Brothers, from the popular Beatles-lovers The Pageants to the ultra-rare and very special Las Dilly Sisters, The Mixtures, The Atlantics (who counted an 18-year old Barry White in their line-up), the ever-popular “You’re So Right For Me” cut by The Eastside Connection and the fabulous Village Callers. This CD is the best way to celebrate and discover the heat of the Pachuco Soul.
VAMPI 068CD CELOFUNK: Celofunk CD (VAMPI 068CD) 12.00
2005 release. Funk on your face! These funk preachers are ready to shut the mouth of those who say funk groove sounds of today can’t match those of the glorious past. Celofunk formed in 2002 in Madrid, but members had already had their five minutes of fame on various bands such as Super Skunk, Santa Fe, or Disky Wick. Their first intention was to re-create the sound of the big funk bands of the ’70s, so they started doing covers and relentlessly playing live in sweaty clubs and discos. Here they are with their first record. Funk from C to K. Loud and proud. Celofunk have a diversity of influences such as The Meters, Stevie Wonder, James Brown, Betty Davis, Lyn Collins and Bill Withers, but still have a very personal approach to the sounds of the legends, with a contemporary sound and feel. With a tight and solid line-up of eight members, Celofunk combine the soul intensity and emotion with the raw energy of funk.
VAMPI 070LP BANDA UNIAO BLACK: Banda União Black LP (VAMPI 070LP) 16.50
LP version. 2006 release. After 25 years, Banda União Black re-launches their career with a full album of songs on Vampisoul Records. This album was recorded in Brazil and features a style that remains close to their original heavy funk sound with a strong tropical flavour. The album has been produced by Daniel Collas, whose last project was the acclaimed Call My Name LP from Joe Bataan, and Sean Marquand, one half of the long running DJ team Brazilian Beat Brooklyn. União Black was one of the principle bands of the Black Rio Movement in Brazil in the 1970s. Truly a supergroup, they stormed stages and even stadiums in the late ’70s. They were 13 members strong with a style that evoked James Brown, Ohio Players and Mandrill, but with lyrics in Portuguese and a sound that was unmistakably Brazilian. They have also been featured on Strut Records’ Black Rio compilation, and their original 1977 Polydor album is a highly sought-after (and expensive) collector’s item.
VAMPI 072CD MAYER, NATHANIEL: (I Want) Love and Affection (Not The House of Correction) CD (VAMPI 072CD) 16.50
2007 release. The first, only, complete and definitive anthology of Nathaniel Mayer’s music, with the full story on Michael Hurtt’s massive liner notes. On this CD you can find all the singles Nathaniel released in the 1960s, plus a rare single from 1980. It’s all here: from the thumping primitivism of John Lee Hooker’s trance-inducing guitar to Iggy and the Stooges’ desperate wail from the gutter, Detroit, Michigan has always been a city of musical extremes. Dead center between “Boogie Chillun” and “TV Eye” lies the musical netherworld of Fortune Records, the city’s only label with any staying power prior to Motown. Fortune was an extreme among extremes, as was its most successful artist, Nathaniel “Nay Dog” Mayer. Crazy, funny, irreverent and stunningly talented, Mayer scored the label its biggest hit with his 1962 blockbuster “Village Of Love.” His six years with the label, beginning with 1961’s impassioned “My Last Dance With You” and ending with 1966’s proto-funk “(I Want) Love And Affection (Not The House of Correction),” resulted in twenty-one slices of musical brilliance that were unique even in the fertile musical breeding ground from whence they came. Here were records that demanded immediate involvement and total immersion; music so frenetic that it was impossible to take sitting down. A Mayer disc was an instant party. The fact that he recorded for Fortune –an iconic independent label petrified to license their records for wider distribution– certainly kept him from becoming a household name. Then again, Mayer’s over-the-top approach might have been lost on another imprint. Like Andre Williams before him, in Fortune Mayer found a place where he could wreak his sonic havoc, unrestrained. Nay Dog’s hard-edged, straightforward music has influenced many of today’s up-and-coming garage, punk and soul acts. “Village Of Love” was covered by The Detroit Cobras, “Leave Me Alone” was remade by The Hard Feelings, while Holly Golightly, Eve Monsees and the Exiles and the Gibson Brothers have all recorded “I Had A Dream.” Fans and collectors still seek out Mayer’s original Fortune-label 45s. He’s claimed his legacy in the scope of Detroit’s rich musical history. Includes a 24-page booklet with extensive notes and rare photos.
VAMPI 074CD DOGLIOTTI, MIKE: Candombe For Export/Candombe Liso CD (VAMPI 074CD) 12.00
2006 release. The complete outstanding recordings of Uruguayan organ player Mike Dogliotti for the Sondor label from between 1970 and 1972. This release includes his two full lengths (Candombe For Export and Candombe Liso), plus a few tracks from 7″ singles. Mike Dogliotti managed to create a commercial version of the Afro-Urugayan rhythms know as “candombe music,” using the very simple but effective formula of combining percussion with Farfisa organ. Alberto “Mike” Dogliotti made a whole generation of young South Americans dance and remains in the category of musicians truly waiting to be discovered. After touring as a jazz musician throughout South America in the ’60s, he returned to his home country in 1970 where the Uruguayan music scene was embracing the candombe beat. Dogliotti felt comfortable within this sonic universe, embracing this booming trend with electronic keyboard experiments and honing his impeccable skills as a classical musician with his knack for improvisation inherited from his experience with jazz. Thanks to his virtuosity, Dogliotti took the candombe beat to new boundaries, delivering music with a personal stamp where the irresistible sound of his organ shared prominence with the traditional cuerda de tambores (group of drummers playing drums) from the Uruguayan candombe. In 1970 the legendary Sondor label signed him to record Candombe For Export, his debut featuring a comprehensive repertoire of classic tracks from Uruguayan popular music. The excellent reception garnered by this release encouraged him to record compulsively and just two years later Candombe Liso was released at De la Planta records. It was the same formula, although more refined, and Candombe Liso went on to be Dogliotti’s best-selling records. Once again, compositions by Rubén Rada, Manolo Guardia and the Fattoruso brothers pass through his sound “processor,” and he even attempts compositions by Pedro Ferreira, one of the most outstanding candombe songwriters.
VAMPI 074LP DOGLIOTTI, MIKE: Candombe For Export/Liso 2LP (VAMPI 074LP) 25.50
2LP version.
VMD 78149LP VA: Follow Me Down: Vanguard’s Lost Psychedelic Era (1966-1970) 2LP (VMD 78149LP) 21.00
“Deep within the Vanguard Records vaults lies a curious story framed by some of the craziest and most mysterious green and purple paisley’d rock music to come out of the mid-to-late-sixties. This compilation marks the first time the Vanguard label has gone through its archives to hand-select tracks from their best ‘lost’ psychedelic records and 45’s.” Artists: Elizabeth, Listening, Circus Maximus, The Frost, Notes From The Underground, The Vagrants, Serpent Power, The Family of Apostolic, The Third Power, The Hi-Five, and The Far Cry. Housed in a full-color gatefold sleeve with extensive notes on each of the artists.
VLEK 003EP CUPP CAVE: Dice Pool 10″ (VLEK 003EP) 17.50
Cupp Cave’s glitchy beats have stood out as some of the most innovative and rich amongst today’s electronic hip-hop producers. But he doesn’t stop at just making dope beats, he crafts universes, oceans deep and mountains high and serves up busted-gaming-console-and-dusted-broken-beat concentrate, filtered through a tub of radioactive waste to devastating effect. This EP sees Cupp Cave return to his one true love: making sloppy Chicagoesque beats. Housed in a hand-screenprinted, hand-made, numbered cover.
WS 1741LP WATTS 103RD STREET RHYTHM BAND, THE: The Watts 103rd Street Rhythm Band LP (WS 1741LP) 11.50
Also known under the title Hot Heat and Sweet Groove (appearing on the back cover), this is the 1968 Warner debut from the Watts 103rd Street Rhythm Band. Soulful covers of the Beatles’ ‘Yellow Submarine’ and Sam Cooke’s ‘Bring It On Home To Me’ are meshed with signifiers to James Brown’s proto-funk and Stax/Volt grooves. Exact repro reissue.
WP 047 WAX POETICS: #47 June/July 2011 MAG (WP 047) 9.99
On the covers, front: Earth, Wind & Fire; back: Ramsey Lewis. Contents: Editor’s Letter, Re:Discovery (Marcia Griffiths, The Marvelettes, Ruth Copeland, The Notations, Terry Callier); In Memoriam: Melvin Sparks; The Bo-Keys; Carolina R&B The Diplomats of Solid Sound; Brief Encounter; Record Rundown: Cool Chris (featuring Chrome, Carlos Ramos and His Orchestra, Rose Brooks, Bullwackies All Stars, James Mason, Beybonlar, Ray Alexander Technique, Terry Lee, Tom Nehls, Modern Sound Quintet); Roy C; Ramsey Lewis; Lamont Dozier; Billy Ocean; Bobby Womack; Solomon Burke; Record Rundown: Dennis Coffey; Analog Out. 114 pages, full color, high gloss.
WWR 001EP ALTARBOY: Who Is Who 12″ (WWR 001EP) 12.00
Debut release for duo Altarboy and Wonder Wet Records, two of Rome’s best-kept secrets. Sophisticated and intelligent sounds are Altarboy’s unique trademark. Deep atmosphere on a solid, punchy groove. Warm basslines stick together with rhythm and fine analog synth. Caspy cousins get fun with their vox samplers on both tracks. This single is definitely for smarter dancefloors.
XI 135CD MORROW, CHARLIE: Toot! 3CD (XI 135CD) 25.00
“Charlie Morrow (b. 1942) is a sound artist, composer, sound poet, event maker. Charlie Morrow is a conceptualist whose music and sound work explores many styles and forms, from events for media and public spaces to commercial soundtracks, new media productions, museum installations and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Charlie Morrow, for an artist who has been making music for over 50 years, has been vastly underrepresented on recordings. This 3CD retrospective set attempts to rectify that situation to some degree. The 15 works on these discs span the years from 1957-2007 and include: Morrow’s first major work, ‘Very Slow Gabrieli,’ a super slow motion performance of G. Gabrieli’s ‘Sonata Pian e Forte’ for double brass ensemble; ‘Book of Hours of Catherine of Cleves,’ a beautiful polychromatic, almost tactile collage where chattering sparrows and mellifluous songbirds join the measured undulations of devotional voices. Brass rings out over cradles of bells, doves coo, gulls mew and the wash of the tide ushers in the late medieval intricacies of dulcimer, recorder and viol. You can experience the sound made by herds of instruments through the two instances of Wave Music included in this set. As well as environmental works, chanting pieces, audio collages, and so much more.”
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