|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 07/11/2011
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|200 RECORDS (GERMANY)|
| SOUKIE & WINDISH: Duster/Flott 12″ (200 014EP) 12.00|
Soukie & Windish are back on 200 Records with two superb tracks. “Duster” features the classic Soukie & Windish groove with a great atmosphere and cool vocals. “Flott” is a perfect summer groover with a fresh sound and a great bass line. The Hamburg/Berlin-based duo have released a lot of records thus far, shaping their unique style over time.
| BRIAN JONESTOWN MASSACRE, THE: Illuminomi 10″ (AUK 022EP) 15.50|
“This 10″ single comes in with two new songs by the band & plays for over 8 minutes. Recorded in the old East German TV & Radio building, this 2 track single features Will Carruthers (ex Spacemen 3, Spirtualized), Constantine Karlis (Dimmer), Friederike Bienert, Thibault Pesenti & Matt Hollywood. Iluminomi is a Newcombe composition, sung in French. ‘There’s A War Going On’ written & originally sung by Bobby Jameson in 1966 from the album Songs of Protest and Anti-Protest. The lyrics remain a constant reminder the times change but war doesn’t.” On red vinyl.
|ALT. VINYL (UK)|
| WINTER FAMILY: Red Sugar 2LP (AV 032LP) 27.50|
High quality 180 gram vinyl deluxe gatefold version, limited to 300 copies. This is the long-awaited second album by Winter Family — a rare and unique audio worldview expressed by the singular approach of Ruth Rosenthal (voice) and Xavier Klaine (harmonium, organ, etc.). This new album creates glowering and intense atmospherics, part nightmare, part uplifting dreamscape, permeating and building into a compelling whole. A reference point might be some of the output of Constellation records — and indeed, Godspeed! You Black Emperor’s Norsola Johnson plays on this record. However it is doubtful whether any of those artists ever produced anything to match the taut tension of the title track “Red Sugar,” a hymn to absence. The ambition of Winter Family is evident on this expansive, orchestral epic dancing in the sun. Crank your speakers, sit back and open your mind. It WILL blow you away.
| TURRA, LUIGI: Ki 3CD (AND 037CD) 17.00|
“Luigi Turra is a musique concrete composer and graphic designer whose main interest is in the aural balance between silence and tactile perception of sound. A first version of Enso was originally released by Small Voices (Italy) in 2007, but the release suffered from peak-volume distortion due to being mastered too loud, plus the use of compression altered the sound of the work. Here, it is free from distortion and compression. Ancient Silence was originally self- released as a limited edition CDR EP in 2007. Presented here for the first time is the full length version. Shasekishu is a previously unreleased third part of the Ki trilogy. Ki traverses and transcends dimensions of time and space, so all notions of past, present and future defy linear logic. Ephemeral occurrences turn into frozen memories suspended in the air like clouds of dust in sunlight. An epic and outstanding example of reductionist sound cinema. A truly visionary work.”
| GARY & ROSS, DEVIN: Four Corners LP (ARB 006LP) 16.00|
“Gary Panter is a bad penny. If he were German, the phrase might be, schlechter pfennig, which is much less euphonimous. So it’s a good thing Gary is no Kraut. But what the fuck is he? A Texan. A famous artist. A writer of songs, poetry and prose. As well as a gifted primitive musician. Thus, in this instance, bad means good, and penny means Renaissance man. Panter first burst into the public gut in the 1970s with his Jimbo strip in Slash magazine, his design work for Ralph Records, and some really goddamn ugly commercial art. A few people were also aware he was a musician, although many who discovered him through his first single – Colahaus – would deny the word actually applies to what he does. After his next record, a collaboration with the Residents entitled Tornader to the Tater, people began to take his roistering a bit more seriously. A Japanese company even let him do a gorgeous bizarro-world country-and-acid LP called Pray for Smurph. That one was so good, people started to realize – hey, he actually is a musician! Moving from L.A to Brooklyn, he eventually fell in with the evil genius, Devin Flynn, who widened Panter’s aural palette and also to got him playing somewhere besides closets full of pot smoke. The duo cut a dandy album, Go Outside, then managed to corral the wildly talented Ross Goldstein into their conspiracy. The results are this new record, and brother, it is a treat. They create miniature brain-damaged nuggets ranging from fake jazz to sloth psych with a nimble touch that’ll make your head squeal with pleasure. Marty Robbins might toss around in his velvet- lined grave when he hears it, but screw him. All four of your corners will bounce like crazy. Guaranteed.” — Byron Coley, Victoriaville QC 2011.
|AUS MUSIC (GERMANY)|
| FITZGERALD, GEORGE: Silhouette EP 12″ (AUS 1134EP) 12.00|
George FitzGerald presents his debut for Aus Music. FitzGerald once again manages to create a world in which garage, dubstep, house, R&B and a host of other musical influences happily co-exist. On “Silhouette” hints of warm acid, layered, oscillating synth lines, propulsive beats and vocal samples make this a peak-time affair. “Reset” is eight minutes of forward-thinking UK garage combined with the melodic sensibilities of Detroit techno. For the “Silhouette” remix, John Roberts develops a relentless broken groove.
| VA: B. Girls Live & Kicking CD (TEG 76541CD) 16.00|
“Hard to believe but before the likes of Missy Elliot, Rah Digga or Lil Kim broke big, a female on the mic was an seen as an anomaly. But, as B.Girls from B Boy Records proves, women have been an important and vital part of hip hop since ‘back in the day’. Looking to give the B Girls some shine, B Boy assembled this (long out of print and never on CD) compilation of some of the Tri State’s most exciting female talent back in ’87. From the original liner notes, ‘female rappers are aching to be a part of this rap ideology, and now B Boy records has done it, we’re giving all the girl rappers a champion they can root for…now we have a B Girl Possie in full effect: Sparky D., L.A. Star, Baby Doll, 5 Star Moet.’ This important piece of old school archeology is back in effect and available for the first time on CD. The music is lovingly remastered from the original audio and packaged in a six panel digipack filled with original B. Girls photos and imagery. As the original liner notes say: ‘B. Girls from B Boy Records. Fresh forever suckers.'”
| ABSOLUTE FUSIOON: Absolute Fusioon CD (BMS 033CD) 15.50|
“Who can ignore a band with a name this blatant? But if you think is ‘Fusion’ in a traditional sense, think again. An epic soundtrack to an era when Spain was adjusting to a new political era, with it’s own Catalan swagger.” — Guillermo S. Herren aka Prefuse 73 (Savath Y Savalas)”From the foundations of the Catalonian rock Laieta movement. An uber-legendary exponent of Ibizas’ 1970 psychedelic club scene. An essential for fans of freak funk and symphonic jazz rock with no egg-ception. Imagine a Spanish mutation somewhere between Goblin and The Stark Reality. Featuring tracks from the cosmic studio of Jose Llobell (Enterprise/Oliver’s Planet). Snap it up while you can… an Absolute Belter.”
| DAVIS, MILES: Live At The Philarmonie In Berlin, 1st November, 1973 LP (B 141LP) 27.00|
“In 1973 Miles Davis Septet embarked on a tour of Europe, playing and recording dates in France, Italy, Yugoslavia, and this smokin’ date at the Philharmonie concert hall in Berlin. By this period Davis and his band were fully electrified, with electric guitar and bass replacing the more traditional jazz instruments, and Davis himself playing his trumpet through a wah wah pedal. This is 1973 and rhythm is the name of the game, as can be heard in the use of double drummers throughout (James Mtume on congas and Al Foster on drums), and a range of hand percussion instruments. Even Miles heads into percussive territory taking over the keys with some funky organ playing. Jazz fusion at its finest.” On clear green vinyl in clear plastic sleeve with red lettering. Limited edition 500 copies.
| AYLER, ALBERT: Live In Saint-Paul-de-Vence, France, 25th July, 1970 LP (B 144LP) 27.00|
“Just a few months before Albert Ayler presumably jumped to his death from the Statue of Liberty ferry into the frigid November waters of NYC’s East River he was on stage for two energy filled nights at the Fondation de Maeght in Saint-Paul-de-Vence, France. Little did he know at the time that the recordings from these live performances would be his last. Although the band is not of the same calibre as some of his earlier ensembles, Ayler — largely with the help of Call Cobbs on piano — still manages one of the best live performances of his career. Although he had spent recent years flirting with R&B, here Ayler returns to the free jazz splendor of his ESP-Disk recordings playing classics from this period like ‘Spirits’, ‘Holy Family’ and ‘Spirits Rejoice.’ Originally released on the French Shandar label in 1970.” Also with Steve Tintweiss (bass) and Allen Blairman (drums). White vinyl LP in clear plastic sleeve with red lettering. Limited edition 500 copies.
| AYLER, ALBERT: Live In Saint-Paul-de-Vence, France, 27th July, 1970 LP (B 145LP) 27.00|
Albert Ayler’s second night at Live In Saint-Paul-de-Vence, performing “Truth Is Marching In,” “Universal Message,” “Spiritual Reunion” and “Music Is The Healing Force of the Universe,” featuring vocals by Ayler’s girlfriend, Mary Maria Parks. Grey vinyl LP in clear plastic sleeve with blue lettering. Limited edition 500 copies.
| KOSUGI, TAKEHISA: Studio Improvisations, Tokyo, 16th And 17th September, 1974 LP (B 146LP) 27.00|
“Originally released on CBS Japan in 1975, this solo album by the godfather of Japanese avant-garde music was called one of the top ten ‘Japrock’ albums of all time in Julian Cope’s Japrock Sampler.” Red vinyl LP in clear plastic sleeve with black lettering. Limited edition 500 copies.
| TAJ MAHAL TRAVELLERS: Live At Sohgetsu Hall In Tokyo, 15th July 1972 LP (B 147LP) 27.00|
“After returning from a year-long tour of Europe and Asia, the group returned home to Tokyo for this concert. Originally released on CBS Japan in 1972, the concert remained out of print for decades and has never before been reissued on vinyl. The line up features Takehisa Kosugi on electronic violin, vocals and radio oscillators, Ryo Koike on electronic contrabass, suntool, sheet iron, and harmonica, Yukio Tsuchiya on vibraphone, Michihiro Kimura on electronic guitar & percussion, Seiji Nagai on electronic trumpet, harmonica, castanets, and Tokio Hasegawa on vocals.” Orange vinyl in clear plastic sleeve with black lettering. Limited edition of 500 copies.
| DAVIS, MILES: Live At Hill Auditorium, Ann Arbor, Michigan, 21st Feb. 1970 LP (B 148LP) 27.00|
“Invited to play the University of Michigan in February of 1970, Miles Davis treated audiences to one of the most groundbreaking moments in jazz. He played the title track from his upcoming Bitches Brew album. The album would not be released until a few months later, so those who were in the audience were privy to a revolution in jazz in the making. Bringing in electric instruments and a guitar-heavy, rock-infused sensibility, Miles Davis once again led jazz music into the future. When Bitches Brew was finally released it became Miles Davis’ first gold album and one of the first jazz albums to cross over to a rock audience. Side two of this album is taken from a show Miles’ septet played near Zurich in October 1971. ‘Yesternow’ had been recently released on Miles’ Tribute To Jack Johnson album. This album is also considered one of the greatest jazz fusion albums in history. In keeping with the black power message, the central theme of ‘Yesternow’ is appropriately taken from James Brown’s historic ‘Say It Loud,’ while ‘Sanctuary,’ is a Wayne Shorter composition from Bitches Brew.” Yellow vinyl LP in clear plastic sleeve with black lettering. Limited edition 500 copies.
| DAVIS, MILES: Live At Neue Stadthalle In Dietikon, Switzerland, 1971 LP (B 149LP) 27.00|
“Rare 1971 live recording from a concert Miles Davis played with his electrified fusion septet-Gary Bartz (sax), Keith Jarrett (keyboards), Michael Henderson (electric bass), Ndugu Leon Chancler (drums), Charles Don Alias (congas), James Mtume Foreman (congas) — at the Stadthalle venue in Dietikon, near Zurich. This appears to be a soundboard recording, although the sound quality is excellent. Appropriately Miles leads off the set with ‘Directions,’ a Joe Zawinul composition that was part of the pioneering In A Silent Way sessions. Miles opened every live concert with this piece for many years. ‘Funky Tonk’ and ‘What I Say’ gave audiences a preview of his upcoming Live Evil album on Columbia, released just a month after this show.” Clear yellow vinyl LP in clear plastic sleeve with blue lettering. Limited edition 500 copies.
| DAVIS, MILES: Live At Fillmore West In San Francisco, 17th October, 1970 LP (B 150LP) 27.00|
“After the release of his pioneering jazz-rock fusion album, Bitches Brew, which came out just a few months prior to this concert, Miles Davis suddenly had a rock audience and began receiving invitations to play larger, more rock oriented venues, like Fillmore West in San Francisco. Here the Miles Davis Septet (Miles Davis on trumpet; Gary Bartz on sax; Keith Jarrett on keyboards; Michael Henderson on electric bass; Jack De Johnette on drums; Airto Moreira on percussion; Juma Santos on percussion), opened (!) for Leon Russell and Seatrain for four consecutive nights, October 15-18.” Clear red vinyl LP in clear plastic sleeve with black lettering. Limited edition 500 copies.
|BLACK BOX (UK)|
| KRYPTIC MINDS: Can’t Sleep 3×12″ (BLACKBOX 012LP) 23.00|
3×12″ version, featuring 6 of the 13 tracks from the CD. In less than 3 years, Kryptic Minds have carved a deep channel into the dubstep scene, mining its traditions of spatial minimalism, edgy atmospheres and sub-bass intensity to deadly effect. The culmination of this work is their new longplayer, Can’t Sleep. Bleak yet uplifting, it is the soundtrack to visions of a sterile land, devoid of people — only ghosts remain to recount the histories of their passing. The passive, prolonged tension implied by the title permeates the entire album; with taut beats and edgy synths the sonic equivalents of clenched jaws and coiled springs. Further, the solitude of insomnia is encapsulated in the long reverbs and epic soundstages that Kryptic Minds have painstakingly created, evoking dark, empty spaces and absolute solitude, yet there are moments of release to be found. Fearsome dancefloor weapon “The Fifth” unleashes a wild technoid bassline, barely restrained by powerful drums.
| COMMODO VS. LURKA: Airtight/Gassin 12″ (BLACKBOX 015EP) 11.00|
Commodo and Lurka have so far enjoyed A-list support from Mala, Distance, Youngsta, N-Type and many more. Black Box is extremely excited to have signed a killer 12″ of collaborations by the two producers. “Airtight” opens with a taut intro of dry percussion and droning ceramic pads, which leads into a drop of thick LFO-ridden synth-bass, tightly-programmed beats and sly flourishes of pads & FX. “Gassin” unleashes a variety of technoid basslines, stabbing metallic mids and deceptively deft drum programming.
| TELESCOPES, THE: Taste CD (BOMP 4104CD) 15.50|
“Telescopes: Reissue of the classic debut album by this legendary UK noise/space rock band. Taste was originally released in 1989 on What Goes On and reached #5 on the UK Indie Chart. The CD version includes The Perfect Needle EP as bonus (reached #9 on the UK Indie Chart).”
| TELESCOPES, THE: Taste LP (BOMP 4104LP) 17.50|
“The vinyl version of this US release comes on red vinyl and is limited to 700 copies.”
| VA: Turkish Freakout 2: Psych-Folk Singles 1969-1980 CD (BZJ 7502CD) 18.00|
“Last summer (2010), indie label Bouzouki Joe brought you a choice selection of some of the finest rare Turkish funk and psych-rock grooves, painstakingly unearthed direct from the source in Istanbul. The result: you freaked out (in a good way). With that in mind, we present the second installment of Turkish Freak Out!, featuring another batch of classic tracks from the Golden Age of Turkish music. With spiritual guidance from Mister Jason, this compilation, comprised entirely of original 7″ recordings from Turkey’s most creative and experimental artists, is guaranteed to deliver another five-star freak-out.” Includes a 40-page booklet with original sleeve artwork & liner notes.
|BOX CLEVER (UK)|
| CYMATIC: Glue/Hound Dog 10″ (BOXCL 007EP) 11.00|
Following their acclaimed debut release on Box Clever in 2010, Cymatic have produced two more musical tone poems. “Glue” lumbers from the dramatic atmospherics of the intro into the drop, with leadweight subs and halfstep drums surrounded by trademark Cymatic edits. “Hound Dog” sees both artist and label at their most experimental, as a historic King has his performance dissected and reassembled into a twisted live jam of cut-up clockwork breaks, flailing bass manipulation and phantom-like silhouettes of sound.
|BOXER RECORDINGS (GERMANY)|
| DUSTY KID: Argia 12″ (BOXER 083EP) 14.00|
Dusty Kid presents an unusual acoustic near-death experience: Argia is the name of a spider indigenous to Sardegna. In Sardinian culture, there is a traditional dance that represents the various states of Argia poisoning, and it is used as an antidote against the spider bite. Dusty Kid comes up with a contemporary version: the slow-acting poison gradually builds up, creating hallucinating sound experiences until a trance and paralyzed state is reached. One-sided, limited, 180 gram vinyl.
|BPITCH CONTROL (GERMANY)|
| VA: Werkschau EP 2 12″ (BPC 231EP) 12.00|
This is the second session in BPitch’s Werkshau EP series, a selection of extraordinary and highly functional club gems that represent BPitch’s harmonious concept as perfectly as they demonstrate its musical breadth. The most noticeable characteristics the three extended versions share are their vocal presence and the extremely distinctive way that the artists make use of language and voice. Featuring tracks by Cormac, Aérea Negrot and Kiki & Lenz.
| NEGROT, AEREA: Right Body Wrong Time 12″ (BPC 237EP) 12.50|
Aérea Negrot presents her second 12″ for BPitch. She silenced any doubters with her first single “All I Wanna Do,” creating a new platform for her boundless range of musical expression alongside her career singing with Hercules & Love Affair. Tobias Freund is on hand once more to produce and mix. Aérea Negrot’s unique eclecticism — her sublime voice, sometimes diva-like in its effusiveness — is lent a distinct artificial quality through Tobias’ vocoder and other studio trickery.
| SAMIYAM: Sam Baker’s Album CD (BF 022CD) 15.50|
“Coming out with one of the most anticipated and long-awaited albums so far on Brainfeeder is Samiyam aka Sam Baker. Sam Baker’s Album is 40 minutes of pure listening pleasure, a series of woozy, off-centre hip hop instrumentals drawing heavily on Baker’s love of electronic funk but never in hock to it. Intensely detailed and carrying considerable emotional weight, this is not Rap Beats Volume 2 but an album of fully-realized pieces of music which stand on their own without the need for an MC’s intervention.”
| AIRHEAD & JAMES BLAKE: Pembroke/Lock In The Lion 10″ (MATH 006EP) 12.50|
BRAiNMATH’s first release from 2010. Hemlock’s James Blake brings best mate Airhead along for his first outing on vinyl, and not his last on BRAiNMATH. DJ support from Rob Da Bank, Mary Anne Hobbs and Alex Nut.
|BUREAU B (GERMANY)|
| ROEDELIUS: Piano Piano CD (BB 067CD) 17.00|
Bureau B reissues Piano Piano by German keyboardist Hans-Joachim Roedelius, originally released in 1991 on the Italian label Materiali Sonori. In classical music, “pp” (piano piano = pianissimo) is a dynamic indication of particularly soft music. And Piano Piano is a very soft, quiet album. Roedelius assumes the role of a fairytale character with his piano music, transported to a strange, fantastical landscape where, filled with awe and amazement, he tries to get his bearings. What he sees, feels and senses here is not always of this world. Many impressions come from the dark within, others from who knows where. Roedelius strikes a hesitant figure in these realms, cautiously, delicately exploring his immediate and distant environs, much like a child transfixed by astonishment. And yet Piano Piano is anything but child-like. Initial comparisons were drawn between the piano music of Roedelius and that of Eric Satie. This was no more accurate than the erroneous “ambient” label pinned to his material. Satie’s compositions were based on rigid formalism — Roedelius strives to free himself from the restrictive corset of form, while “ambient” belies the careful listening which is required to appreciate his to the full. Nor does Piano Piano sit halfway between Satie and ambient, instead tracing Roedelius’ own stylistic path into musical territory which he alone can reveal to us, the listeners. All we have to do is follow him. His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp, as the fewest fairytales whisper of eternity or the afterlife. Beauty and profoundness belong to this world, like Roedelius himself. What he has to tell us is indeed whimsical and, at times, wonderful. His ability to awaken images and dreams in us is nothing short of miraculous. Roedelius offers us a little book of fairytales with Piano Piano and, as the old chestnut would have it, every fairytale contains a generous portion of reality. Includes three bonus tracks (CD-only) and liner notes by Asmus Tietchens.
| ROEDELIUS: Piano Piano LP (BB 067LP) 17.00|
LP version on 180 gram vinyl.
| YOU: Electric Day CD (BB 073CD) 17.00|
The Bureau B label reissues You’s Electric Day, first released in 1979 on the small German label, Cain. As synthesizers grew more popular from the mid-’70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the “Berliner Schule” (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo You. Udo Hanten and Albin Meskes teamed up with another iconic figure of electronic music, Harald Grosskopf, to issue two fantastic albums as the 1980s began. Without disowning their Berlin role models, You nevertheless came up with their own hypnotic mix of sequencer patterns, synthesizer melodies, pulsating drums and sporadic acoustic guitar phrases. Now and again they even ventured into experimental territory. Tracing You’s path from the idea of founding a band to the release of their first LP, one encounters a host of illustrious characters from the electronic/Krautrock music scene. Peter Baumann, for example, a member of Tangerine Dream for so many years, was the first to hear the material played to him by Hanten and his guitarist Uli Weber at his Paragon Studios in Berlin. They also met Harald Grosskopf here, a member of Rolf-Ulrich Kaiser’s “Kosmische Kuriere” and former drummer with Klaus Schulze. Grosskopf was a member of Manuel Göttsching’s Ashra band at the time. Which just leaves the sound engineer, the legendary Conny Plank. It was he who suggested that You and Grosskopf get together to set up the Spiegeltraum Studio in Krefeld, with Grosskopf supplying the recording gear and Hanten the musical equipment. Grosskopf completed Synthesist, his most famous work, before You recorded Electric Day halfway through 1979. It now appears with four CD-only bonus tracks on Bureau B. The musicians: Udo Hanten, Albin Meskes, Uli Weber, supported by Harald Grosskopf (using the pseudonym Lhan Gopal at the time).
| YOU: Electric Day LP (BB 073LP) 17.00|
LP version on 180 gram vinyl.
| YOU: Time Code CD (BB 074CD) 17.00|
The Bureau B label reissues You’s Time Code, first released in 1983 on Rock City Records. As synthesizers grew more popular from the mid-’70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the “Berliner Schule” (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo YOU (Udo Hanten, Albin Meskes). Their debut album Electric Day immediately launched YOU into the elite echelon of Germany’s electronic music scene. It would take four years for them to deliver their sophomore LP, entitled Time Code. If Electric Day was characterized by Harald Grosskopf’s pulsating drums and Uli Weber’s solo guitar, Time Code emerged as an altogether more electronic affair, with both Grosskopf and Weber having left the project. Reduced to a duo, YOU largely remained faithful to their style, but expanded upon it. Time Code displays more range and variation than its predecessor. Downtempo and faster numbers alternate and sugar-sweet melodies are followed by expanses of ominously dark or crystal-clear synthesizers. Hanten and Meskes’ new sound was further refined by the use of drum computers and the omission of guitar. The album perfectly illustrates the transition of electronic music from the 1970s to the 1980s. Sequencer patterns owe much to the legacy of the Berlin School (Berliner Schule), while the synthesizer and drum computer sounds heralded the advent of the new decade. The level of interest and excitement was particularly high in Italy, where songs from the album featured heavily on the radio. Listeners were clearly impressed by “Live Line,” which has resurfaced in various techno productions over the past 20 years, either as a cover (by Diolac Duvai, for example), or as “Elektro Message” (by Gigi D’Agostino). This reissue comes with two CD-only bonus tracks.
| YOU: Time Code LP (BB 074LP) 17.00|
LP version on 180 gram vinyl.
| ARGY/LEE VAN DOWSKI: Ethiopia’s Rise/Bimbam 12″ (CADENZA 064EP) 14.00|
Argy presents his Cadenza debut alongside Lee Van Dowski. “Ethiopia’s Rise” coaxes us into the fury of the night — its creatures play with hollow synth swoops, metallic sparks and snarling drums. Argy is tag-teamed by Lee Van Dowski and “Bimbam” on the other side. Here, his original and alternate versions of the track secure his seat as an artist that the folks at Cadenza are proud to have on their roster.
| VA: Monsters Of The Midwest Vol. IV LP (CAVE 004LP) 15.00|
“Lost tracks from the action sixties! 16 great cuts featuring: Coachmen, Reactions, Intruders, Skeptics, Countdowns, Jerms, Love Corporation, Rod & The Satalites, Grapes, Berries, Sounds Ltd, The Dinks and more.”
|CLOWN & SUNSET (CANADA)|
| STIP, VALENTIN: Anytime Will Do EP 12″ (C&S 006EP) 12.00|
Latest from Nicolas Jaar’s own label and Valentin Stip’s first EP. Distorted pianos, ghostly voices, and metallic percussion fill the room: a witch’s brew. His music can be described as classically-based, even though the influence can at first be difficult to hear. Much classical music is grandiose, while Val’s sound is deliberately modest — spare and full of space. Listening to his baroque structures sounds like what one would imagine Wagner might sound like if his music were deconstructed into fragments.
| EMPTYSET (FEAT. CORNELIUS HARRIS): Altogether Lost (The Remixes) 12″ (CLR 047EP) 12.50|
Altogether Lost is a collaboration between the Bristol-based experimental techno duo Emptyset and the Detroit vocalist Cornelius Harris aka Atlantis from Underground Resistance. Inspired by an early 20th century poem of mystical heritage, the project marks the first-ver joint production by these three major capitals of electronic music. Features a Ben Clock remix and a very deep and atmospheric interpretation by Ripperton.
| TAZARTES, GHEDALIA: Diasporas LP (DAIS 021LP) 19.00|
“Originally recorded in 1977 with a limited pressing in 1979 on the underground French label Cobalt, Ghedalia Tazartes debut album, Diasporas, quietly fell into the catacombs of avant-garde obscurity. Tazartes himself, (a strange, nomadic character) played upon myths and legends about his existence and sounds – making him somewhat of a lost legend, trapped between a modern time and a surreal, simple age. Inclusion of Diasporas on Steve Stapleton’s famed Nurse With Wound List only added fuel to the fire of this legendary album. Traditional Parisian folk, frightening tape loops, and gypsy incantations. Truly one of the most fascinating and mysterious albums ever created. Remastered from the original source tapes from Ghedalia Tazartes, an official reissue LP limited to 500 hand-numbered copies.” Includes insert with notes by André Glucksmann.
|DEEP VIBES (GERMANY)|
| DEAR, MATTHEW: Little People (Black City) 12″ (DVR 016EP) 12.00|
Next up on Deep Vibes comes Sascha Dive with his killer remixes of Matthew Dear’s “Little People (Black City).” Originally released on Spectral Sound as a digital-only package, a vinyl edition had to follow due to public demand. For maximum sound quality, the 20-minute version was shortened to a 15-minute vinyl cut while the dub remix comes in its original form on the flip-side. “Little People (Black City)” is probably the strongest song on Matthew Dear’s album Black City.
| VINCENZO & TALKING PROPS: Seduction 12″ (DES 104EP) 12.00|
Vincenzo’s expertly-crafted original version of “Seduction” is included here in all its bright and airy glory. The master of subtle chord changes, captivating songwriting and bright, glistening production, we’re treated to an extended version of Vincenzo’s future classic! Jimpster takes the reins in an easygoing, modern Chicago-style jam. Raw drums and modulating bass drive this summery yet melancholic re-think. Also includes a remix by Tuff City Kids.
| VON LOWTZOW, DIRK: Tod In Theben 12″ (DIAL 057EP) 12.00|
Dial presents an outstandingly special record: Dirk von Lowtzow presents his guitar solo work Tod In Theben. Dirk von Lowtzow, also known as a member of Phantom Ghost and Tocotronic, creates a slow-motion drone-a-like folk meditation. The result is a breathtaking piece of deepest devotion with an incredible sound and room composition. At last year’s Salzburger Festspiele, von Lowtzow performed “Tod In Theben” in Jan Fosse’s theater piece of the same name directed by Angela Richter.
| MOTION SICKNESS OF TIME TRAVEL: Luminaries & Synastry LP+CD (DIGI 059LP) 22.00|
Motion Sickness of Time Travel’s Rachel Evans returns to Digitalis with the proper follow-up to 2010’s acclaimed Seeping Through The Veil Of The Unconscious. Over the course of numerous limited releases, Evans has showcased a natural ability to construct floating sound worlds that immerse the listener in an aural cocoon. With Luminaries & Synastry, she’s ready to unleash a whole different kind of voodoo. Recorded through the latter part of 2010, these songs are darker and more condensed, with Evans’ voice sitting even more prominently in the mix. Her synth work is effortless and mesmerizing, adding the perfect accompaniment to those vocals which are, as ever, the star of the show. On the opening “Luminaries,” rhythmically hypnotic synth chords provide a gaseous backbone while Evans pierces the darkness with her voice. It’s a perfect foreshadowing for what’s to follow on the rest of the album, and “Synastry” follows and unfurls in a minimal and haunted fashion, reveling in its simplicity, finding a perfect balance between grounded effervescence and astral projection. Skeletal rhythms and sunburned arpeggios return on album centerpiece “Day Glow,” dripping in miserable beauty — the song makes vague kosmische nods and paints a thick coat of sublime whimsy to fill in the cracks. When it reaches its peak — it’s just absolutely devastating. Heading toward the finish line, bombarded by gorgeous, revolving synthesizer passages on “Eight Nineteen” and the blissed-out “The Walls Were Dripping Stars,” it’s clear that Luminaries & Synastry offers something special in the ever-expanding discography of one of the year’s finest new voices. Artwork by Hobo Cult’s Frank Ouellette. The audio has been re-mastered by Brad Rose and cut to vinyl at Dubplates and Mastering, Berlin. On pink vinyl. The included CD contains the entire album, plus two bonus tracks not on vinyl.
| ANTONA, MARC: Rules Of Madness – Part 1 12″ (DISS 004EP) 12.00|
Here is a taste of Marc Antona’s upcoming album Rules Of Madness. Contrary to its name, lead cut “Prohibition Circus” sees Marc in a far from confiscatory mood. Indeed, quite the opposite. From the opening earth-moving kick drum, we’re once again locked in a groove, as our Ring Master teases by dropping the rumbling bass, increasing the tension and then feeding our craving with a wave of the flute, as the bass drops with gusto.
| GARLAND, RED: All Kinds Of Weather LP (DOX 850LP) 23.00|
“Recorded in November of 1958, All Kinds Of Weather finds Red Garland heading up one of several late-fifties trio sessions at the Rudy Van Gelder studio in Hackensack, NJ. As always, the trio is formed by Garland on piano, Paul Chambers on bass, and Art Taylor on drums. By the time this album was released these three jazz greats were intimately acquainted with each other, having performed and recorded together on numerous occasions, and it shows. Using ‘the weather’ as a common theme, this exceptional trio seamlessly performs standards like George Gershwin’s ‘Summertime’ (from Porgy & Bess), ‘Stormy Weather’ (originally written for Cab Calloway), and the classic Christmas tune, ‘Winter Wonderland’. Just one in a string of memorable late-fifties sides by Garland for Prestige.” On 180 gram vinyl.
| COLTRANE/TOMMY FLANAGAN/KENNY BURRELL, JOHN: The Cats LP (DOX 852LP) 23.00|
“1957 may have been a watershed year for jazz, but this session, recorded for Prestige on April 18 at the Rudy Van Gelder Studio in NJ, was still a cut above the rest. While Coltrane may be the big name draw here, this session was actually led by pianist Tommy Flanagan, who would go on to be Ella Fitzgerald’s accompanist in the sixties, and appear on a number of historic jazz sessions including Coltrane’s Giant Steps, and Sonny Rollins’ Saxophone Colossus. In fact, every composition on this album was written by Flanagan, except for Gershwin’s ‘How Long Has This Been Going On?’, performed here in trio form. Also features some truly superlative trumpet playing by Idrees Sulieman, best known for his association with Coleman Hawkins.” On 180 gram vinyl.
| CAGE/DAVID TUDOR, JOHN: Indeterminacy 2LP (DOZ 406LP) 32.00|
Subtitled: New Aspect Of Form In Instrumental And Electronic Music. “Originally issued as in 1959 on Smithsonian Folkways, the initial idea for Indeterminacy came from avant-garde pianist, David Tudor, who suggested that John Cage give a lecture that was simply the telling of stories. Cage did this in Brussels in September 1958. For this lecture Cage simply stood in front of an audience and told 30 stories without musical accompaniment. Upon returning to the States in 1959, Cage decided to record the stories, but this time with the musical accompaniment of David Tudor. For the recording the two men were placed in different studios where they could not hear each other, while Tudor performed portions of Cage’s ‘Concert for Piano and Orchestra’ (1957-58) along with pre-recorded selections of Cage’s Fontana Mix’ (Milan, 1958), and Cage simultaneously told 90 one-minute stories (sped up or slowed down according to the story’s length). In a career that spanned over half a century, this album is considered to be one of Cage’s best. It has never been reissued on LP until now. Includes liner notes by John Cage.” Gatefold sleeve.
| CAGE, JOHN: The 25-Year Retrospective Concert Of The Music Of John Cage 2LP (DOZ 407LP) 32.00|
“Recorded live at Town Hall, NYC in May of 1958, this historic concert (organized by Jasper Johns and Robert Rauschenberg) was a retrospective of Cage’s work from 1934 to the present. Here Cage’s interest in technology, Eastern philosophies, and the concept of ‘silence’ and ‘chance’ as related to composition come to the fore as he plays some of his most significant and controversial pieces of his career, several of which (‘Six Short Inventions for Seven Instruments’, ‘She Is Asleep’, ‘Music for Carillon’, and ‘Concerto for Piano and Orchestra’ [in which Merce Cunningham took the part of the conductor – the ‘living clock’ – and David Tudor that of the pianist]), were performed here for the first time ever. This concert created quite a stir for its time, with many journalists and audience members loudly complaining ‘this isn’t music’!”
| PHEROX: The Panther’s Walk EP 12″ (DU 061EP) 12.00|
Tim Querengaesser aka Pherox bats one out of the park for Dumb-Unit. The Panther’s Walk EP is an expressive and bombastic ode to the night that goes boom! Sultry lyrics sung by Tim himself and guest Lee Curtiss sit firmly over top of Tim’s chugging under-groove. This is an exciting slab of music for any DJ and one that will certainly bring Pherox and his brand of funk into a more deserving light.
|ELECTRIC DELUXE (GERMANY)|
| SPEEDY J: Shoegaze 12″ (EDLX 016EP) 12.00|
Sstunning EP from Electric Deluxe mastermind Speedy J. “Shoegaze (Speedy J Out Of Focus Dub)” takes you right into the core of Speedy J’s massive production wizardry. Amorphous drone sounds create a monumental space, while a pulsing sub-bass lures you into the groove. “Shoegaze (Edits Select Dub)” is up for serious dancefloor damage. A compressed yet heavy bass constantly rolls and pumps from below and the ethereal dub sounds create a hypnotic beast of a track.
|ENDLESS FLIGHT (JAPAN)|
| LOGIC SYSTEM: Clash (DJ Harvey Remix) 12″ (EF 036EP) 16.50|
Endless Flight proudly announces disco legend DJ Harvey’s remix of legendary Japanese electronic producer Logic System. Logic System is well-known as the fourth member of Yellow Magic Orchestra and DJ Harvey remixes their most famous song “Clash.” The B-side is an unreleased song which was composed in the ’80s. Don’t miss this amazing collaboration.
| JACKIE-O MOTHERFUCKER: Earth Sound System LP (FIRE 169LP) 24.50|
Gatefold LP version. “You never quite know what you’re going to get from the cult Portland, Oregon psychedelicists, Jackie-O Motherfucker. Are you going to be in for some deep brain thrombosis space rock? Are they going to prescribe you a dose of some heavily medicated camp fire drone? Will they be hitting you with some improvisational and angular free jazz? Will they be traversing the entire planet to bring you some previously unexplored global frequencies? Well, on Earth Sound System, JOMF’s 15th album since Alchemy…Shit To Gold in 1995, it’s a case of all of this and a lot, lot more.”
| DRIVER, RYAN: Who’s Breathing? CD (FIRE 181CD) 17.50|
“With his new album Who’s Breathing?, Ryan showcases some of his new songs which, not unlike the drink that’s named after him, are both eclectic and sweetly intoxicating. The first half is a top-heavy, bleary-eyed amble through the metaphysical country moves made familiar through his work in The Silt. Central to these songs is Ryan’s heady, almost surrealist lyrics, which traipse commonplace folk themes on the slant and uneven ground of a funhouse. Here his way with a turn of phrase demonstrates its dexterity amid slinking caterpillar accompaniments (including a rest stop-style pedal steel and even an English horn pilfered from the AM waves). The second half assumes the mentalist lounge approach, that particular sound not unfamiliar to those who attend the monthly Ryan Driver Quartet appearances at the Tranzac bar in Toronto.”
| LAS KELLIES: Kellies CD (FIRE 214CD) 17.50|
“There’s only thing you can bank on when you’re confronted with Las Kellies: to expect the unexpected. ‘Prince In Blue’ kicks things of with its post-punk riffs and tongue-in-cheek barbs. Potential suitors, beware: no nice boys are ever going to capture these girls’ hearts. ‘You’ve been treating me just too well/ Too much pressure, I’m going to hell,’ they taunt, brushing unwanted attention away. ‘Keep The Horse’, meanwhile, flippantly recounts the tale of a divvying up of marital assets (‘Charlie will be his/ Debbie will be hers’) and gos-siping acquaintances (‘Your rent is in arrears/ And your neighbours are all ears) over a nagging helter-skelter riff that’s reminiscent of fellow South American’s CSS.”
|FORCED NOSTALGIA (BELGIUM)|
| PELICAN DAUGHTERS: Fishbones And Wishbones LP (FN 001LP) 20.00|
Pelican Daughters were founded by Justin Brandis and Andy Rantzen in 1984. Using a variety of instruments, found objects & DIY tape loops, the pair released a succession of cassette-only releases into Sydney music stores. Over the course of several releases and live performances, including two cassette releases on CCP, the duo were joined over the years by occasional members Ben Fontaine, Andrew Holmes, James Fergus, Bryce Cannon and Anthony Maher (aka dub producer Sheriff Lindo). The group also recorded with Miriam Williamson of Wrong Kind Of Stone Age, a collaboration that eventually blended some Pelican Daughters tracks into the early work of long-running Australian techno act Itch-E & Scratch-E (Paul Mac and Andy Rantzen), most notably on the track “Sweetness And Light,” now considered an early rave classic. A chance connection led to Fishbones & Wishbones (essentially a “best-of” from the cassette years) and Bliss being released by Kim Cascone’s San Francisco label, Silent Records. One further album, Darkness Before Light, remained unreleased until 2009, when it was picked up by Sydney label 4-4-2 Music for release. Fishbones & Wishbones was recorded on Portastudio between 1984-1988 in Sydney, Australia by Andy Rantzen, Justin Brandis, Bryce Cannon and Andrew Holmes. Versions of this album have been previously released on tape by Cosmic Conspiracy Productions (1988) and on CD by Silent Records (1991), but this is the first time the material has been available on vinyl. The sound of Fishbones & Wishbones draws lines between the jagged edges of the post-punk movement and into the more introspective sounds that would go on to typify so much electronic music of the early ’90s. Vinyl cut at Dubplates & Mastering, Berlin.
| BUTANE + SOMEONE ELSE: Dink Touching EP 12″ (FOUND 024EP) 12.00|
Butane and Foundsound co-founder Someone Else have been enjoying the success of their new digital tool label, Little Helpers, and they continue to work together performing random collaborative live gigs and joint productions. This time around, Butane and Someone Else join forces to bring you the Dink Touching EP, with two heady dancefloor originals, plus remixes by Agaric and Benjamin Fehr.
|GET PHYSICAL MUSIC (GERMANY)|
| VA: 5 Years Get Physical 2CD (GPM 013CD) 14.00|
2007 release. Berlin’s Get Physical label celebrates its 5th Anniversary with this special double CD package. Between the sound coordinates of Chicago house, electro and the odd splinter of disco funk, framed and defined by the founders’ eclectic tastes, Get Physical developed its very own catchy, yet unique sound cocktail to flood the world’s dance floors with unlimited bliss. The first CD is dedicated to new remixes of Get Physical tracks by the likes of Herbert, Hot Chip, The Rapture, Henrik Schwarz, Larry Gold, Señor Coconut and more. The second CD features exclusive tracks by Booka Shade, M.A.N.D.Y., DJ T., Elekrochemie, Jona and Chelonis R. Jones.
| VA: 5 Years Get Physical 5LP BOX (GPM 013LP) 23.00|
Deluxe 5LP box version.
| OHARA & THE ODD ORCHESTRA, RAZ: II CD (GPM 033CD) 11.00|
2009 release. Raz Ohara and his Odd Orchestra return for their second album for Get Physical, II. II is the follow-up album to the critically acclaimed self titled Raz Ohara & the Odd Orchestra CD that is considered being one of the album highlights in 2008. It’s a warm, organic collection of avant-garde, open-hearted pop music which positively teems with life, a forest of pleasures and possibilities which you’ll want to lose yourself in indefinitely. II is certainly less melancholic than its predecessor — it’s imbued with good feeling, energized by the rhythms and cadences of summer and the great outdoors — but it’s not euphoric, there is an underlying note of caution, of trepidation. This emotional mix is what makes the record so powerful, especially when allied to a similarly ambiguous musical mix that imperceptibly melds folk, classic pop, electro-acoustic experimentation and modernist electronics. 10 beautiful songs plus a special download (code included in the artwork) of the single Miracle make this album a perfect journey through the winter days.
| DJ HELL: Body Language 9 CD (GPM 034CD) 11.00|
2010 release. DJ Hell bestrides modern techno like a colossus: he’s more than just a producer or a DJ, he’s an icon, too big and individual a personality to be accommodated by any one micro-scene. Hell doesn’t just represent a type of music, he represents a whole lifestyle, aesthetic and worldview — and Body Language Vol. 9 is perhaps the closest any disc has yet come to capturing that totality. Hell’s entry in Get Physical’s ongoing Body Language mix series arrives in a period of considerable artistic achievement. He brings an ambition and breadth of vision to Body Language Vol. 9, culling tracks from different eras and scenes and focusing them into a veritable laser-beam of pure passion and flair. There are plenty of recent productions amid the selection — Dixon, Will Saul, Christian Prommer all feature — but the goal here isn’t merely to take the temperature of the times; it’s to create a rich, entertaining and future-proof listening experience. And so we are given a considerable insight into Hell’s roots: from Klaus Schulze’s kosmische epic “Stargazer” to David Sylvian’s “Forbidden Colours” (taken from the Merry Christmas, Mr Lawrence soundtrack), via majestic Depeche Mode instrumental “Esque” and — in one of the album’s several flashes of wry humour — the Balanescu Quartet’s incredible chamber-music rendition of Kraftwerk’s “The Robots.” Hell also digs deep into his collection and pulls out some of the most righteous, jacking dancefloor material you’ll ever hear. Baby Ford & Eon’s UK techno classic “Dead Eye,” King Britt’s string-heavy, funked up remix of Josh One, DJ Assassin’s skipping house jam “Face In The Crowd” (Intellidread Mix), the acid-fried disco of Daniel Wang’s “Warped” — this mix is “edutainment” in the truest and best sense, and a pupil-dilating reminder of why Hell is one of the world’s most enduringly popular techno DJs. This is a journey into the heart of Hell — and it’s pure heaven.
| SCHUMACHER, THOMAS: Get Physical 8 CD (GPM 036CD) 11.00|
2010 release. Get Physical’s 8th annual Anniversary Compilation represents the Berlin label’s dancefloor legacy and its bright future with 19 tracks, 7 of which are previously unreleased, from familiar names, old friends and fresh talent. With longtime DJ, producer and labelmate Thomas Schumacher at the helm, the compilation is guided by his expert hand through seamless mixes and astute selections. M.A.N.D.Y.’s Philipp Jung and Matthew Dear team up as M.A.N.D.E.A.R. for the opening track, crafting the hyped unreleased number “Buddies,” fusing deep hypnotism with swirling hints of cosmic disco. Thomas segues this perfectly into the filtered loops and precipitous drops of Lee Curtiss’ “The Disco Dub,” and the early Chicago house stylings of Delete’s Kindisch release “Lunchbox.” Andy Cato’s “Bassline Track” is a shot in the arm and a raise of the stakes, as the Groove Armada gentle giant shrugs off the shackles of calm, chilled grooves for mutated bass lanes and a full frontal sonic kick, which lays the spiky groundwork for the tweaked and reverbed proto-electro of Detroit upstart Kris Wadsworth with “It’s Time.” Schumacher’s own loopy cut-up jam “You Got Me” slips sideways into “Make Me,” where Emerson Todd and Tim Green reveal a secret breakdown of free jazz, before its heavy drums descend into the deep tribal stomp of Steed Lord’s “You”. Thomas’ melodic electro house edit of his own Elektrochemie project blooms in rich, full color, before the metallic tones of Booka Shade’s “In Space Remix” of their own “Teenage Spaceman” reveals the very best. Shifting effortlessly from DJ to selector, Thomas then proceeds to cherry pick the best Get Physical moments for the morning after the night before. An emotional piano chord introduces Nôze in quirk balladeer mode, with a pop version of “Kitchen,” before the heartfelt, slowed-down electronic pop of Damian Lazarus’ “After Rave Delight.” Raz Ohara and the Odd Orchestra deliver stripped back soul that slowly builds into static and lush orchestration, while a meeting of mind sees DJ T.’s “Gorilla Hug” remixed by wunderkind Nicolas Jaar, for a treatment that gives a nod to vintage electro-funk grooves. Nôze make another cameo appearance with a rework from Matthias Kaden, which progresses from beat-boxed acapellas to Kaden’s trademark minimalistic latin house, while Lopazz’ affecting 2007 synth-laden track “Wasted Days” both proves yet again why he’s a treasured member of the GP family, and closes out the mix.
| M.A.N.D.E.A.R.: Buddies 12″ (GPM 137EP) 12.50|
M.A.N.D.Y. and Matthew Dear lit up New York City in 2010 with their “Buddies” club night, and, as M.A.N.D.E.A.R., created their own urban dancefloor myth with the unreleased track “Buddies,” which fuses deep hypnotism, disco and an infectious sing-along hook. Now, “Buddies” is fully realized with reworks from some of the best in the business. This 12″ features the original track plus a masterful twist by Radio Slave and M.A.N.D.Y’s remix, which is a sleek, late-night beast.
| DJ T. (FEAT. JAMES TEEJ): Sense 12″ (GPM 149EP) 12.50|
DJ T.’s Pleasure Principle (GPM 040CD) helped to usher in a new period of groove-heavy deepness. Like an antidote to clinical club sounds, album standout tracks like “Sense” inject some much-needed groove onto the dancefloor. Tale Of Us continue their journey into dark minimalism with a remix that isolates the percussion and vocals, shrouding both in reverb. Lee Foss and Jamie Jones tease out the intro with high-hats and layered vocals. The 12″ finishes off with a rapturous club mix.
| EXPRESS, THE: First Class EP 12″ (HEM 002EP) 12.00|
This is how it feels when an express train runs over you on the dancefloor.
| BADER, PHILIP: Wonderland Ghost 12″ (HIGH 098EP) 12.00|
This is the first solo EP from Philip Bader on Highgrade Records. Wonderland Ghost is a gift for all friends of electronic dance music. The three tracks all exude the pleasure of working with the original beats and rhythms that rattle through Bader’s music. These are elegantly-arranged sound montages that relentlessly push into the ears of an enraptured dancefloor, taking surprising twists and turns on their way to a land of pure musical fun.
| PRURIENT: Bermuda Drain Cassette (HDH 220CS) 11.50|
“Prurient’s provoking new full length (and first for Hydra Head) Bermuda Drain in its most bare, and conceivably most complete, form. This limited (to 300!) cassette edition features the album in its final configuration on Side A, and in its demo counterpart on Side B. Nearly 90 minutes of Bermuda Drain, from raw inception through genre-bending completion.”
| PRURIENT: Bermuda Drain LP (HDH 220LP) 23.50|
LP version. “Dominick Fernow has been delivering genre defining noise/experimental/electronic releases as Prurient (and via his slew of other bands/collaborations, including Cold Cave, Ash Pool and others) for nearly a decade and a half, many on his own NYC based Hospital Productions. Revered in many circles, and often loathed within them as well, he’s cultivated and curated a tastemaking-ly obsessive worldwide following of like minded folks. On these nine tracks, we can clearly hear the echoes of Prurient’s howling past, but are also faced with something perhaps even more unsettling – that being the territory of the unknown present and its indication of possible futures. The album, both in content and sound, is at once violent, magnetic, abrasive and emotional. The more we listen the deeper we fall into it, taking what has been provided and using it as a tool for our own self reflection. If the true idea of noise is perpetual freedom, then Bermuda Drain may well be the genre’s most profoundly challenging record since Merzbow went laptop. Bermuda Drain is a boldly melodic, beat based synth record, complete with the very verse/chorus/bridge structures that the community so often defines itself by eschewing. The Prurient of today is more truly in line with the original spirit of noise than ever before. We give it two years before there is a collaboration with Trent Reznor.” Includes an mp3 download code.
| ASVA: Presences Of Absences CD (IMPREC 279CD) 14.00|
“Intention. The thing I’d always felt deep down about Asva recordings was that sense of… Intention. Good as they have been they rang hollow, as if the truth of what nature born those tracks was hidden behind a veneer of having to ‘be’ a definable thing, genre specific, a way to ‘belong’ somewhere in the midst of other music. The intention behind Presences Of Absences has been to make something real and unbiased, an honest effort at reproducing what is Asva’s nature as a band and as individuals. Not heavy in the traditional sense of ‘heavy’ but emotive and powerful, not quirky, not elusive or exclusive, but a different breed entire. Presences Of Absences is about sincerity, goodwill and compassion, honesty, hard work and in the deepest sense, thanks and reflection at the end of the day. It’s a discussion in music utilizing traditional elements (liturgical, plain chant, tintinnabuli musics, folk and gospel musics, acoustic organ and wind instruments, etc) and contemporary electric instrumentation and playing methods to expose our shared origins, our pasts, presents and futures and the common thread passing through our relationships to all of it… Presences Of Absences is a big work.”
| VA: IMPREC300 LP (IMPREC 300LP) 9.00|
“After ten years Important Records is extremely proud to present IMPREC300, a vinyl only collection of exclusive live tracks from a handful of Important bands including Master Musicians Of Bukkake, Grails, Mugstar, Cave, NHK yx, Bardo Pond, Grails, Master Musicians Of Bukkake, Chord & Bass Communion.”
| ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O.: Live As A Troubadour LP (IMPREC 331LP) 17.00|
“First ever live acoustic recordings from The Acid Mothers Temple & The Melting Paraiso UFO. LP edition limited to 1000 copies. Recorded live in Nagoya. Design by Kawabata Sachiko. Features acoustic versions of fan favorites ‘Pink Lady Lemonade’ & ‘La Novia’ among others.”
| RADIGUE, ELIANE: Transamorem – Transmortem CD (IMPREC 337CD) 14.00|
“Transamorem – Transmortem was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham – this was right before his guitar phase. During this period, Transamorem – Transmortem was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.”
|KI RECORDS (GERMANY)|
| BIODUB: Reisegefaehrte 2×12″ (KI 001LP) 25.00|
2×12″ version, with full-color printed inner sleeves and a digital download link. The first album on the Ki Records label is from Biodub, a producer/DJ from the north of Germany, who will not fail to impress with his fusion of dub, techno and electronica. Bringing in his experience as the drummer of instrumental band Noetics and based on a minimalistic foundation, his tracks are playful in a microscopic way. In between deep bass lines and characteristic dub chords, as well as various sounds from field recording sessions and sometimes also acoustic instruments, this music is extremely warm and alive. Biodub tries to transform visual impressions into his music. He finds most of these impressions in nature but sometimes also in machines or buildings in connection with their environment. The album is equally comfortable on the dancefloor as in the living room, but you may even further enjoy his music in an open field. Photography, graphics and layout by Ki’s Amélie Kai.
|KLIK RECORDS (GREECE)|
| TSOTSONIS, SERAFIM: Beautiful People CD (KL 071CD) 17.00|
Since his first two personal album releases on Kilk Records, Serafim Tsotsonis has been developing into a talented musician. With the release of his brand-new album Beautiful People, the Greek artist takes a step further, presenting even more facets of his diverse talent with a work of exceptional polyphonic delights. Opening track “Red, Green, Blue,” is a unique postmodern lullaby, where the serene atmosphere of a child’s room is pierced with the sounds of an urban environment. An imposing performance by Zach soars together with a chorus comprised of Mikael Delta, Kid Moxie, Kiki, Antoneta Kotsi, Fay Depasta and Serafim himself. At the same time, Dimitri Vassilakis, one of the foremost recognized Greek wind musicians, adds further brushstrokes of sensitivity with his saxophone. The dubstep references in the intro of “So Good” are intertwined with the modern electronic sounds of Berlin and the saxophone of Dimitri Vassilakis comes in at the end, marking a shift that leads to an exploration of new sound structures, in which European metronomy meets neo-jazz. The most radio-friendly track of the album is “Far Away,” a mutated Balearic rhythm interpreted unpredictably by the rock-tinged voice of Norwegian Sverre Olav Rødseth. “Catch The Cloud” is where the album really takes off — a deep tech anthem for clubbers around the world. Zach’s almost blues interpretation in “Alone In The Stars” proves the rare quality of his voice and ties harmoniously with the delicate sound of the musicians. Serafim and Kid Moxie follow with a relaxing, almost nonchalant folktronica track “Whistles In My Head” and as a natural succession, Jan Felipe’s gentle voice on “Phantoms” dissolves into the ether as if it was created for those springtime mornings you wish would never end. On “Trees And Flowers,” Zach and Kiki return for some additional intimate moments and then the deep techno infusion of “I Feel Home” jumps out of a Berlin sound studio infused by the creative spirit that prevails there day and night. With “Omnipresent,” Serafim goes back to the dark nightclub, offering up a track for the hours where night gives way to the first light of day so that “Hunter” can follow next — a cosmic, neopsychedelic storm for sci-fi journeys! The cosmic trip continues with “Memorial,” which starts with sounds and voices to evolve into a virtual soundtrack of a lost-in-space road movie, strewn with galactic dust. “Sober” is as if a string quartet invaded the studio for an impromptu jam session, and is a true exhibition of the artist’s rare talents in composition and instrumentation. Beautiful People has the potential to become a reference point in the development of Greek electronic music, as well as to establish the musician as a leader and innovator among his peers.
| SUN RA QUARTET: The Mystery Of Being 3LP BOX (MJJ 316LP) 55.00|
Subtitled: Voice Studio Rome 2,7,8,13 January 1978. “Sun Ra’s legendary 1978 Italian studio sessions, now available together for the first time ever on vinyl! Long sought-after by collectors, these extremely rare studio sessions were originally released in 1978 as two double LPs (New Steps and Other Voices, Other Blues) on the mysterious Italian jazz label, Horo Records. They have never been reissued on vinyl (and only partially reissued on CD) until now! With the help of trumpet player, Michael Ray, drummer, Luqman Ali and saxophonist John Gilmore, Ra kicks off the quartet sessions with the classic ‘My Favorite Things,’ which features some superlative playing by Gilmore, while Ra pounds away on an old upright studio piano. In fact, for the first two sides Ra plays mostly piano, while on sides C and D, he sticks more to his new Crumar Multiman, an Italian-made synthesizer that Ra had purchased during the tour. These sessions are also interesting because they give listeners a chance to hear Ra concentrating on primarily his own compositions–many of which (i.e. ‘Rome At Twilight’ ‘Along The Tiber’) were inspired by his time spent in Italy–but in a more intimate Arkestra-less jazz setting. Fans will be clamouring to get their hands on this before it disappears again for another 30 years.”
| GUYER’S CONNECTION: Guyer’s Connection LP (MEDICAL 007LP) 19.00|
“Guyer’s Connection were a Swiss duo that started making electronic music in 1982. Tibor Csebits and Philippe Alioth were merely 14 and 15 years old and were armed with simply two synths, a drum machine, and a 4-track tape recorder. They are best known for their highly-sought after self-produced and released album ‘Portrait’ in 1983. It is now considered a classic minimal synth pop masterpiece. Several other members joined the band in 1984 and worked together for some time. Philippe Alioth has been very active in the music business writing, producing, and running a Swiss studio as well as running a Swiss label (Sonic Content). This extraordinary collection of tracks was discovered in a dark recess of Philippe’s achieves of 4-track tapes in his studio. The tapes were recorded from 1982 to 1984 but were rediscovered in 2005. A portion of the songs were restored/remixed/remastered. The German record label Kernkrach released the tracks in 2005 in a limited viny-only pressing of 330 copies. This sought-after release has long been out of print. Medical Records in collaboration with Philippe Alioth is proud to present another presentation of these glorious tracks. Featuring 13 tracks (including several never before released and a few reworked versions of tracks released in 2005), this will appeal to all lovers of minimal synth, electro-pop, flexi-pop, and the like. Standout tracks include the vocoder tinged ‘Discoqueen II’, the hyper-catchy ‘ar Isch Schon’, and a slightly modified version of ‘He Sabine!’. New tracks include an interpretation of a German children’s song and ‘Macky Messer’ featuring words by Kurt Weill. The LP features newly created front and back artwork. Presented on 180gm green vinyl in a limited edition of 600 hand-numbered copies.”
|MILLE PLATEAUX (GERMANY)|
| KLIVE: Sweaty Psalms CD (MP 304CD) 17.00|
Originally released in 2008 on the Swollen Glands label, this is the debut release from Úlfur Hansson aka Klive, a young musician from Reykjavík, Iceland. He is the bass player of notorious noisecore band Swords Of Chaos and a touring member of Jónsi (Jón Þór Birgisson of Sigur Rós). Klive is his solo project. Sweaty Psalms has a strong organic feel, mixed with tongue in-cheek brass samples and orchestrations that compliment heavily-processed field recordings. It definitely sounds like water and wood. It bubbles, whistles and rattles indefinitely, with merely seagulls to be spotted. In fact, “Don’t Give Up The Ghost” includes sounds from the vehement battering of pots and pans outside the Icelandic Parliament, after the nation’s financial crash and burn in 2008. Its inverted folkiness and warm concréte touch makes Sweaty Psalms a musically and tonally remarkable album, and perhaps Mille Plateaux’s least electronic sounding album so far.
|MODERN LOVE (UK)|
| STOTT, ANDY: Passed Me By 2×12″ (LOVE 069LP) 20.00|
Limited repress! Produced slowly and meticulously, these seven tracks are the closet thing we’ve had to a new album by Manchester’s Andy Stott since the release of his debut full-length Merciless in 2005. Taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era — these seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro “Signature,” “New Ground” heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. “North To South” starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. “Intermittent” is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before “Dark Details” delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. “Execution” and “Passed Me By” end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin.
| STEREOCITI: Kawasaki 3LP (MOJUBA 001LP) 36.50|
3LP version. This is the debut album by Stereociti from Tokyo. Stereociti aka Ken Sumitani is truly one of Japan’s finest when it comes to uncompromising underground dance music with heart and soul, whether it is the realm of deep house music or the darker moods of Detroit techno. You can actually feel that his roots go far back into the early days of electronic club music but never lose sight of the history of soul, funk or dub. His debut Kawasaki, named after his hometown, delivers the quintessence of what is considered the Mojuba sound. Kawasaki is a timeless piece of music, equipped with everything you need for an outstanding album experience. It will take you by the hand from the very first moments and will be there for you second by second, minute by minute, hour by hour, day by day until you let it go.
| ELAN: Bleep Bloop Brmmp 12″ (MONKEY 012EP) 14.50|
The Bleep Bloop Brmmp EP is the first installment in a trilogy of limited color vinyl EPs by eLan to be released on Monkeytown Records. Each EP features 4 original tracks on the A-side accompanied by 2 remixes on the flipside. While Byetone delivers an astounding minimal techno rework, following the eLan approach of simplicity and effectiveness, Lazer Sword create a rather surprising uptempo rework somewhere between UK Funky, hip-hop and house. Limited to 555 copies.
|MULE MUSIQ (GERMANY)|
| WESSELTOFT & HENRIK SCHWARZ, BUGGE: Duo LP (MUSIQ 058LP) 27.00|
“When some collaborations occur, it feels like Fate has been paying close attention, planning something special. On one hand: Bugge Wesseltoft, pianist, composer and pioneer of electronic jazz; on the other: Henrik Schwarz, one of the most sought after producers of electronic music who has remixed stars from Michael Jackson to Ane Brun. This combination may not seem as radical as once it might, as in the days before Bugge’s New Conception of Jazz, but the results most certainly are: this does not feel like your typical electronic jazz outing. It’s a Super-Group in microcosm.”
|NINJA TUNE (UK)|
| FINK: Perfect Darkness 2CD (ZEN 170CD) 15.50|
“Recorded and mixed by producer Billy Bush, Perfect Darkness is a smoldering, pulsating, and purposeful book of songs. From its emotion-rousing, self-titled opener, to the darkly cinematic ‘Fear Is Like Fire,’ and the uplifting nostalgia of album closer Berlin Sunrise, the Perfect Darkness LP bristles with tense passion and hypnotic charm. It is in two words, bewitching and addictive.” 20-page digibook packaging, includes a bonus disc of acoustic versions.
|NO19 MUSIC (CANADA)|
| SOUL CLAP: Social Experiment Sampler 12″ (NO19 018EP) 12.00|
No19 Music presents a limited vinyl sampler taken from Soul Clap’s debut compilation Social Experiment 002 (NO19 001CD), featuring some of the hottest names in electronic music offering up some unmissable exclusives. This compilation was a global success for the act and the label and saw broad press coverage, a Radio 1 Essential mix and heavy touring in support of it. The mix stood out partly because of the wealth of exclusive and unavailable tracks recorded especially for the album.
|NOBODY’S BIZZNESS (GERMANY)|
| MISS KITTIN: Kittin Is High 12″ (BIZZ 001A-EP) 12.00|
2008 single from the Batbox full-length. Includes the “9/11” club remix by the Norwegian duo Black Labelle and a “Beauty is Terror” mix by London’s Jojo de Freq.
| MISS KITTIN: Batbox CD (BIZZ 002CD) 11.00|
2008 release. Maverick music icon Miss Kittin’s 2nd album, two years in the making, and almost four years since the highly regarded I.Com, BatBox comprises thirteen original songs, all composed whilst touring extensively throughout the world. The album further highlights Kittin’s position as a powerful personality within the contemporary music industry. A true individual with the substance to support the uncompromising attitude she is recognized for. BatBox is bursting with signature style Kittin observations on modern life.
| MISS KITTIN & THE HACKER: Two CD (BIZZ 004CD) 11.00|
2009 release. Miss Kittin (Caroline Hervé) and The Hacker (Michel Amato) — individually, as writers, artists, DJs and producers they are impressive. On the album, Two, together again as a duo, they are unrivalled. Miss Kittin & The Hacker have not only forged a new path on this impressive collection of material, but also, by transforming and remodeling their many musical influences, they have fashioned a club-based European cyber-pop of their very own. The album also features a wonderful, stellar sprinkling of metallic soul, glamorous space disco, glossy vocal nuances, crystalline beats and swirling melodies. The music possesses a sexy androgyny, glistening and pulsating. And the songs? Sometimes narrative, sometimes confessional, direct and alternatively clouded in mystery.
|OLMETO RECORDS (UK)|
| BUSHWACKA!: West Side/Energy 12″ (OLM 030EP) 12.00|
Bushwacka! releases his first solo EP of 2011. “Westside” is inspired by the sound of the biggest German techno DJ on the planet, Sven Väth, creating chaos and euphoria in equal measures. “Energy” is a very different breed of music, influenced by parties, but this time, his own — the morning sessions, the after-hours, the dawn chorus — deep, sexy, melancholy, but tough and naughty — this is serious underground tech-acid, get-down-and-dirty music.
| AGARIC: Who Made Up The Rules/No Way I Know I Feel: The Remixes 12″ (OVM 216EP) 11.00|
Ovum presents a remix EP from Agaric’s Who Made Up The Rules (OVM 9011CD). Josh Wink is onboard to remix the title track — this is vintage Wink, pumping and building as only Josh can. On the B-side Axel Boman takes the hypnotic “Get Off My Mind” and makes it a funky house jam. Two amazing remixes of two incredible tracks that should be heard throughout the summer season and beyond.
|PERMANENT VACATION (GERMANY)|
| ARGY: Reminiscence EP 12″ (PERMVAC 083EP) 12.00|
Argyris Theofilis is back under his Argy moniker. This record is deeply rooted in the club, made in the spirit of the golden years of the White Island end of the ’80s/early ’90s. “Wish You Were Here” (also featured in a dub version) and “Tari Tari” are like some futuristic nuggets from Alfredo’s record box with its big bass lines, dreamy synths and pianos plus some carefully-sprinkled acid sounds. Argy also remixes the Zodiac Free Arts Club track “N.A.O.E.”
| REBOOT JOY CONFESSION, THE: Blacklight Chameleon 12″ (PHP 054EP) 14.00|
Philpot presents another mind-bending spiriual journey from The Reboot Joy Confession — brothers from nowhere! A next-level beatdown extravaganza. Twenty-five thousand head of the righteous at the first gate.
| HOLMES, A.J.: Summer Of Seven 4/7 7″ (PING 026EP) 12.00|
Peak-time! This one definitely qualifies as a summer record. A.J. Holmes is the self-titled “King Of The New Electric Hi-Life.” After moving back to London three years ago, the guitarist and DJ has played quite a role in the booming Afrobeat scene there and formed a new band called The Hackney Empire. For the Summer Of Seven series, he contributes two remixes of tracks from The Very Best and Xylitol that are simply made for summertime love. Numbered edition of 200 copies.
| GOLDFISH UND DER DULZ: Pool 12″ (PLAY 158EP) 12.00|
Jörg “Goldfish” Fischer and Maurice “Dulz” return to Playhouse with three extraordinary pieces of music dedicated to and inspired by some crazy hotel experiences they had while travelling. “Pool” shows the guys’ love for twisted and crazy sounds surrounding a Chicago-like, bouncing, very funky bass line. Definitely one for the peak-time dancefloor. “Minibar” is more relaxed and ploings your speakers. “Lift” is one of the band’s most successful tracks when playing out live.
|POKER FLAT (GERMANY)|
| VA: Selected Files – Best Of Poker Flat Digital Vol. 1 12″ (PFRX 001EP) 12.00|
This special 12” release gathers 4 of the highlights from Poker Flat’s catalog so far. First up to the controls is NYC new kid on the block, Manik. He gives us “Pure Liquid” in a freaked-out wild-pitch affair, 2011-style. Daryl Stay’s “My Groove” gets the Vincenzo treatment in this classic-vibed killer. Jay Tripwire presents his 8 Channels project with “Control,” a deliciously stripped piece of future house. The 12″ finishes off with one from Russ Gabriel for the darker floors.
|POP WAVE (BELGIUM)|
| VA: Belgian Wave & Pop Songs From The 1980’s LP (POPWAVE 001LP) 22.00|
Very tidy comp of excellent ’80s wave songs from some of the finest underground Belgian artists of that era. Artists include: Subject, Vitor Hublot, Kaa Antilope, BeNe GeSSeRiT and Pas De Deux. Heavy on synth, bass groove, effects and Casio drum machine action. Compiled by Rush Hour and DJ Koenie Van Immerseel of Antwerp’s Wally’s Groove World.
| SOG: Fremde Hände 12″ (PROFAN 035EP) 14.00|
Following the legendary first two, stoically super-minimal records, Profan presents Fremde Hände. The A-side contains a tonally noncommittal sequence ambling across the keyboard in quantized form, reminiscent of the arpeggiator (accompaniment function) function of early ’70s and ’80s synthesizers. On the B-side, daring and thoroughly unquantized quaver rhythms rock around a bass drum that, as the only straight element, tries to keep the whole thing together. The result sounds a little like a delirious Can live.
| KANGDING RAY: OR CD (R-N 123CD) 17.00|
After the Pruitt Igoe EP, Kangding Ray returns with his third album for Raster-Noton, pushing further his explorations on the edge of digital and analog sounds. With OR, Kangding Ray continues to blur the borders between experimental and bass music, and brings his signature sound to another level, somewhere at the darkest fringe of club culture. With the massive metallic beats of “Athem,” the frightening, distorted waves of “Mojave,” the elevated groove of “Odd Sympathy,” the modulated guitar walls of “Leavaila Scheme,” or the low-bit-rate Everest of “La Belle,” KR creates deep atmospheres, loaded with echoes of collapsing economies, dysfunctional political systems, and corporate alienation. In an abstract manner, OR depicts the delusions of modern civilizations, while initiating a positive reflection on crisis as a creative state. OR (“gold” in French), as the only chemical element that seems to keep its value for eternity, refers to the cult of endless consumption and the absurdity of fluctuating currency valuations, while in English, as a logical operator or grammatical conjunction, OR represents the possibility of another choice, an “inclusive disjunction” which suggests that there might be another answer, a different path to follow. Noticeable inputs have been provided by Ben Frost, who composed a keyboard line for “Or,” Rose Tizane Merrill who lent her voice to the anarchist poem “Monsters,” and Magne Mostue who wrote the words to and sang on “Coracoid Process” as well as the vocal version of the prophetic electronic mantra “Pruitt Igoe.”
| CYCLO.: id 12″ (R-N 127EP) 16.50|
12″ white vinyl EP featuring 4 of the 11 tracks from the CD version of Cyclo.’s id.
| ALVA NOTO + RYUICHI SAKAMOTO: Summvs CD (R-N 132CD) 17.00|
Raster-Noton releases the album Summvs, the latest result of the unusual creative partnership between the Oscar-prize honored film composer Ryuichi Sakamoto and the fine artist and electronic music pioneer Carsten Nicolai aka Alva Noto. The name of the artists’ fifth collaborative release Summvs refers to the Latin word “summa” (engl.: sum) and “versus” (engl.: towards), serving as a metaphor for the work being oriented towards a collaborative whole. Summvs is the last of a series of five releases that started with Vrioon (R-N 050CD) in 2002 and continued with 2005’s Insen (R-N 065CD) and Revep (R-N 072CD) and Utp_ (R-N 096DVD) in 2007. Passages of sparse yet emotionally-charged and passionate piano solos are embedded in sine waves or reworked to establish new aesthetics of piano sound. Sparse percussions and throbbing bass pulses hover above and below — the music being contemplative and minimal at the same time. The tracks “Microon I-III” contain recordings of one of the 15 pianos using a 16th tone interval tuning built by Sauter, Spaichingen/Donaueschingen, Germany. The original “Piano Metamorfoseador En Dieciseisavos De Tono” was designed by Julián Carrillo Trujillo. Thanks to the music department of Berne University of the Arts for making this instrument available. Included in the album are two cover versions of the track “By This River,” originally written by Roedelius, Moebius and Brian Eno in 1977. In their instrumental versions of the song, Nicolai and Sakamoto create and investigate the song’s appeal in both normal speed and slow motion. Ryuichi Sakamoto on piano and Alva Noto on electronics will present this fifth collaborative release live with a uniquely-styled visualization and a state-of-the-art technical setting and stage design.
|RED LOUNGE (GERMANY)|
| JUNGLE: Jungle LP (RLR 091LP) 24.00|
“Here´s a real surprise, the first legitimate re-issue of this mega rare Californian psychedelic monster. This is one of the best and most sought after psychedelic gems ever recorded, with amazing and fluid heavy fuzz guitars, superb organ, drums and fantastic songwriting. Recorded in New York in 1969 while the band was living in a farm in Vermont. The original was pressed in a run of 50 demo copies only! No names or hints are given on the original LP but after over a decade of excruciating search, Miguel Rodriguez, the man behind finding Darius, Garrett Lund, Stonewall and many more, finally found the band members! So here is your chance to listen to one of the great mystical albums of the psychedelic private press collectors’ realm at the fraction of the cost of the original, in amazing sound. This gem comes in a gatefold cover with unseen pictures and full band history, released in full collaboration with the surviving band members.”
| SINCLAIR, DAVID: Take My Hand CD (REGEN 1102CD) 17.00|
“Take My Hand is the ultimate Canadian Private Pressing LP from 1973, West Coast folk-rock-psych stylings with sudden tempo shifts from mellow dreamy acoustic with occasional female backing vocals to sudden bursts of electric guitar wailing. The album also has a couple of great downer tracks with sparse arrangements. Highlights include: ‘A Tale Of Raven’ ‘To Know You’ ‘Three Hour Ride’ and ‘This Time Around’. Canadian singer-songwriter style music with some psych direction, and a strong and very pleasant West Coast feel. Fans of David Wiffen and Vernon Wray would greatly enjoy. The album was brilliantly recorded by legendary Canadian producer and artists Stan Cayer and has been fully remasters from the original tapes. Also included are 7 previously unreleased bonus tracks!”
| VA: Record Store Record 2LP (RRR RSR) 38.00|
“If you can’t come to our shop, then maybe our shop can come to you. No, this is not a collection of in-store performances, there are no bands or artists trying to impress you with their skillz and technique – this is a collection of location/environmental recordings made inside our record stores, just the sound of regular everyday customers looking at records, talking about records, buying records – oh yeah, and record store owners boxing up records for mail-order customers – audio verite, sound poetry and a touch of musique concrete, 2 tracks are processed/cut-up/collage and 3 tracks are straight open mic recordings – participating record stores are: Hospital Productions, RRRecords, Sarvilevyt, Second Layer Records, and Weirdo Records. For the optimal experience, it is recommended you listen to this record while looking through your record collection.” Housed in a deluxe full-color gatefold sleeve and includes a bonus LP; comes in a heavy duty silkscreened nylon bag.
|RUSH HOUR (NETHERLANDS)|
| SHIGETO: Full Circle Remixes 12″ (RHGS 001EP) 12.50|
This is a limited collaboration between Ghostly International and Rush Hour Distribution, featuring the finest remixes, previously only available as a digital download, plus the beautiful unreleased track “Micorcosmos.” The world of Zach Saginaw’s Shigeto deepens with Full Circle: Remixes, a 5-track EP of new and reinterpreted material from the Brooklyn-based artist’s 2010 debut full-length Full Circle. Remixers include Mike Slott, Take, Samiyam and Om Unit. A vital exploration of Saginaw’s ever-growing catalog.
| REED, LOU: Lollapalooza Live DVD (SR 005DVD) 20.50|
“In July 2008, Lou Reed assembled a never-before featured cast of musicians into a band which essentially tore the house down at Lollapalooza. The band included Lou stalwarts Rob Wasserman on bass, Tony ‘Thunder’ Smith on drums, Mike Rathke on guitar, as well as more recent sideman like Steve Hunter (who played on Lou Reed’s Berlin), keyboardist Kevin Hearn, Ulrich Krieger on sax, and Sarth Calhoun on fingerboard continuum and processing. This historic Lou Reed set at Lollapalooza included classics like ‘Walk On the Wild Side’ and ‘Sweet Jane’ as well as rarely featured gems like ‘Senselessly Cruel’ and ‘Mad.’ Lou’s performance also featured a 15-minute mid-set section of instrumental noise by Lou’s Metal Machine Trio, which added an extra bit of intensity to the proceedings. This special Lou Reed performance has been called one of the greatest ever at Lollapalooza.” NTSC All Region format.
| CUTMEN, THE: Seconds Out CD (SOL 173CD) 16.00|
“The name is new, but the four members of The Cutmen all come from such storied backgrounds that it’s reasonable to call them a supergroup. M (AKA Reeve Malka), the multi-talented leader of ensemble, has his fingers in more pies than can be listed here, but a brief overview includes recordings with Jarboe (Swans) and membership in Orchestre Noir and Sol Invictus. World-famous percussionist Z’EV needs no introduction. Stephen Flinn has been playing professionally as a percussionist and drummer for more than 20 years, Giles Leaman began his professional career 30 years ago as a member of the Penguin Cafe Orchestra, and has recorded with Rip Rig & Panic, Thomas Dolby, The Drones, Echo City, and a special performance of Brion Gysin’s Cut-Up Poetry in London. The music of The Cutmen is made from found sounds and unconventional instruments (including several built by Giles), skillfully arranged and performed in an engaging and playful style that constantly surprises and pleases the ear, as if one was tasting a salad made of previously unknown but delicious herbs and flowers. The songs are spacious and refined, and the overall atmosphere is one of measured and deliberate restraint rather than frenetic chaos. You can’t call it’experimental’ music because it’s fully realized and complete. It’s enormously cinematic, redolent with shimmering sunsets, whispering rain showers and dew sparkling under moonlight. Seconds Out is proudly presented by Soleilmoon Recordings in a hand-made screen printed cover, in a limited edition of 350 copies.”
| Z’EV & NICK PARKIN: The Ascending Scale CD (SOL 174CD) 16.00|
“The crypt is thickly atmospheric and alive with resonant acoustics, both of which were essential qualities in the playing and recording of a series of solos and duets by z’ev and Nick Parkin. The first recordings were made with a variety of different instruments, metallic percussion, strings and wind provided by Parkin together with metallic percussion and bass drums from z’ev. This was followed by a series of duets performed on a collection of gongs and cymbals. The instruments resonated with the acoustic properties of the space and at times seeming to connect with the subterranean archaic history layered below. After several recording sessions held in 2008 and 2009 the source recordings were used to compose two finished pieces. Varying degrees of electroacoustic processing were then employed to transform the material again into two new works. The four pieces were further edited and recombined to become the three tracks that make up The Ascending Scale. These final versions were inspired by both artists having a strong interest in Alchemical processes and Elemental sound, which manifested in the initial recordings in Spitalfields Crypt and in the final compositions relating to Elements of Three Alchemical Phases of the Swiss alchemist Paracelsus. The Ascending Scale is proudly presented by Soleilmoon Recordings in a hand-made screen printed cover, in a limited edition of 350 copies.”
| PIEMONT: Sand Hills Part One 12″ (SRX 015EP) 12.00|
The first of three 12″ releases from Piemont’s full-length Sand Hills (SRX 001CD). Sand Hills is more than just a dance album, but a well-balanced and detailed exploration of electronica.
| TRICKSKI: Wilderness 12″ (SUOL 026EP) 12.00|
Yannick Labbé and Daniel “Stoerte” Becker are the duo better known as Trickski. “Wilderness” is the first single from their long-awaited debut album Unreality. The original version of “Wilderness” has a massive groove that grinds itself into your brain. The remix by Genius Of Time makes you close your eyes and enjoy the ride. Soulphiction handles the re-rub, concentrating on the vocal while an arpeggiator takes it away to funky town. Also includes a remix by Jef K.
| OTTUM, JOSH: Watch TV LP (TR 217LP) 17.00|
LP version with free download code. Although Watch TV is only Josh Ottum’s second album, it is the result of years of songwriting, experimentation, sonic exploration, and personal introspection. Recorded piece-by-piece at both Richard Swift’s National Freedom studio in Cottage Grove, Oregon, and Casey Foubert’s Metal Camp in Enatai, Washington, between 2007 and 2010, Watch TV is a sonically unified album, even as it remains a study in contrasts. Josh consciously chose to utilize an accessible musical palette in both his melodies and in his instrumentation. Indeed, a lot of the programming for the album was done on the consumer music software GarageBand. There are pop hooks galore and there are heartbreaking ballads that fit somewhere between some of Paul Simon’s most transparent work and David Foster-produced ’80s ballads by Chicago and Lionel. As Josh notes, “I’ve always loved midi sounds, fake choirs and sampled steel drums. I am also aware of how ridiculous these things are. I don’t like them — I love them.” But at the same time he’s stressing consumer instruments and technology and accessible melodies and hooks, Josh remains interested in compositional complexity. This juxtaposition of the “accessible” with the experimental bespeaks of the larger conceptual scope of Watch TV: What can be hidden beneath that which seems simple or easy to understand? What kind of emotional content lies underneath sounds that can seem almost cliché? And in what ways are our emotions and personal lives interwoven with pop music “clichés?” It is this, the album’s admixtures of human and technological, of studio musicianship and consumer software, of melodic naiveté and compositional complexity, of accessibility and depth, of cliché and expression that come together around the human experience in modern society. Much like our relationship with TV music, each song on Watch TV provides a cinematic palate for the listener to project his or her feelings onto. The album means to be evocative.
| DEL THE FUNKY HOMOSAPIEN: Golden Era 2LP (CP 3035LP) 20.00|
“From Oakland, CA comes Del the Funky Homosapien; a true innovator & legend in the world of hip- hop. Having already turned out incredible releases in the 90s, the early 2000s saw Del’s star rise even further. Del linked up with super-producer Dan The Automator and world-class turntablist Kid Koala to create one of the most innovative hip-hop albums in modern history, Deltron 3030. Deltron received amazing reviews (4.5 stars from Rolling Stone) and continued on to further secure Del’s place in hip- hop history. The ideas and concepts born with Deltron 3030 allowed for the creation of Del’s next project; the Gorillaz collaboration. With Dan the Automator at the helm, Damon Albarn (Blur), Tom Tom Club’s Tina Weymouth, Buena Vista Social Club star Ibrahim Ferrer and Kid Koala working together, the album was an immediate hit. Del’s vocals on the smash single ‘Clint Eastwood’ helped the Gorillaz sell over 5 million records. Recently Del dropped ‘Golden Era,’ which Hiphopdx describes as ‘Del channeling the emcees of the late 80s-stream-of-consciousness raps punctuated by ridiculous braggadocio-but through a filter that is unmistakably Del.’ Now The Council proudly bring you Golden Era the way many of us heard the golden era, on vinyl.”
|THRONE OF BLOOD|
| COSMIC KIDS: Reginald’s Groove 12″ (THRONE 012EP) 12.00|
Cosmic Kids Ron Poznansky and Dan Terndrup have cultivated a reputation as one of L.A.’s most exciting DJ duos at parties like the legendary Do-Over and Dam Funk’s Funkmosphere. They started working in the studio, completing remixes for friends like Harvard Bass. But it was their first original tune “Reginald’s Groove” that landed them on Throne Of Blood, backed by absolutely tremendous remixes from dear friends Juan Maclean, Classixx and label mates Bicep.
| HARKIN & RANEY: Shakes On 12″ (THRONE 015EP) 12.00|
Harkin & Raney present a three tracker of floor-friendly deep house and techno. “Workin And Steamin” sets the vibe with haunting vocals and a chugging deep house groove. “Shakes On” is a melodic and moody bit of NYC house, destined for classic status. Next is a dark and driving dancefloor reinterpretation by Naum Gabo (JG Wilkes of Optimo fame and James Savage). Their version is faithful to the original, yet it twists the vibe into a moody, floor-filling motorik techno groove.
|TRANS AIR RECORDS|
| VA: West Indies Funk 2 CD (TRA 424004CD) 18.00|
“Following the success of the first installment of West Indies Funk, Trans Air Records of San Juan, Puerto Rico is proud to present a second volume of rare, vintage funk straight out of the Caribbean. This entry unearths more inspired cuts from artists such as The Troubadours, Steel Image, The Cassanovas, Blue Rhythm Combo and Kenny & The Beach Boys. They may not be household names, but their Caribbean-flavored covers of songs by James Brown (‘The Big Payback’), Sly & The Family Stone (‘Sing a Simple Song’), Charles Wright (‘Express Yourself’) and Young Holt Unlimitied (‘Soulful Strut’) are instantly memorable versions in their own right and are sure to stay in rotation all summer long. CD (digipak).”
| VA: West Indies Funk 2 2LP (TRA 424004LP) 20.00|
| DILL, ROLAND M.: The Good The Bad The Ugly The Evil 12″ (TRAPEZ 122EP) 12.00|
This is a 4-track EP from Roland M. Dill. Developing from within rather than being developed, the tracks seem to have a stronger hypnotic edge to them. “The Evil” is not very obvious but works very much by itself, whereas “The Good” is a perfect intermezzo for DJs who really build up their sets. “The Ugly” is a mental track — madness on the highest level. “The Bad” is also written in this vein, with a remix by Ronan Portela.
| M.IN & JONAS FAHZ: Square Wave EP 12″ (TRAPEZ LTD103) 12.00|
M.in on Trapez Ltd. in collaboration with Jonas Fahz. “Welcome To My House” features a “jack” track, produced and written by a whole team including: M.in, Jonas Fahz, Peter Eilmers and featuring Nick Maurer on vocals, bringing together old school and new school. “Welcome To My House” has a mean, rough, tough, live jammed attitude to it. The alienated and twisted voice of Nick Maurer adds a psychedelic touch.
| COOPER, MAX: Metaphysical EP 12″ (TRAUM 136EP) 12.00|
The track “Gravity’s Rainbow” highlights the more stripped and pop-nurtured side of Max Cooper. Although seemingly light, this track is as complex as all of his work, using antagonistic elements such as golden, spine-tingling sounds that linger and a grand bass line melody that could be described as an award-winning hymn. “Gravity’s Rainbow” is a catchy tune made to fill the dancefloor with a kind of happiness that is kind of rare for Max. Includes a remix by Dosem.
| GOLDMANN, STEFAN: Emptying The Vaults Vol.2 12″ (4 46084EP) 12.00|
Number 2 in a series of 3 EPs unraveling unreleased classic house tracks by Stefan Goldmann. Revisiting the years 2000-2005, Emptying The Vaults highlights the era of Goldmann’s “UK years.” Restored from the original master tapes and cut by D&M’s Rashad, here’s some startling evidence of how deep the roots of house actually were before the hype set in. “Ghost Revisited” and “Crack It” build on lush house grooves, while “Heatwave” leans to the dub side of things.
| GOLDWILL: When We 12″ (7THJOURNEY) 14.00|
This is a 12″ by Mojuba sub-label Wandering. Goldwill teamed up with some vocal support by Lazarusman from South Africa to deliver a conceptual work called When We, where one mesmerizing main theme takes three different approaches to stimulate all your musical senses. From serious, rocking dancefloor action via deep, relaxed house grooves to sparkling ambient sounds.
|WARP RECORDS (UK)|
| BIBIO: K Is For Kelson 12″ (WAP 316EP) 11.00|
“K Is For Kelson is a limited 4 track 12″ featuring an alternative version of the title track and 3 brand new songs. The track is a multi-instrumental smorgasbord, with Bibio (aka Stephen Wilkinson) playing every instrument — including a bermibau, brandy glasses and a Chinese silk fan.”
| BABE RAINBOW: Endless Path EP 12″ (WAP 317EP) 11.00|
“Aptly titled, the Endless Path EP arrives propelled by the momentum of Babe Rainbow’s 2010 debut Shaved EP. That release found fans in SALEM, Gonjasufi, Lil B and Main Attraktionz amongst many others. Its dark atmospherics and minimalist bass excursions certainly inform this new material, but it’s also strongly colored by the myriad mixtapes and ‘chopped & screwed’ projects that Babe Rainbow has unveiled in the past year.”
| ENO, BRIAN: Drums Between The Bells CD (WARP 214CD) 15.50|
“Pairing prickly electronics with live drum patterns, Eno dumps great globs of blotchy machine — malfunction into the mix. Holland’s poetry is interlaced courtesy of [a] monotone voice…the combined effect makes the whole undertaking sound like a wild William Gibson fantasy come to life.” –Pitchfork”Brian Eno first came across the work of Rick Holland in the late ’90s during the Map-Making project; a series of collaborative works between students of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the Royal College of Music, the National Youth Orchestra and the English National Ballet, among others. In 2003, Brian and Rick made their first music together. The resulting work does not appear on this album. In the time since that initial session they have met infrequently to work on new compositions. In early 2011, following the release of Small Craft on a Milk Sea (Brian’s debut album for Warp Records), the pair resolved to finish the project. Drums Between the Bells is the result.”
|WE PLAY HOUSE (BELGIUM)|
| VA: Red D Meets Volume 1 12″ (WPH 013EP) 12.50|
We Play House presents four storming house tracks. The Lemakuhlar boys teamed up with Red D to come up with “Is Limited” and “Is Essit,” two tracks full of raw power, emotion and melody. On the B-side, you’ll find a track by Social Disco Club, with lyrics by Red D, vocalized by Metrobox, and fine-tweaked by Lemakuhlar. “We Made This Jack” brings Chicago madness together with a Detroit chord and “Need You” features a seductive hook and a bassline to make those ladies melt.
| MUDBOY: This Is Folk Music LP (WEIRD 059LP) 15.00|
“Raphael Lyon is the enigma known as Mudboy. From the incredibly detailed art/packaging to bizarre mp3 releases attached to scrap metal or plant matter to Freddy Krueger-inspired art installations, Lyon has always been one of the strangest cats on the scene. This unique perspective also infects his music. Whereas many of today’s kosmiche-influenced artists bubble up from the noise scene (with knob-twiddling pedal pusher seemingly a prequisite to sequencing synth jammer these days), Mudboy’s work hints more toward the avant-garde as well as a touch of the classical. Originally released on CD in 2005, This Is Folk Music finds Lyon placing each sound with purpose and carefully sequencing the songs to create a dark, slightly twisted yet strangely beautiful soundscape. Listen to the gunshot crack that kicks the album into high gear on ‘Solitron Wave’, the seamless transition from the sparkling melody of ‘Running’ into the jungle rhythms of ‘Beirut Dance Party’, even commonplace field recordings of waves and night sounds take on a different dimension in Lyon’s hands. This Is Folk Music may have been his first major release but already, all the trademark elements are present: the skewed aesthetic, the attention to detail and especially, the strong compositional sense. This is Mudboy. Art/layout by Raphael Lyon. Vinyl reissue specially re-sequenced by the artist. Limited edition of 500 includes 22″ x 22″ insert with mp3 download of the album in its original form.”
| NOVELLER: Desert Fires LP (WEIRD 064LP) 15.00|
“The solo project of Brooklyn-based guitarist and filmmaker Sarah Lipstate (Rhys Chatham’s Guitar Army, Glenn Branca’s 100 guitar ensemble, Parts & Labor, Carla Bozulich / Evangelista, Cold Cave), follows up her Red Rainbows CD (No Fun 2009) with this compositional evolutionary step from layered, loop-based drones to more expansive formal arrangements of swells, throbs, tones and shimmer. ‘Almost Alright’ explores territory charted by Fripp & Eno or synth-heavy contemporaries Emeralds. ‘Kites Calm Desert Fires’ is a sandstorm of rich, percussive guitar, warm humming bass and swirling rhapsodic chimes. ‘Toothnest (for Chris Habib)’ arrives at an idyllic sonic plateau of windswept fuzz and tremolo, then charges blindly with a soaring guitar solo evocative of bagpipes triumphantly marking a return from battle. Art by Sarah Lipstate. Originally released on CD by Saffron Recordings. Limited edition vinyl comes with 11″x11″ insert.”
| TERRORS: Lagan Qord CD (WEIRD 071CD) 12.00|
“Perhaps the true test of an artist is taking common elements and fashioning a unique sound all their own. Elijah Forrest, as Terrors, is one artist who passes the test. A bi-coastal vagabond dropping tapes from southern California to Baltimore, Forrest has traveled many miles, seen a lot and judging from his music, not all of these experiences have been good. Terrors is relatively unprolific by underground tape culture standards, putting out a handful of well-received cassettes over the last few years. Each release is filled with simple songs built around his voice, guitar and at times, a healthy wallop of tape hiss ambiance and feedback. With these simple ingredients, Forrest injects a sense of weariness and sadness into his songs — even the instrumentals which loop, layer and wrap back around themselves seem imbued with a touch of grey. The chords, melodies and progressions may sound familiar but in Forrest’s hands, a freshness and timelessness breathes within these songs. Weird Forest is excited to present Lagan Qord, a compilation of Terrors tracks culled from the last few years. Wonderfully remastered by Sean McCann, these songs have never sounded better.”
| TERRORS: Lagan Qord LP (WEIRD 071LP) 18.00|
LP version with insert.
| GARRINCHA AND THE STOLEN ELK: Void CD (WEIRD 072CD) 12.00|
“With a pair of cassette releases in recent months on the venerable tape labels, Stunned Records and 905 Tapes, Garrincha & The Stolen Elk may seem like neophytes on the scene but the truth is Davy Bui and Matt Kretzmann have been making music together in one form or another since 2002. ‘I Don’t Believe You’ kicks off the album with chiming bells and an upbeat church hymn slowed down and matched to a barrage of processed chanting voices. The song morphs into a hypnotic guitar loop layered with ringing synths, guitar washes and ghostly vocals, all building to a cacophonous climax replete with bleating saxes, a buzz metal riff and shredded guitar. ‘Tower of Babble’ begins with sounds of rainfall and something sounding like slowed-down Gregorian chants as a chiming guitar melody softly repeats, eventually giving way to a buzzing organ drone, a tribal drum beat and belted German vocals before taking a final sinister turn with an insistent snare roll propelling the song towards its grand finale. The album concludes with the side-long, three-part ‘First Rites, Last Communion’ suite. Heavily comprised of processed Asian church ceremony field recordings accompanied by occasional guitar and keyboard statements, the piece eventually erupts into a maelstrom of noise blasts, wild guitar and ringing bells before settling into a series of long, drawn out tones. Mastered by Graham Lambkin (ex-Shadow Ring), this album sounds like little else in the Weird Forest catalog.”
| GARRINCHA AND THE STOLEN ELK: Void LP (WEIRD 072LP) 18.00|
LP version with insert.
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