|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 07/18/2011
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| SIR STEPHEN: By Design 12″ (SILK 007EP) 11.00|
“Catwalk calls from a Creole Camelot; Sir Stephen’s more Boy London than Boy Bayou. Like the well-lit fitting room of a United Colors of Benetton store in Milan, By Design is consumer-cool counter culture, if the counter’s a denim bar that only takes gold Amex. Like the pool on the roof of a luxury hotel in Tokyo, By Design is Starck-er than stark, wetter than wild, and deeper in the shallow end. Like a Kuwakuba runway during Paris fall fashion week, By Design is baggy on Agynes, mixxy on Moss, jammin’ on Gemma. It’s so down its beat, so afterhours its early afternoon, so oversized there’s room for two. Made by design with the finest materials – rayon and on, cashmere and cream, and 100% silky Silk. Yeah, boy.”
| MV & EE: Country Stash LP (3LOBED 076LP) 20.00|
Repressed. “Country Stash is from an edition of around 600 copies and is pressed on 140 gram Dutch vinyl. The album is housed within gorgeous multi-color silkscreened jackets bearing new original artwork by both Jenny McGee Dougherty and Lucy Isabel Graves. The album is accompanied by both a collage/text insert and a download coupon for DRM-free MP3s of the album. Country Stash is a joint release between Three Lobed Recordings and Blatant Obviousness.”
|4 MEN WITH BEARDS|
| GAINSBOURG, SERGE: Gainsbourg Percussions LP (4M 195LP) 19.00|
“Serge’s sixth full length originally released in 1964 is one of those records that will totally blow you away since this is the first ethno pop album ever. Sure, there’s the odd jazzy piece, but this is Afrobeat with a capital A, all percussions and drums and in-your-face female backing singers all topped off by Gainsbourg’s smoky and dark vocals: Gainsbourg Percussions was by far Serge’s weirdest album up to that point. Recorded with French jazz great Alain Gouraguer, Gainsbourg Percussions include the hits ‘New York USA’ and ‘Couleur Café.’ Essential Gainsbourg.” On 180 gram vinyl.
| HOOKER, JOHN LEE: Free Beer And Chicken LP (ABCD 838LP) 11.50|
Exact repro, originally released in 1974. Produced by Ed Michel (Charlie Haden, Pharoah Sanders, Lester Koenig) and featuring contributions from Sam Rivers, Michael White and Joe Cocker. “John Lee Hooker’s Free Beer and Chicken is one of the best examples of blues-funk you may ever treat your ears to. But it’s not just the crisp, back-bone-slide grooves, or the wonderful minimalism in the added arrangements of horns, violin, keyboards, and even Kalimba (on ‘Sittin’ on Top of the World’)…” –The Basement Rug
|ACCORDS CROISES (FRANCE)|
| TRIO CHEMIRANI: Invite CD (AC 143CD) 22.00|
“Seven years after their previous recording, Persian percussionists Trio Chemirani return, nourished by their own rich musical experimentation and by meetings with musicians from around the globe. For their new album Invite, based upon a concert series of the same name, Trio Chemirani have put together a spectacular list of invitees, including kora master Ballake Sissoko, jazz pianist Omar Sosa and Titi Robin on bouzouki. The musical interplay between these great artists is nothing short of revelatory.”
|AEI MUSIC (UK)|
| VA: GetDarker Presents: This Is Dubstep 2011 2CD (GD 005CD) 22.00|
GetDarker presents This Is Dubstep 2011. The series, respected as one of the most popular yet credible dubstep compilations is back with an album to define the sound of 2011. An upfront and up-to-date selection brings forth 40 of this year’s freshest tunes including five exclusive, unreleased tracks, and blazing remixes such as Trolley Snatcha’s Chase & Status remix, Excision & Datsik and Distance. The titanic rise of dubstep, from the back rooms of Croydon record shops to the main stages of the world, has seen the genre expand and diversify beyond all limitations. This Is Dubstep 2011 lays out the many forms of the 140 tempo over 2CDs of skilled composition, as Icicle’s intellectual beats melt into the lowdown dub of Loefah & Skream, the shock-out monstrosity of Bass Cannon fires into the broken beat funk of Emalkay, and the Modestep anthem “Feel Good” licks over the gunfire chaos of Doctor P’s “Big Boss.” This Is Dubstep 2011 is the definitive sound of a genre more innovative and massive than ever. Other artists include: Breakage, Flux Pavilion, Coki, Above & Beyond, Distance, 16 Bit, Tunnidge, Kryptic Minds, Youngsta, D1, Jenna G, Cyrus, Kromestar & Dark Tantrums, Slaughter Mob, Kulture, Plastician, Funcase, Pearson Sound, Phaeleh, Nero, Eptic, Proxima, Flux Pavilion, Higher & Higher, Kutz, Noisia, Fused Forces, Von D & Riskotheque, Alys Blaze, MRK1, Jack Sparrow, Ruckspin, Culprate, Engine Earz, Chasing Shadows, 12th Planet & Plastician, Gemini, Wondering, Dirtyphonics, Dark Sky, Conmix and Burial.
| GOBLIN: Suspiria PIC. DISC (AMS 011-PIC) 37.00|
“Probably the most scary soundtrack Goblin has ever written (don’t listen to it when the lights are down!), apparently it seems that the score was composed before the film was ready, so that director Dario Argento had to make some changes to the movie script, in order to have the music perfectly suited! This legendary soundtrack combines elements of music and sound scary effects going far beyond traditional background scoring, becoming an integral part of the film. As critics say nowadays, Suspiria music ‘is so perfectly integrated into the film, fares less well as a stand-alone item. All that pounding, howling, thumbing, and wheezing is enough to send chills down your spine even without the movie images (it is the perfect imaginary soundtrack), but not all of it could be called a pleasant listening experience (unless your idea of pleasant is having your nerves set on edge).’ 300 copies limited pressing in beautiful picture disc.”
| GOBLIN: Roller PIC. DISC (AMS 017-PIC) 37.00|
“Roller was the second record for Goblin, originally released in 1976, just after the successful score of Profondo Rosso, and is one of the very few Goblin records that was not intended to be a soundtrack. By many considered their best effort, in Roller the band develops their dark, hypnotic and totally instrumental sound, but with an always vivacious and dynamic edge. The record also features new members Agostino Marangolo (from Flea) and Massimo Guarini. 300 copies limited pressing in beautiful picture disc.”
| FACTUMS: Gilding The Lilies 2LP (ASSO 006LP) 18.50|
Double LPs tend to make quite the statement. The proof is in the pudding, as they say. Just listen to classics like Trout Mask Replica, Double Nickles On The Dime, Lake, Twin Infinitives, Harsh 70’s Reality….well, Factums have thrown their hat into the proverbial ring with Gilding The Lilies. This mythic release has been rumored and debated for some time and to say this is their crowing achievement is an understatement. Factums have been shrouded in mystery, rarely playing live — this hermetic Seattle/Chicago combo have been releasing rustic/futuristic artifacts for a variety of labels over the last few years. On Gilding The Lilies, all the ideas come together: sci-fi surf rock, post-apocalyptic murder ballads, musique concrète anthems, hell, on Gilding The Lilies they even dedicate the latter half of this masterpiece to Far Eastern exotica and incorporate sitars and tablas. Yeah, this ain’t no Beatles trip, it’s a Factums take on their inner chakra or pith helmet exploitation or whatever the kids are calling it these days. Limited one-time pressing of 700 copies.
| TAJ MAHAL TRAVELLERS: Live In Tokyo, 19th August 1974, Part One LP (B 142LP) 27.00|
“Avant-garde composer and sound installation artist Takehisa Kosugi (musical director of the Merce Cunningham Dance Company) has led the Japanese avant-garde music scene since the early 1960s. In 1969 he formed the Taj Mahal Travellers, a musical collective that travelled the world in a VW minibus creating Fluxus-influenced improvised multimedia sound events. This double album (divided into two LPs), recorded live at the Nippon Columbia Studio in Tokyo in 1974, was the group’s final effort before disbanding. Here Kosugi and the Travellers blend Eastern and Western instrumentation, vocal chants and electronics to create free-form psych-laden drones. This historic album is an essential and influential piece of Japanese avant rock.” Part one, on clear vinyl in clear plastic sleeve with black lettering. Limited edition 500 copies.
| TAJ MAHAL TRAVELLERS: Live In Tokyo, 19th August 1974, Part Two LP (B 143LP) 27.00|
Part two, on clear vinyl in clear plastic sleeve with blue lettering. Limited edition 500 copies.
|BECAUSE MUSIC (FRANCE)|
| METRONOMY: Heartbreaker 12″ (BEC 5772344) 12.50|
2008 release. Killer remix package of “Heartbreaker” (from the album Nights Out) including remixes and reworks from Faze Action, Diskjokke and Kris Menace. Plus an amazing Discodeine (D.I.R.T.Y.) remix.
| METRONOMY: Radio Ladio 12″ (BEC 5772480) 12.50|
2009 release. A perfect slice of pop pleasure taken from Metronomy’s fantastically received second album Nights Out. Featuring remixes by Radioclit and Micachu. “A multi-layered party playlist that gurgles out anthems without pause…a sleeping giant of a dancefloor creeper that will be everyone’s favourite in approximately six months’ time.” — NME (9/10)
| MOBY: Pale Horses 12″ (BEC 5772537) 12.50|
2009 single, featuring remixes by Gui Boratto, Apparat, and Empyrean. “On ‘Pale Horses’ my friend Amelia is singing; she’s holding a $20 microphone, no headphones, just singing it with me holding the lyrics in front of her pointing to the words. She didn’t know the song before she sang it, so her performance has a vulnerable and almost naïve quality. After, I put her vocals on an old 1/8″ tape machine and re-recorded them back into the song. I wanted them to sound as if they were recorded 50 years ago.”
| BUTLER TRIO, JOHN: April Uprising 2LP (BEC 5772644) 26.50|
2010 release. Limited French edition, includes two bonus tracks not available elsewhere. John Butler began his career as a musician in the streets of his country, Australia. Independent since his beginnings, his career was built from his own label Jarrah Records. With April Uprising, a brand-new chapter opens for the group: “The preparation for the recording and the repetitions were a true pleasure. I would say that the sounds, the general spirit and the energy of this album are summarized in these words: free, melodic, funky, powerful and rock. There is unquestionably more aggressiveness in this album than in the precedents. It is probably because of our superior engagement and conviction in term of writing and production. With Nicky and Byron, I found a degree of complicity which really serves the songs in all their aspects.”
| PATRICE: One LP (BEC 5772728) 23.00|
2010 release. One synthesizes a career spanning 12 years, of a debut in Jamaican reggae passing on to soul, rock, and even English folk. Patrice has tamed many styles in the course of four albums, rich in their colors and facets. The 13 tracks on One contribute to his discography of electric and homogeneous sounds. For this album, Patrice has incorporated spices from the four corners of the world: in London, he summoned a dozen violinists from the female orchestra Demon Strings, directed by Izzi Dunn (Gorillaz, Blur), with whom he had already worked on his album Nile. In New Jersey, he had worked with Grammy award-winning producer Commissioner Gordon who had already worked on his previous album. In Jamaica, he solicited old friends, like the legendary saxophonist Cedric IM Brooks and The Skatalites. He also included his new experiences with Sly And Robbie on the track “Nobody Else’s.” The entire album was mixed by Tom Elmhirst (Amy Winehouse, The Kills) and by Patrice himself in his studio in Cologne, Supow Studio. As the artist himself explains: “I would like to avoid digital; I prefer analog. I treated the sound of this album the same way rappers used to treat samples, to give it a warm but modern aspect.”
|BIG DADA (UK)|
| WILEY: 100% Publishing CD (BD 180CD) 15.50|
“Wiley is the Lord Byron of rap. It’s so obvious I’m not even going to explain it. Arguably one of the most important British musicians of the last ten years or more, this mass of every contradiction the human race can muster is also a stone-cold genius, albeit one who occasionally seems a trifle unhinged. Now the latest switchback move in a career defined by switchback moves is his return to Big Dada with his latest and arguably finest album. 100% Publishing, one hundred per cent written, produced, vocalled and recorded by Richard Cowie, the shadowy figure behind the Wiley persona.” Enhanced CD includes instrumental and acappella versions in mp3 format.
| WILEY: 100% Publishing 2LP (BD 180LP) 20.50|
2LP version with download code.
|BLACK BOX (UK)|
| DJ MADD: Transmissions: Vol. 1 CD (BLACKBOX 013CD) 11.00|
In just over 18 months, Black Box has gone from being a totally new imprint to one of the most recognizable and reliable brands in dubstep. Under the careful guidance of scene veteran DJ Thinking, the label has nurtured a tight roster of names both new and old, giving a home to upcoming artists such as DJ Madd, Seven and Lurka, while also drawing in content from dubstep royalty including the likes of N-Type, Hatcha, Kryptic Minds and Breakage. Heavy live and radio support from A-list DJs, coupled with crisp artwork and the unmistakable Black Box insignia, has quickly imprinted the label onto the public’s collective psyche as a trusted outlet for UK bass music. DJ Madd has followed a similar trajectory to his home-label Black Box, with his support list reading like a who’s who of dubstep. 2011 has seen Madd cement his position in the higher echelons of the scene, with releases on N-Type’s Wheel & Deal and Kryptic Minds’ Osiris Music, weekly plays on Rinse FM, Kiss FM and BBC Radio 1, and an ever-growing schedule of gigs across Europe and beyond. Following the recent success of the Kryptic Minds album Can’t Sleep on Black Box, and with increased interest in the label, it seemed an appropriate time to ask DJ Madd to compile a studio mix of new, old and unreleased tracks from the label, and to package this mix as a low-cost product to appeal to casual shoppers and would-be listeners. Madd’s mix takes in many past highlights of the label as well as fresh material and dubplates, giving a fantastic overview of the depth and quality of the label’s music direction. Other artists include: TMSV, Cyrus, Benton, Lost, Youngsta, Commodo, Chris Su and Phaeleh.
| CHERRY, DON: Complete Communion LP (BLP 4226LP) 12.00|
Originally released in 1965, Don Cherry’s first album for Blue Note featured Leandro “Gato” Barbieri (tenor sax), Henry Grimes (bass) and Edward Blackwell (drums). “…all the musicians free-associated off of each theme, engaging in intense, abstract dialogues before moving on to the next.” –All Music Guide
| VA: Turkish Freakout 2: Psych-Folk 1970-1978 2LP +7″ (BZJ 7502LP) 25.00|
Gatefold 2LP version — includes a limited edition bonus 7″ single with vintage sleeve artwork. “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.”
| ARTISTICS, THE: The Articulate Artistics LP (BL 754139LP) 11.50|
Exact repro of this Chicago soul group’s third album — the second for Brunswick — originally released in 1967. Featuring soul singer Marvin Smith, with production by Carl Davis and arrangements by Sonny Sanders.
|BUREAU B (GERMANY)|
| ROEDELIUS: Wie Das Wispern Des Windes…Like The Whispering Of The Wind CD (BB 066CD) 17.00|
Bureau B reissues the eleventh solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1986 on the small Norwegian label Cicada. If we can agree on 1969 as the year of Cluster’s inception, then Roedelius needed a good 17 years to discover the aural qualities and musical beauty of the grand piano for his own compositions. More precisely, he must have become aware of the grand piano during the recording sessions for Jardin Au Fou (1979) and Lustwandel (1981) in Peter Baumann’s Paragon studio. Another five years would pass before he built an album entirely around the piano, with electronic elements altogether absent. There is no sign of the Farfisa organ or indeed any of the synthesizers which had previously been such a common feature of Roedelius’ solo works. The piano sounds were left untreated. Indeed, he was clearly so fascinated by the sonority and potential of the Bösendorfer grand piano that, a few overdubs notwithstanding, he dispensed with virtually all distinguishing features of his musical approach. On Wie Das Wispern Des Windes, Roedelius played his way into virgin territory, as new to his listeners as it was to him. It’s no wonder that Wispern was released not on a specialist electronic label in Germany, but on a small Norwegian label called Cicada. Rarely has the title of a Roedelius album (trans. “Like the whispering of the wind”) so poetically and yet so accurately described its content. Roedelius expands his études towards amorphousness; then suddenly, a disarmingly familiar melody appears, from a completely different source, perhaps (Harmonia? Cluster?). To continue the poetic theme of the LP’s title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless. Liner notes by Asmus Tietchens.
| POP & THE STOOGES, IGGY: More Power LP (CLP 3687LP) 12.00|
LP version. Restocked, sorry. Slightly lower pricing, at least. Slightly bad taste in your mouth? Still there… “Digitally remastered collection of rare studio recordings from punk icons Iggy Pop and The Stooges recorded in the same year the band released their seminal album Raw Power! Remastered to pristine audio fidelity for a unique look into one of the greatest punk rock bands ever!”
| POP, IGGY: Iggy & Ziggy – Cleveland ’77 LP (CLP 3738LP) 12.00|
LP version. Restocked, sorry. Slightly lower pricing, at least. Fairly strong bad taste in your mouth? Still there. “Recorded live at the Agora Ballroom in Cleveland, OH, March 21, 1977, the show includes wild performances of Iggy’s classics such as ‘Raw Power,’ ‘I Wanna Be Your Dog,’ ‘TV Eye,’ ‘1969’ and many more!”
| VATH, SVEN: In The Mix: The Sound Of The Eleventh Season 2CD (CORMIX 032CD) 21.00|
Regular digipak edition in clear tray. Frankfurt-based Sven Väth is co-founder of the Cocoon label, and this is The Sound Of The Eleventh Season. Inaugurating its second decade in Ibiza, Cocoon has presented a whole new range of musicians, performers, costumes, masks, choreographies and visuals. With the eleventh season, Väth has opened another chapter in Cocoon’s never-ending metamorphosis: a butterfly of unknown splendor is born out of its cocoon. Perceived in all parts of the world, the Cocoon parties in Ibiza are a major cultural event. Being a manifesto of infinite transformation and growth, Väth manages to melt this season’s most ecstatic moments into two sets, spanning over 2 1/2 hours. Both discs form a musical diary — reaching beyond the current hits, Väth retrieves the profound qualities of contemporary electronic music. The charming, humorous vocals of Gerd fuse into Château Flight’s subtle, elegant house grooves. The mood shifts, and Jacek Sienkiewicz enters with uncanny soundscapes and graceful Detroit grooves. The set accelerates with Edit Select’s remix of Speedy J’s “Trails,” and with the frenzy of Soul Center’s “Dyr Bul Scyl” and MMM’s “Nous Sommes MMM,” it turns into a series of climaxes. We are captivated by the adorable melodies of Koze’s “Blume Der Nacht.” We lose ourselves in the dub landscapes of Skudge’s “Convolution,” we are amused by the cut-up vocals of Kabale Und Liebe. The hypnotic grooves and mesmerizing melodies of Martin Buttrich’s “Song Six” make us finally forget time and space before we are enchanted by the daring naïveté of Plaid’s “Dett.” The “Eleventh Season” might be over, but its experience endures. Other artists include: Elle P. & Iftah, Ruede Hagelstein, Mano Le Tough, Till Krüger, Brett Johnson, Daniel Stefanik, B.D.I., DJ Qu, Solomun, Daniel Stefanik, Johnny D., Maetrik, The Hundred In The Hands, Tom Trago, Kyle MF Hall, Boris Werner, and Basti Grub & Komaton.
|COLOURFUL RECORDINGS (SWEDEN)|
| RIZZA, RICARDO: What A Day EP 12″ (COLOUR 004EP) 12.00|
Riccardo Rizza joins Colourful Recordings with deep, sexy grooves and that vital element of funk. The title track comes with a rolling bass line, disco licks and an organ hook to get the groove on. “Typinic” is built beautifully around vocal stabs, filtered keys and floating harmonies. Mario Aureo remixes, turning up the heat on the title track while Dimitri Andreas takes “Oyster” to peak territories with a shufflesque groove, thick bass and sax stabs. Just wait for the drop.
|COMPOST BLACK LABEL (GERMANY)|
| PHREEK PLUS ONE: Passion Remixes 12″ (COMP 379EP) 12.00|
Stellar remixes of Phreek Plus One from DJ T., Toby Tobias and Sportloto. Their debut album Phreek Party (COMP 372CD) refined cosmic funk and disco with fresh, phat and slick beats, bouncing bass lines, brassy keys with a puffy breeze of soulfulness and a hint of ’80s boogie. Mr. White (Chad White) joins the Phreeks, sharing all their passion.
| RADIO SLAVE: K-Maze 12″ (CTZM 004.1EP) 12.00|
Ultra-limited special edition with youANDme’s secret vocal remix of the Radio Slave track “KMaze.” One-sided clear/white swirl vinyl-only release.
| LORD FOUL: Killing Raping Burning LP (DAIS 018LP) 19.00|
“This is an absolute time capsule of blasphemous American black metal, a collection of the only material (two demo cassettes) ever recorded by Louisville, Kentucky’s Lord Foul between 1993 and 1994, who’s only member ‘Roach’ played and recorded every instrument. A hateful document from the early metal underground! This vinyl is a single-sided etched art edition, with beautiful artwork by Bryan Burk of Dark Horse Tattoo carved into the B-side. Comes in a thick cardstock matte finish sleeve with new foil embossed artwork (also by Burk.) ” Limited, numbered edition of 500 copies. Includes a 4-page glossy insert.
| FIFADJI, PERRINE: Awada Kpe Kpe CD (DAQUI 332045) 20.00|
“Perrine Fifadji’s Awada Kpe Kpe (The Chrysalis) is a musical adaptation of her stage show of the same name that combines dance and music. It is a one-of-a-kind musical journey from caterpillar to butterfly, combining the music of Fifadji’s African roots with influences from many other cultures and styles. She is accompanied by Francis Passicos, Emmanuel Arne, Ewa Tohinnou and Ersoy Kazimov on a variety of instruments including flute, sitar, ocarina, Tibetan bowls, harmonium, guitar and darbuka.”
| BELTRAN, JOHN: Kassem Mosse & Sven Weisemann Selection Remixes 12″ (DSR 087EP) 12.50|
In addition to John Beltran’s Ambient Selections 1995-2011 (DSR 088CD) compilation, Delsin presents this special 12″ featuring remixes by Kassem Mosse (with studio mate Mix Mup) and Sven Weisemann.
| DJ PHONO: Welcome To Wherever You’re Not CD (DIYNAMIC 007CD) 17.00|
DJ Phono releases his first album on Hamburg record label Diynamic. Welcome To Wherever You’re Not is a work of heart, of emotions awakened and flourishing unrequited feelings. DJ Phono and his producer Jimi Siebels took their time in crafting a record that is between here and there, between the main floor and backroom, between big and small, between yesterday, today and tomorrow, between pop and club, or in short: in between worlds. One quality all of the 12 songs from Welcome To Wherever You’re Not have in common is their elegant reserve. They politely, cautiously, discreetly ask for a bit of attention without letting themselves get hustled into oblivion. “Soll Ich Ein Loch Graben?,” however, stands out as it unfolds into an imposing 8-minute rave drama: all the hands go up in the air when the bass drum finally kicks in towards the middle of the song. Björn Beneditz (WCW Gallery) and Carola Wagenplast (Jochen Schmith) created the art for the sublime booklet accompanying this album — each album is handcrafted and is therefore an individual piece of art. The forthcoming tour will comprise a delicate and yet serene chorography made of silicon crystals and computer science in the context of club music.
|DOU TAK (FRANCE)|
| AZRIE, ABED: Epic of Gilgamesh CD/DVD (DOM 002CD) 20.00|
“Abed Azrie has brought new life to the Sumerian Epic of Gilgamesh in this new recording from 2011. Ancient Mesopotamia’s most famous work dates back to 2500 B.C. and tells the story of a tragic friendship and a quest for immortality. Azrie’s music embraces all the different cultures of the Middle East. Combining traditional oriental and occidental instruments, provides a unique showcase for his deep, warm voice. His unique style is a timeless fusion whose vital spirit is derived from Arabo-Andalusian culture. From the very first note, the listener will be fascinated. A 96-minute bonus DVD is included.” NTSC all region format DVD.
| CARDEW, CORNELIUS: We Sing For The Future & Thalmann Variations LP (DOZ 409LP) 23.00|
“Recorded in 2002 by American contemporary composer and pianist, Frederic Rzewski, We Sing For The Future & Thalmann Variations are two compositions from English composer Cornelius Cardew’s Marxist-influenced ‘People’s Liberation Music’ period. Rzewski came to prominence in the mid-sixties in Rome as a founding member of the MEV (Musica Elettronica Viva) improvisation group (along with Alvin Curran and Richard Teitelbaum), which shared a vision with groups like Cornelius Cardew’s Scratch Orchestra of the same period. However, like Cardew, in the 1970s Rzewski also became interested in Communism and the power of music to express the will of the people, so it is fitting that Rzewski should chose to revisit these two compositions. 1974’s ‘Thalmann Variations’ was written to commemorate the 30th anniversary of the death of Ernst Thalmann, the Secretary General of the German Communist Party, and is based on a popular German Worker’s Movement song (1934’s ‘Thalmann Song’), while ‘We Sing For the Future’ is a solo piano piece meant to convey the struggle of young people in an imperialist world. It was written in 1981, the year Cardew – who by this time was an active member of the Communist Party – was mysteriously killed in a hit and run accident in London.”
| KLEYN, CAROL: Love Has Made Me Stronger CD (DC 094CD) 13.00|
“Recorded as the dust was settling on the unrest of the early 70s and people were in need of a little peace in their lives, Love Has Made Me Stronger recalls the free-wheeling West Coast world of geodesic domes, housemates named Luna, Star, Silver Bird and Nebula and a place called Perfect Park. The sound of Love Has Made Me Stronger is a sound of joy. Music is clearly meant to express love and happiness, desire and wonder, and Carol lets her voice communicate this as she’d done at countless shows with only a single accompanying instrument underneath – harp in the early going of the record, keyboards on the second half. Ardent listeners may compare Carol Kleyn to West Coast singers of the era such as Joni Mitchell and Essra Mohawk, but it is our belief that Carol was singing a sound not just her own, but a sound that expressed the time and place that changed so many lives back then. Carol’s ethereal voice dances over her harp and keyboard arrangements as she sings her dreamy odes to nature, love and living with a full and open heart.”
| KLEYN, CAROL: Love Has Made Me Stronger LP (DC 094LP) 18.00|
| SINGER: Mindreading LP (DC 412LP) 17.00|
“Mindreading finds (in mind’s eye) Singer drifting away from the abstruse structures that knotted their debut, morphing into a distinct refinement of their former sound. Following the departure of Todd Rittmann (for Dead Rider space), Singer is now a three piece band made up of charter members Robert A.A. Lowe and the Vida brothers, Adam and Ben. Singer still pops on Adam’s abstracted beats, but this time, rhythms are keyed by analog synths and licks courtesy of Lowe and Ben Vida. Group vocals, a democratic fundament to Singer since the start, highlight the songs, at times fingering the languidity of soul music; and diverging in an exchange both restless and copacetic. These men are playing their songs-with-singing collectively, agreed in a new social music. The pleasure of experimentation underlies every direct move made in the name of pop entertainment, with different meanings and readings intact. It all lives as one.”
| CRISIS OF CONFORMITY: Fist Fight 7″ (DC 490EP) 6.00|
“Drag City brings back the 80s in all its underground glory with Crisis of Conformity’s ‘Fist Fight!’ 7″! This reissue is what some would call an essential little hardcore single. That’s right, over the course of just two sides of pure 7” vinyl, you’re gonna get a ringing earful of what made American kids thrive way back then. Very little is known about CoC. Henry Rollins remarked in passing: ‘Crisis of Conformity was the weakest “band” of posers to play with Black Flag on the ’83 tour.'”
|DRUMPOET COMMUNITY (SWITZERLAND)|
| AFMB: In My Life (feat. Geraldine Roth) 12″ (DPC 037EP) 12.00|
AFMB is back with another real summer tune which features the talented singer Geraldine Roth. While listening to “In My Life” you cannot resist the desire to dance the night away. It immediately reminds you of the classic house act Inner City and the energy of the track is simply overwhelming. Already tested on club floors with a great reaction. The flipside is dark, edgy and truly underground which provides a nice contrast.
|DUST SCIENCE (UK)|
| DADAVISTIC ORCHESTRA: Dokument .02 CD (DUST 025CD) 17.00|
Dust Science is proud to present the second release from Dadavistic Orchestra, a collaboration between The Black Dog and three former members of fellow electronic pioneers the Psychick Warriors Ov Gaia. Dadavistic Orchestra’s first release, Dokument .01, showcased the two groups’ love for Dadaism and all that it inspired. Dokument .02 continues with this theme. Where the first release was a double A-side of ambient electronic drone, Dokument .02 is a six track album of beatless but very high-impact electronics. Each track weighs in at around 11 minutes of evolving, warm, and affecting analog deepness. Endlessly fascinating and continuously stimulating, these pieces are long, and yet highly economical. Every element is necessary and there is not an ounce of fat, yet many tons of weight. “Deep Old Mu” opens the album with a perfect, evolving drone that dissolves into tiny melodic figures and sweeps after four minutes, before dropping into some very strange, but highly pleasurable, alien spaces. “Petrichore” crystallizes gamelan tones within an amber-like, synthetic backdrop. “Teh Meh, Teh Meh” brings the coldness, as an endless extended scraping noise is shaped into multifaceted harmony. A sweeter sound emerges in “Unconcerned, But Not Indifferent,” which offers a single simple melodic figure which is delicately reworked into enchantment. “De Kunst: Star Dot Star” is the album’s total Heart Of Darkness, transporting the listener deep upriver. “De Neerstorting Van De Mening Van De Kathderaal” closes the album by focusing almost entirely on the drone, only adding other identifiable layers halfway through, before succumbing to pure bass weight. Together, this is one of the most affecting and integrated collections of ambient music released to date. It is also one which is fully deserving of replay on the largest, heaviest soundsystem available.
|ECHO BEACH (GERMANY)|
| CHANDO, DACTAH: Clara CD (EB 084CD) 17.00|
Dactah Chando is a surfer guy from Tenerife doing Canary Islands reggae. The artist about his album: “I spent months in the Achinech studio with Toby Nambur and between the two of us we wrote all of the songs. After a short period of getting used to each other, we were able to work quickly and very creatively. Toby spent his youth here in the Canary Islands and therefore knows their mentality and vibe. He made up some brilliant riddims and I was able to respond very quickly with my voice and my lyrics. We eventually sent everything we had done to Guido Craveiro in Cologne. He took the songs and ideas to a very innovative, international level. Tanya Stephens from Jamaica also featured on the track ‘Abusadores,’ which I was really happy about. I then recorded the track ‘Palante’ with Pachango from Six Nation and there will be another feature, although I’m not giving anything away just yet. The album has a fresh, European reggae/dancehall sound to it with a lot of bass, mixed with my singing: Dactah Chando/Canary Island reggae. It’s a mixture that didn’t exist… until now.”
|ED BANGER RECORDS (FRANCE)|
| JUSTICE: D.A.N.C.E/B.E.A.T 7″ (BEC 5772111) 9.00|
2007 single from Justice’s highly-acclaimed debut album. “D.A.N.C.E” is a pure piece of vicious house — sung innocently by a choir of children.
| VA: Ed Rec Vol III 2LP (BEC 5772324) 26.50|
2008 Ed Banger compilation. Including exclusive tracks from the entire crew: Mr. Oizo, Sebastian, Justice, Busy P, Uffie, Mr. Flash, DJ Mehdi, Krazy Baldhead, DSL, Feadz and So Me.
| VA: Ed Rec Vol. III – Deluxe Limited Edition 6×12″ + CD (BEC 5772338) 69.00|
2008 collector’s edition. Deluxe cardboard box set including 6 12″ (heavy pressing, 1 track per side) plus CD album. Each 12″ comes in its own 12″ jacket with unique art — so this is the only way to get these tracks as full 12″ releases; and the CD is the complete finished full digipak version. All packaged in an extra heavy boxset. Artists: Mr Oizo, Busy P, Mr Flash, Sebastian, Uffie, Justice, Mr Oizo, DJ Mehdi, Krazy Baldhead, DSL, Feadz and So Me.
| SEBASTIAN: Remixes 2LP (BEC 5772395) 26.50|
2008 release. SebastiAn remixes: Revl9n, Daft Punk, Mylo, Editors, The Rakes, Kelis, The Kills, Kavinsky, Bloc Party, Sébastien Tellier, Klaxons, Annie, and Nâdiya.
| KRAZY BALDHEAD: The B-Suite 2LP (BEC 5772499) 26.50|
2LP version. This is the debut full-length release by France’s Krazy Baldhead. The B-Suite is comprised of four movements and 49 minutes of music. With vocal appearances by Tes, Outlines, Big O & Mlle Yulia, and Beat Assaillant, more than ever, Krazy Baldhead proves that Ed Banger isn’t only a label embodying a certain sound, but well and truly the label of an era. Is this an electro album? A hip-hop album? It’s up to you to decide for yourself. His influences range from the Chemical Brothers to Bill Evans, from A Tribe Called Quest to Joy Division, from Gong to Miles Davis, and even Prefuse 73. There is some blues in his music, but above all, there is that liberty that could only come from a 10-year background in jazz. Krazy Baldhead is not a DJ, he plays live — with electro/jazz/hip-hop influences as shouting, stomping and scattershot as the mood on this record. Exhilarating.
|ESSAY RECORDINGS (GERMANY)|
| BABA ZULA: Gecekondu CD (AY 029CD) 17.00|
Essay Recordings welcomes the return of Turkish psychedelic rockers BaBa ZuLa. For their latest masterpiece, they have brought on board some truly inspirational artists such as Asian Dub Foundation co-founder Dr. Das, nu-jazz mastermind Bugge Wesseltoft and other magnificent guest musicians including Titi Robin, Alcalica, Serra Yilma and Dem Yildiz. On Gecekondu, BaBa ZuLa founder Murat Ertel (wooden spoons, percussion, machines and toys) and Levent Akmann (saz and other stringed instruments, vocals, oscillator, Theremin) are accompanied by members of their touring band Cosar Kamci (percussion, darbuka) and Elene Hristova (vocals). This Istanbul-based group is the face of modern Turkish music, blending the sounds of electric saz, wooden spoons, percussion, and ancient shamanistic tradition, and mixing them up with ’60s psychedelia, electronica and dub. The result is a contemporary, urban psychedelic folk sound that is both rooted in tradition and also boasts a uniquely contemporary Turkish underground sound. Gecekondu takes its name from the Turkish word for a neighborhood constructed without planning permission — a kind of squatters’ district that has become part and parcel of Istanbul’s urban fabric. Millions of people now live semi-legally in such areas on the outskirts of the city, with the authorities turning a blind eye. They built their “gecekondus” — literally “overnight constructions” — under cover of darkness and, by the break of dawn, they had become part of the city map. These little-regarded neighborhoods, which have grown successively, are often seen as lacking all aesthetic beauty. For the most part, they are left to their own devices, and have their own specific problems and unique form of chaos.
| ROTFRONT: VisaFree CD (AY 030CD) 17.00|
This is the second full-length album by Emigrantski Raggamuffin Collective, Rotfront, produced and recorded by Kraans De Lutin (known for his work with Culcha Candela, Flo Mega, Tiger HiFi, Irie Revoltes) in the Phlexton Studios in January/February 2011. Each track embraces a different subject, with winking statements ranging from the oppression of minorities in Eastern Europe to single mothers and ex-wives of notorious secret agents, to smoking in space or wild weddings in the multi-cultural suburbs of Berlin and of course, some hilarious stories from Rotfront’s tour diary. How to describe the sound of VisaFree? Imagine Naftule Brandwein jamming with Nirvana, while Lee “Scratch” Perry works the controls, mixing the session, making some songs sound like disco and others like heavy metal. These are sounds as full of sweat and emotion as good sex, as strong and crystal-clear as Bulgarian home-brewed liquor, and as refreshing and full of color as Berlin itself. The immigrant choir sings in their different languages and several genres are proudly displayed equally. VisaFree reflects the biographies of the band members, presenting hip-shaking music with lyrics defying boredom, prejudice and discrimination against foreigners. Rotfront wishes not only to entertain — the band’s multinational line-up demonstrates how exciting and successful a cultural interchange can be and how profoundly ugly racism is. This is global pop, which is open to diversity where narrow labels such as “world music” do not apply. A Ukrainian, two Hungarians, an Australian and five Germans mix ska, reggae, dancehall and cumbia sounds with klezmer, Berlin’s own in-your-face brand of hip-hop, Eastern European turbo-polka, Mediterranean melodies and rock riffs. Guitarists and vocalists Yuriy Gurzhy and Simon Wahorn were joined by bombastic brass/woodwind trio Max Bakshish (clarinet and saxophone), Dan Freeman (saxophone) and Anke Luchs (trombone) with drummer Jan Pfennig (a legend on the Berlin drum’n’bass scene, with a band called Human Sampler), fabulous female vocalist Dorka Gryllus and Mad Milian, who is a name to watch out for on the Berlin hip-hop scene.
| SCHOU, JANNICK: Act Of Shimmering LP (EXP 018LP) 18.00|
“The Act of Shimmering is the act of leaving conscious thought behind. It’s accepting what lies beyond the corporeal, transcending the physical; the soul is aware and the body, eyes, skin are distant empty casings. A clamorous, chaotic cacophony surrounds a beatific center. An endless assault of guitar, of noise that glistens, a poignant rigor. Jannick Schou, proprietor of tape loop drone, places himself within the tunnel of din to produce this profound work: an ethereal dream using nightmarish parts and images. Black and grays generate vibrant innards. Brightness is unearthed within the fetid mass and these six tracks immerse the listener into a raging sea to find a gentle undertow. Furious outbursts emerge from simple, slow shivers. Tremors of noise gather, reaching an elongated crescendo, becoming transformative, and shattering what form or structure was designed to contain such an outpouring of sound.”
| JACKIE-O MOTHERFUCKER: Earth Sound System CD (FIRE 169CD) 18.50|
“Jackie-O Motherfucker’s new album Earth Sound System is released on Fire Records. The physical releases feature artwork by artist Chris Johanson. 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.”
| CHAENGE, THE: Rebellion CD (FORM 010CD) 17.00|
This is the debut album by The Chaenge, the duo of Florian Schirmacher and Mijk van Dijk. Mijk “The Legendary” van Dijk has set the bar in the techno scene since the early ’90s. He was one of the first European artists in Japan and still follows and promotes his philosophy of thinking and acting without borders. Probably only a few people know that he was a bass player in a funk band before he started his career in techno. The funk strikes back! Florian “The Voice” Schirmacher is producer and singer of Wareika, Federleicht, Hatikvah, Here Today, and of course, The Chaenge. His approach to build up musical projects together with other artists sets yardsticks when it comes to the question how to define a band. He is rightly regarded as an exceptional figure in the current club culture, with an instinct that always hits the mark precisely. Catherina Behr is next to the guys live on stage and acts as drummer. The Chaenge triggers a variety of connotations and shows quite confident future visions on the new record. They present a synthesis of camp, irony, elegance, seriousness and a wink of a surprising turn in their songs. The Chaenge should be seen as a neatly tailored, colorful kaleidoscope. The carefully chosen cover version of André Cymone’s “Dance Electric” (written by none other than Prince) proves their courage to raise their music to a new and higher level. The essence and spirit of funk is preserved and transformed into the current club culture. Their compositions draw a rich picture full of musicality and passion, speaking with one voice and creating a synthesis that forms a compelling character.
|FUTURE CLASSIC (AUSTRALIA)|
| MITZI: Vinyl Versions 12″ (FCL 056EP) 12.00|
Very nice remixes of Mitzi by Parisian legend Joakim and Italy’s Super Value Edits head honcho LTJ, plus two previously-unavailable vinyl exclusives by The Revenge and Softwar.
| ESPLENDOR GEOMETRICO: Arispejal Astisaró CD (GR 2117CD) 18.00|
Geometrik presents the reissue, remastered from the original tapes, of a classic Esplendor Geométrico record sold out for more than 15 years!: Arispejal Astisaró was recorded between 1987 and 1989, an especially interesting period where the unique and characteristic rhythmic-industrial E.G. style, developed in the ’80s, turns more minimalistic, schematic, cold and rough.Arispejal Astisaro was first published in 1993 by the label Línea Alternativa in only 500 copies. The reissue is from a new digital remaster with a vastly improved sound. A.A. includes 10 tracks recorded in 1987-1988 that constitutes the perfection of the ’80s E.G. sound in all its aspects, including the voice of Arturo Lanz. Aggressive, surgical hammering, mechanized tribalism, hypnotic spirals and more. Recorded in Palma de Mallorca. Mixed in Almachriti Studio (Melilla-Spain/Africa) by Chibril Ben-Yúsuf. Released in a digipack format for the first time, with a completely new design and including a 4-page booklet.
|GET PHYSICAL MUSIC (GERMANY)|
| VA: Final Song #01 CD (GPM 026CD) 11.00|
2009 release. Final Song goes to the very heart of music’s spiritual dimension by asking a number of musicians to select their ideal last song, either to serenade their final moments or to memorialize them after the fact. The participating artists deserve to be commended for their openness: they’re responding to one of the most personal questions one could ask. (Several of those approached declined to take part; taboos are taboos, after all.) Song selections were chosen by DJ T., Gilles Peterson, Storm, DJ Hell, Kevin Saunderson, Laurent Garnier, Chloé, David Holmes, Ewan Pearson, Ricardo Villalobos, Richie Hawtin, Francois K and Coldcut. The selections feature songs by Erik Satie, Rob Gallagher, Photek, The Stranglers, Cerrone, Radiohead, Chloé, The Beach Boys, Peggy Lee, Inti Illimani, Link, Pharoah Sanders and Brian Eno.
| LAZARUS, DAMIAN: Smoke The Monster Out CD (GPM 029CD) 11.00|
2009 release. Though Damian Lazarus’ grounding in house and techno is apparent throughout, Smoke The Monster Out is really a song-based affair, full of unusual acoustic instrumentation and delicately wrought arrangements, which Lazarus wrote with collaborator Arthur Jeffes – – son of the Penguin Café Orchestra’s Simon Jeffes. The Crosstown Rebels boss has taken a long view of his life as a music-lover, drawing on older influences as diverse as Photek, Jeff Buckley and Bjork, taking their essence and suffusing it with the twisted dancefloor alchemy we associate with his DJ sets. Perhaps most significantly, not to mention surprisingly, Lazarus himself sings on several of the album’s tracks, investing his songs with his own distinct personality and quiet expressiveness. This is Damian Lazarus as you’ve never heard him before.
| LAZARUS, DAMIAN: Smoke The Monster Out 2LP (GPM 029LP) 21.00|
| DJ T.: The Inner Jukebox CD (GPM 030CD) 11.00|
2009 release. Get Physical co-founder DJ T. returns with his second album, The Inner Jukebox, a singular and accomplished set that reflects its maker’s ongoing interest in rigorously re-inventing classic sounds for modern ears and dancefloors. After four years of 12″ releases and collaborative experiments, DJ T.’s full-length follow-up to 2005’s Boogie Playground is upon us. While Boogie Playground was an exploration of T.’s ’70s and ’80s influences, a melting-pot of styles that touched upon electro, disco, Italo and funk, The Inner Jukebox draws inspiration from the ’90s and is a more focused adventure — it’s T.’s vision of house music as it should be. So much “house” is really just glorified minimal techno, vibe-killing in its meticulousness; by contrast, the tracks which comprise The Inner Jukebox are bold, vivid, expressive. They’re cerebral and carefully crafted, yes, but more importantly they have a bounce and sexiness to them. T. has always sought to make proper, no-nonsense dance music with real groove at its heart — and The Inner Jukebox finds him fully realizing that ambition.
| M.A.N.D.Y.: Get Physical 7th Anniversary Compilation CD (GPM 031CD) 11.00|
Get Physical Music turned seven years old in 2009, having released over 100 singles and over 25 albums. To celebrate this landmark anniversary, M.A.N.D.Y. put together a dynamic 24-track compilation showcasing what the label does best. The clue is in the name: Physical is first and foremost about moving people: their hearts, their minds, their behinds. The 7th Anniversary Compilation is centered around material from the label’s last three years, and features contributions not only from stalwarts like DJ T. and Booka Shade but also friends, extended family and newcomers. The emphasis throughout is on danceability; you’ll find bona fide club anthems — Patrice Bäumel’s “Roar” and Booka Shade’s “Duke” among them — alongside lesser-known bombs, like Matthew Dear’s “Free To Ask,” a track recorded specially for his 2008 Body Language compilation. Tracks exclusive to this CD include a new remix of Damian Lazarus’s “Neverending” by M.A.N.D.Y. and Alexkid, and a “Saxed Up” version of Dakar’s club killer “I’ve Got That Feeling.” Other artists featured are Fuckpony, Audiofly X, Jona, Booka Shade, Einzelkind, Meat, Thomas Schumacher, Siopis, Chelonis R. Jones, Riton, Heidi, Laurie Anderson, Reboot, Elektrochemie, Patrice Bäumel, Mac Neumann, Italoboyz, Tiger Stripes and Elbee Bad.
|GUERSSEN RECORDS (SPAIN)|
| ZAHIR, AHMAD: Hip 70’s Afghan Beats! LP (GUESS 084LP) 25.50|
A major star in Afghanistan in the ’70s until his death, and a legend today, Ahmad Zahir has something impressive to offer to all Western ears open to exotic rock and pop sounds. Compiled from his vast discography, here’s a selection with some of his best tracks, an astounding set showing his unique, distinct psychedelic sound. All centered around his deep voice, and with the use of electric guitar (including some wah-wah), stunning, reverb-heavy drums, some sitar and tabla, organ, flutes and bass, these are incredible folk-pop tunes from another world. Remastered from the original master tapes and including extensive liner notes.
| NASH, STEVE: Helene 12″ (HOEHE 018EP) 12.00|
Here is the next Höhenregler, with three tracks from Steve Nash.
|HOUR HOUSE IS YOUR RUSH (NETHERLANDS)|
| HOWARD, TEVO: Pandora’s Box 2×12″ (HHYR 015EP) 23.00|
Ranging from melodic to a bit heavier, this Howard Tevo EP is an ideal little update to your house collection. Lots of Chicago with a well-sized portion of acid in it! After his Crystal Republic EP, Tevo’s follow-up for Hour House Is Your Rush features experiments with different rhythms and textures, which results in a varied set of tracks, from classic Chicago acid house to more Italo leanings. All carry Tevo’s, by now, trademark sound.
| DASILVA (FEAT. DONALD WAUGH), JON: Love Is All We Need 12″ (HHYR 016EP) 12.50|
Jon Dasilva is one of the original Hacienda DJs and was behind the decks when house exploded in the UK during the Summer of Love in 1988. On his debut release he teams up with vocalist Donald Waugh and returns to the roots of house music with “Love Is All We Need.” Together they have created a house classic that never was. Comes as a full vocal and dubbed-out bootleg mix. Braille on remix duties.
| PRURIENT: Bermuda Drain CD (HDH 220CD) 14.50|
“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.”
|INITIAL CUTS (FRANCE)|
| PIERRE LX: Out 1 CD (INITIAL 004CD) 17.00|
Out 1, the debut album by Pierre LX, slinks elegantly around the peripheries of electronic music in a way that only a record made in London can. Not really techno, kind of like house, but certainly influenced by the UK’s bass music scene, this is one of those albums that slips between genres into its own groove. His contemporaries, producers like John Roberts, Instra:mental and Pearson Sound, are on a similar wavelength. Pierre’s analog jams are moody and sensuous, raw and sometimes jacking, and they unravel in a cool, understated manner that makes them ideal for the warm-up and perfect for the after-party. You could say this is serious stuff, hopelessly self-indulgent and one for the purists, and you’d be right. But let Out 1 seduce you and it’s easy to see why Pierre LX is the producer many other producers and DJs are talking about. Panorama Bar’s Cassy led the way when she included one of his first releases, “Gabita,” on her 2009 Cocoon mix. Out 1 is made up of eight pieces that were improvised on the machines in Pierre’s home studio over a short period. The album takes its name from French new-wave director Jacques Rivette’s 1971 avant-garde epic, a work Pierre encountered studying film and video art in London. “I wanted it to have a kind of geometrical feel. The idea is that the listener can approach the album from different angles, but they’ll still be able get into the narrative,” he says. “Each track was recorded as a continuous live take on hardware to heighten the sense of intimacy and realism.”
|JAZZMAN RECORDS (UK)|
| BROWN, ROY: Mr. Hound Dog’s In Town/Fannie Brown Got Married 7″ (JBJ 1019EP) 11.00|
Two killer vocal rhythm & blues sides from the great but sadly somewhat unheralded Roy Brown. “Mr. Hound Dog’s In Town” was Roy’s snappy retort to Big Mama Thornton’s hit “Hound Dog,” featuring an immense, rolling, drum-led backing track with some killer guitar licks borrowed from Thornton’s original. On the flip is a great jump blues classic, and this time Brown is answering his own call. “Miss Fanny Brown” was one of his biggest sellers in the late ’40s.
| DEMETZ, JEANNE: Calypso Daddy/Everything Will Be Alright 7″ (JBJ 1020EP) 11.00|
Originally discovered and compiled by Soho legend Gaz Mayall languishing amidst the old Modern Records tapes held by Ace Records, Jeanne DeMetz’s killer “Calypso Daddy” has since been crying out for a 45rpm issue and finally there is one. The track features a Latin mambo rhythm pattern, great instrumentation and a seductive, calypso-esque vocal. Jazzman has also recreated the beautiful Modern Music label design of the 1940s for this release — the first time this artwork has appeared on a 45 rpm pressing.
|KI RECORDS (GERMANY)|
| BIODUB: Reisegefaehrte CD (KI 001CD) 17.00|
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.
| THEM: Them In Reality LP (MJJ 321LP) 21.00|
“If only bassist Alan Henderson had had the good sense to stop using the Them moniker after Van Morrison’s departure 1965. Instead, when the band was reborn on Los Angeles’ Happy Tiger label in 1970, he hung on to the name (but not the sound) and fans never forgave him for this. Therefore, the fact that Them continued to make great music into the seventies has gone largely under the radar. By the time 1971 rolled around, the band was a stripped-down trio consisting of Henderson on bass, Jim Parker on guitar/vocals, and John Stark on drums (both ex-Kitchen Cinq). Kicking off the album with an extended fuzz guitar version of Van Morrison’s calling card, ‘Gloria,’ may have been Henderson’s way of saying, ‘feel free to make comparisons, the new Them is back with a vengeance!’ For the first time in years Them was a real band again (and not some studio project), with Parker and Stark writing most of the songs, like the brilliant ‘California Man.’ The new Them was lean, hungry and hard rocking…kind of like the original Them that everyone knows and loves. Too bad that this time around no one was listening.”
| TEJADA, JOHN: Parabolas 2LP+CD (KOM 234LP) 18.00|
2LP version with free CD version. The Kompakt family welcomes one of America’s most celebrated producers in dance music, John Tejada! Born in Austria, he relocated to his current home of Los Angeles at the age of 8 and, following a brief career in hip-hop, found his home in electronic music. If you’re even the slightest fan of the genre, you’ll be hard-pressed not to have heard his music over his decade+-long career. Whether on his own Palette Recordings, Poker Flat, or Plug Research — plus a Fabric mix CD under his belt, it’s thanks to a steady stream of massive releases that he remains a mainstay in the charts of Beatport and uncountable DJs. He is also half of the long-standing City Centre Offices act, I’m Not A Gun (together with Takeshi Nishimoto). As Tejada himself explains: “I wanted to experiment with some longer phrases again and to step away from the analog sequencers more and get back to using my hands to create the melodies. I also feel for the first time in quite a while I’ve made an album of songs for myself without worrying about the usual pressures.” Kompakt presents his extraordinary new album Parabolas. Resident Advisor called Tejada “one of the most notoriously meticulous producers around” — an unmistakable proof lies within these recordings. Genres collide and combine with an unraveling of blissful layers. The opening track, “Farther & Fainter,” offers a musicality today’s techno and house often lacks — an accomplishment that resonates throughout the album. Tracks such as “Subdivided” and “Unstable Condition” reflect the wondrousness of Aphex Twin’s Polygon Window project, something that could only be re-animated and brought to 2011’s standards by Tejada. Parabolas is a true highlight in John Tejada’s deep catalog — bold words indeed for a producer who is known for unexpected variation and tremendous musical imagination.
| CALL BACK THE GIANTS: The Rising LP (KYE 012LP) 16.00|
“Call Back The Giants first surprised and delighted the listening world in 2010, with their warmly-received eponymous debut album. Since that time, the duo of Tim Goss and Chloe Mutter have been locked in perfect isolation, teasing every nuance of their sound into sharp focus. The Rising presents the results of their toil, exposing Call Back The Giants as true masters of cryptic intent. Homespun keyboard minimalism, wavering teenage laments, and foreboding pronouncements of doom, synthesize into new, original matrices of thought. The Rising also introduces the guitar heroics of some-time third member, Big Rob Stewart, who lays down the law in crude basement style. The Rising is a masterpiece of ambition, that meets the expectations of its audience head on. The Rising arrives in a full-color, high gloss sleeve, with photography by Krysztoff Dorion, in an edition of 1000.”
|LE CHANT DU MONDE (FRANCE)|
| REDOUANE, AICHA: Maqam D’amour CD (CDM 2742024) 19.00|
“Known to many as ‘the diva of Arab song,’ Moroccan singer Aicha Redouane has been delighting Arab and Western audiences since the 90s. A resident of France since her earliest childhood, Redouane has sung in various styles. In the late 80s, she devoted herself to the musical tradition of the Arab maqam, establishing a name for herself not only as a singer but also as a qanun player. Her latest release, Maqam d’amour, is based on 8th century poems written by the Sufi saint Rabi’a Al-‘Adawiyya, but the message is timeless.”
| JONA: This Time 12″ (LEENA 022EP) 12.00|
Jona presents a three track strong EP that brings together a variety of musical themes. While “Drifting Away” and title track “This Time” both have grooving bass lines perfect to shake up the dancefloor, “Resonate” has layers of drifting synths, creating more of a dreamy summer’s day atmosphere. A debut release from an artist that you’ll see a lot more of in the future.
|LIEBE DETAIL (GERMANY)|
| LOVEBIRDS/LEIF: The Beast/Almost Invisible 12″ (LIEBE 038EP) 12.00|
Sebastian Döring aka Lovebirds presents “The Beast,” a shimmering, summery chord-led jam in the new-school of tough, raw and filtered house, pumping and shaking for the floor. Its snaking, modulating arrangement opens out into a really playable party-maker. UK-based producer Leif brings a perfectly polished two-step-meets-house sound to Liebe*detail with “Almost Invisible.” Lush keys, beautiful vocals, heavy steppin’ beats and plenty of bass make this London via Hamburg bad-boy irresistible.
|LIGHT IN THE ATTIC|
| FORD, JIM: Harlan County CD (LITA 068CD) 14.00|
“Here’s how it went down: Jim Ford, a musically minded country boy from rural Kentucky heads to the Golden State with dreams of making it. Making the scene in Los Angeles, he befriends and writes songs for such artists as Bobby Womack (‘Harry Hippie’), Aretha Franklin, P.J. Proby, the Tempations, and even appears on Sly & the Family Stone’s There’s a Riot Goin’ On. He eventually hooks up with the legendary session players Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley) and books into the equally legnedary Wally Haider Recording Studios to cut an album of blue-eyed country-funk and soul. Released in 1969 on the minor label Sundown Records, Harlan County simply fell through the cracks between monster selling titles by the Beatles, Led Zepplin, and Creedence Clearwater Revival. ‘Jimmy Ford is the baddest white man on the planet,’ said Sly Stone of Harlan County’s main man, and listening to the album today who’s to argue? Needless to say, Light In The Attic Records are honored to re-release these ten emotive country-soul songs with Ford’s original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos, all presented with an adult portion of love. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note.”
| RAMOS, MARIANA: SuaviDanca CD (LUSA 562532) 19.00|
“Born in Senegal to Cape Verdean parents, singer Mariana Ramos has enjoyed a very successful career. The music she was steeped in from childhood had a Cape Verdean beat, since her father, Toy Ramos, played guitar for the famous group Voz de Cabo Verde. Her music combines international influences with Cape Verdean tradition in a subtle blend of jazz, Brazilian music and African sounds. SuaviDanca is a colorful program that features traditional Cape Verdean mornas and coladeras, as well as sambas and other global flavors.”
| TOUNKARA, DJELIMADY: Solon Kono CD (LUSA 562702) 19.00|
“Malian guitarist Djelimady Tounkara is one of Africa’s finest musicians. He was one of the founders of the legendary Super Rail Band, a group that launched the careers of such greats as Salif Keita and Mory Kante. Solon Kono, his second solo recording, features Tounkara giving free reign to his prodigious improvisational talents. He is accompanied by Samba Diabate on guitar, Mariam ‘M’Bau’ Tounkara, Mariam ‘Djodjo’ Diabate, Samba Sissoko and Mountaga Diabate on vocals. Originally released in 2005 on Marabi, Lusafrica’s reissue of this, his best solo album to date, is particularly welcome.”
| SUGAR CREEK: Please Tell A Friend LP (MD 1020HLP) 14.00|
180 gram exact repro vinyl reissue of this 1969 slab of killer rural psych rock featuring Jonathan Edwards and Joe Dolce. “Overlooked but appealing mix of late ’60s West Coast and early 70s-style rock. Two outstanding psych tracks, the good news being that the rest delivers too.” –The Acid Archives. CD version on Aurora (AU 5003CD).
| PART TIME: What Would You Say? LP (MEX 080LP) 18.00|
“Captivating bedroom pop with a karaoke video/soft haze filter on it that collapses the textural dimensions of music to an appealing, shiny finish. The music of Part Time owes a debt to ’80s movie scores, neon lights, fog machines and nightlife, a generous sampling of New Romance in a post-capitalist world, its heart going out to everyone who hasn’t abandoned their silk shirts in favor of more practical attire. The home studio shell and canned dynamics of Part Time quickly dissolve to reveal some serious jammers in the midst, the image of a man pouring his heart out into the psychotropic fronds of the lounge at the Venusian Holiday Inn. Pour yourself a yard of liquid acid and float along.” Numbered edition of 750 copies. Includes download code.
| BRAIN IDEA: Cosmos Factory LP (MEX 087LP) 18.00|
“The title of these Chicago boys’ latest EP may scream Creedence Clearwater Revival, but the sounds within revive nothing but the best moments of the Flying Nun catalog, that venerable New Zealand indie label that brought us bands like the Clean, the Verlaines, the Bats, Tall Dwarfs and countless others. Five songs to make your heart swell and your shirt buttons pop open, sturdy yet vulnerable songs for contemplative times.” Numbered edition of 500 copies; includes download code.
| ANIMALS + MEN: Never Bought Never Sold: Singles + Demos 1979-83 LP (MR 024LP) 12.00|
2011 repress, originally released 2008. “Animals + Men — named after a song by Adam and the Ants — started life around the winter of 1978-1979 when Susan Wells took over vocal duties in what was a three piece called Psychotic Reaction. Based in Frome Somerset, their first release Don’t Misbehave in the New Age (1980) was an indie hit. When the band split in ’81, Susan and Ralph formed the Terraplanes. A & M/Terraplanes released three vinyl 45s. A few years ago, demos by the band surfaced on the Messthetics/Hyped 2 Death label. Recently, the band have reformed and performed the odd gig and are releasing an EP of new songs soon on Convulsive Records. Mississippi Records is proud to be the first to release an entire LP containing the three 45s and early demos, all recorded between 1979-1983. For fans of early UK DIY.”
| MCDOWELL, FRED: The Alan Lomax Recordings LP (MR 074LP) 14.00|
“The first ever recordings of Fred McDowell! Recorded by Alan Lomax in 1959. The first vinyl release dedicated entirely to this phenomenal recording session. 12 songs that highlight the depth of his repertoire – from droning & hypnotic versions of songs that later became blues standards such as ‘Shake Em On Down’ & ‘Good Morning Little Schoolgirl’ to his deeply felt renditions of spirituals like ‘Keep Your Lamp Trimmed & Burning’ . Accompanied at times by some amazing hair comb playing & beautiful backup vocals. Comes in an old school ‘tip on’ sleeve with liner notes by Nathan Salsburg. A co-release with our friends Domino Sound. The stuff of dreams.”
| RAIL BAND: Orchestre Rail-Band de Bamako LP (MR 077LP) 14.00|
“Reissued for the first time, the legendary Malian Rail Band’s classic 1970 debut LP. Based out of the Buffet Bar of the Station Hotel in Bamako, the band was sponsored by the Ministry of Information. Swirling Afro-Latin guitars & horns. Malian folk songs modernized & played by some of the country’s finest musicians including Tidani Kone & Salif Keita.”
| KHAN, ABDUL KARIM: Abdul Karim Khan LP (MR 085LP) 14.00|
“Compilation of 78’s by the master of Indian classical vocal music. First U.S release dedicated to his work. Heavy & spiritual austere performances of 10 ragas. Not easy listening by any means but ultimately very rewarding. Comes in an old school ‘tip on’ cover. Includes a 12 page booklet with many archival photographs & notes by Ian Nagoski.”
| DEAD MOON: Unknown Passage LP (MR 090LP) 14.00|
“Dead Moon’s 2nd LP. Great pop ballads sit side by side with heavy rock songs. A hit laden record featuring classics such as ‘Dead Moon Night’, ‘A Miss Of You’, ’54/40 or Fight’, ‘Time Has Come Today’, ‘Demona’, & ‘On My Own’. Originally released in 1989, easily one of the top 4 rock records of all time. Remastered from the original tapes.”
| DEAD MOON: Defiance LP (MR 091LP) 14.00|
“Dead Moon’s 3rd LP from 1990. Another classic with hits such as ‘Not The Only One’, Crystal Is Falling’, ‘Dagger Moon’, ‘Walking On My Grave’, ‘Johnny’s Got A Gun’ & ‘Unknown Passage’. A perfect record, not for the faint of heart. Remastered from the original tapes.”
|MUELLER RECORDS (GERMANY)|
| BEROSHIMA: Polyphonication CD (MUELLER 2073CD) 17.00|
This is the fourth full-length album from Frank Mueller and Ulrich Schnauss aka Beroshima. Since 2004, the duo has put their focus on their solo projects. Schnauss earned worldwide respect for his electronica works while Frank joined different projects as a producer and put his focus on his live performance and DJ works. Frank and Ulrich started to work together again as Beroshima for some upcoming releases. Following a string of EPs and remixes, the fourth Beroshima album was long overdue. It continues to explore the stylistic frame defined by their successful releases on Cocoon, Soma and Mueller Records and yet manages to surpass the expectations set by these skillfully-crafted productions. Beroshima defy genre boundaries and incorporate a wide range of sonic colors out of a studio filled with current and vintage equipment while also drawing from long-term experience on the live and DJ circuit. Ten tracks that deliver state-of-the-art dance music with more than just a touch of funk which never loses the spirit of exploration.
|MUNSTER RECORDS (SPAIN)|
| ESKORBUTO: Eskizofrenia LP (MR 307LP) 19.50|
Limited vinyl edition comprised of two 500 copy pressings, each featuring one of the two original sleeve designs. Munster Records proudly reissues Eskorbuto’s first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. When asked to describe the album tracks in an interview at the time of its release, band member Iosu preferred instead to tell some anecdotes about the band and share his views on a few issues. Some excerpts from that interview give a good idea of what this record and band were about:”Many bands have good ideas and I like what they’re saying, but when it comes to it, they’re just a lie. You’re not alive, you’re not dead, just condemned. It’s worrying, you’re part of what you most hate: the system. It’s unbelievable. The earth is a big toilet where we all survive and if it’s flushed we’ll all go to shit. When we were recording ‘Rogad A Dios A Los Muertos’ and listened to the vocals without music, it seemed like a sort of evil ritual. If we’ve used the Simmons electronic drums it’s because it suited us during the recording. If it’s good, hurray for science! The last lyrics we’ve written say: ‘Ignorant people that were afraid of us before/become friendly without our permission/cowards pretending to be brave/badmouthing us in front of people/but careful, we warn you, we’re the same as when we started’.”
| LYRES: Live At Cantones, Boston 1982 LP (MR 311LP) 19.50|
The 1970s garage punk band from Boston, DMZ, had dissolved in a 1978 train wreck. Jeff “Mono Mann” Conolly, DMZ’s inspired singer and songwriter, decided to take a Vox organ-driven direction next in his Lyres. Lyres evolved into an amorphous group of players moving in and out of the band over the years with certain mainstays like Paul Murphy and Ricky Coraccio, DMZ’s drummer and bass player respectively, hanging in longer than most. Ricky “Little Man” Carmel was the original guitarist for Lyres and was with Conolly, Murphy and Coraccio when they recorded the classic 1979 45 Don’t Give It Up Now/How Do You Know? By the time Peter Greenberg, DMZ’s lead guitarist, returned to Boston from Cincinnati in the summer of 1980 to join Lyres, the original line-up had also dissolved and Conolly was filling in players on an ad hoc basis. The next iteration of Lyres had some staying power and included, along with Conolly and Greenberg, Michael Lewis, DMZ’s original bass player, and Howie Ferguson, who had been the drummer for the Real Kids. This band recorded Lyres’ first two releases for Ace of Hearts Records, the EP AHS1005 and the 45 Help You Ann/I Really Want You Right Now. This batch of Lyres collapsed at the end of 1981. Conolly re-recruited Murphy, Coraccio and Carmel back to Lyres at the start of 1982. However, for the recording at hand, Live At Cantone, Boston 1982, Carmel was indisposed and Greenberg got “the call” from Conolly to fill in the night of the show. From a historical perspective, this night at Cantone’s is reported to be the only night where Conolly, Murphy, Coraccio and Greenberg — four fifths of DMZ — played together as Lyres — except for a much later Spanish tour in 2009. Cantone’s was an Italian restaurant in Boston’s financial district by day. By night, the suits were gone and left those cold and empty streets to the kids. This particular show is an energetic and raucous representation of the many, many nights Lyres cranked it out at Cantone’s. It was commonplace for the night to end at 2:30am with brawls that spilled out through broken windows into the street. This is a great rock & roll recording of early Lyres material with a bit more of a DMZ edge to it. None of this material has ever been released before.
| DMZ: Radio Demos LP (MR 312LP) 19.50|
“In the mid to late ’70s, a seam of largely underground music got to percolating around the world to counteract the bombast-choked mainstream. This was before pub rock was tweaked to become punk. This bunch was one of those units from a time when everything was much less premeditated and I’m pretty sure no one had come up with the curse-word that is ‘spreadsheet.’ Sometimes the racket they made was as rough as a bear’s behind but as you’ll hear here, that just added to the explosive quality. It’s odd that two of the covers would overlap with another band that ended up on Sire Records, The Rezillos. That Edinburgh-based combo also featured ‘Glad All Over’ and ‘Somebody’s Gonna Get Their Head Kicked In Tonight’ in their live set way before they ventured into a studio. So it was strange to encounter those because it caused a definite flashback to the days when this level of energy could have lit up a small city. Generally, what people were used to was the ‘rock.’ There was largely no conception of the ‘roll’ aspect. What an act like this brought to the party was to celebrate both. They recognized the greatness of The Stooges, New York Dolls or Flamin’ Groovies and correlated that work with Lenny Kaye’s Nuggets to create music that would never go out of fashion. There was an attitude that would breathe fresh life into their choice of covers. To unearth gems and relocate them in the hearts and minds of a new generation has always been a worthy endeavour. Instant gratification wasn’t possible, but much of the excitement was in chasing up the originals. Just one instance was that DMZ introduced people like me to The Sonics. And it was something of a thrill to be confronted with a version of ‘Search And Destroy’ in the teenage wasteland that was 1976. Much of this material was recorded at a Boston radio station in that very year. Two years before, their Flo & Eddie-produced proper debut hit the racks. By that time, ‘new wave’ was used as a catch-all and the photography on the cover of that album might have been shot by Mick Rock but — in my opinion — entirely misrepresented the contents. ‘First Time Is The Best Time’ and ‘Teenage Head’ originally came out on Todd Abramson’s Telstar imprint in 1986. The sleeve lettering was done by a young lady called Elinor Blake prior to her becoming April March. The band was firing out short, sharp anthems of their own alongside choice covers to packed crowds that wanted to dance. It was about having fun first and foremost, then building on the music they loved. Listen to this and I reckon that you’ll agree that it shows.” –Lindsay Hutton
|NEW WORLD RECORDS|
| CROCKETT, DONALD: Night Scenes CD (NW 80718CD) 15.00|
Performed by Firebird Ensemble. “Donald Crockett’s (b. 1951) works are notable, first of all, for their clarity and their immediate impact on the listener. The music could be described as elemental, on several levels- in its sonic tactility, in its use of readily identifiable, almost object-like musical gestures, and in its frequent connections, through poetic and evocative titles, to the lived, physical world. A sense of durability, of ruggedness, abides, even through a delicacy or sweetness that frequently makes itself felt. There is a sense of transparent and flowing, tonally-centered harmonic motion, not ignoring moments of crunchy, high-density dissonance. Above all there is energy, constant energy: the energy of dance and American popular music, even without strong reference to those styles, an energy born of intimacy with the physical nature of performance, like improvisation. The precision talents and eclectic energy of the Boston-based Firebird Ensemble, part of a new breed of chamber ensembles as comfortable playing clubs as concert halls, match up well with Crockett’s intricate, entertaining, and intimate music. Years of close collaboration have led to this wonderful recording of four significant chamber works.”
|NIGHT VISION (NETHERLANDS)|
| FORMAT #1: Solid Session 12″ (NV 022EP) 12.50|
The classic “Solid Session” needs no introduction. One of the biggest ’90s house hits from Amsterdam, this release comes with fresh new remixes from Vince Watson, Legowelt and Orlando himself, plus of course, the original version from 1991.
|NINJA TUNE (UK)|
| TOBIN, AMON: Surge 12″ (ZEN 12292EP) 11.00|
“Although it feels almost sacrilegious to take a track out of ISAM and release it as a single, we’re going to have a go. Surge is one of the short, sweet, standout moments of a remarkable record. Beautiful and mournful, it sounds a little like two lovers being strafed with dark matter. First up on the remix tip is none other than Amon Tobin himself, who in his more Two Fingers guise, ups the beats and the sub-bass for a satisfyingly heavy experience. Labelmate Emika, a long-time admirer of Amon’s work, reinvents the tune as a fragile, almost churchlike experience, her Czech singing delicate but strangely powerful. 16bit takes up the last place on the EP turning in a raw, bassheavy dubstepper which takes us a long way from where we started but in a very satisfying way!”
| VA: Soul Braza: Brazilian 60’s & 70’s Soul Psych Vol. 1 CD (NOSMOKE 009CD) 23.00|
“Nosmoke Records strikes again, this new compilation gonna make your summer even more hot . As well as rock, soul music by the likes of James Brown, Otis Redding, and Aretha Franklin also had a big impact in the Brazilian music scene of the 60s. Soul music was introduced in Brazil by singers such as Gerson King Combo, who released in 1969 the record Gerson Combo Brazilian Soul, featuring Brazilian hits like Asa Branca performed with a US-imported beat. Tim Maia, Carlos Dafe, and Tony Tornado started playing soul hits too and took on the attitude and style of US Black Power, establishing the Black Rio movement. The great muse of that period was Lady Zu from Sao Paulo. Traces of the black US rhythm can also be detected in some of the first songs by Jorge Ben Jor (Agora Ninguem Mais Chora, Negro E Lindo, Que Nega E Essa), and, even more so, in others by Wilson Simonal during his Pilantragem phase (such as Mamae Passou Açucar em Mim, País Tropical, Tributo a Martin Luther King). Other more obscure bands and artists also had their moment and importance in the history of Brazilian soul. Musicians like O Incrivel Manito, The Pops, fusing soul, samba rock, and psychedelic music, Tony e Frankye, Trio Ternura, and of course, a few others like Vanusa or Eduardo Araujo, who released some of the best Brazilian music records in the 60s and 70s. This compilation is a summary of what went on during that dictatorship period when soul music was everywhere, from the favelas to the most fashionable and popular parties in Brazilian cities. Here you will find some of the best tracks of Brazilian psychedelic soul music, a fusion of fuzz, sweat and dancing.”
| FLAHERTY/BILL NACE, PAUL: No, The Sun LP (OM 029LP) 18.00|
“Typically, the release show for this LP was busted. Some young pud officers falsely claimed they’d had a noise complaint and shut the thing down, shining lights deep into the ocular orifices of both Flaherty and Nace to make sure their souls were not harboring weapons of mass destruction or something. Such reaction remains sadly typical of the thought crimes perpetrated against those who would think in free-flowing curves during this new Fascist Century.William ‘Bill’ Nace and Paul ‘Pops’ Flaherty are two of the finest side-sliding brain wranglers in the greater New England area. Flaherty’s saxwork has been well known for decades, and is personally responsible for hitching many young mules to the free jazz wagon train. Nace’s guitar stylings are a more recent development, but they have hewed to such an idiosyncratic path that their constantly renewing techniques feel as timeless as butter.Not sure exactly how these guys fell into the same boat. Presumably Chris ‘Tigercat’ Corsano was involved. He had, afterall, maintained a long-running eponymous duo with Flaherty as well as one called Vampire Belt with Nace. So that may have been the key. Perhaps the two’d get together to jam along with the TV set when Corsano and Bjork would appear on some laye night program. Maybe that’s how it started. But whatever the case, the combination of Flaherty’s long wiggling shrieks and Nace’s amp-rasped string-explosions is a lovely totter into the abstract eye of a very hot furnace. There is tons of high-aktion skronk on this LP without any kind of apologizing about lack of formal ‘content’ or linear ‘development’ (both codewords for ‘bullshit’). This mother just GOES.And it’s sure to appeal to anyone who also likes going. Especially if they hate fucking cops. (Note: the cover art by Rick ‘Fang’ Myers shows two ‘Bobbies’ being melted by UFO lasers.) Or even if they just hate Rudy Giuliani, which, presumably we all do. Imagine this as a very loud bullet slowly pushing its way through Rudy’s skull and just wallow in the pleasure of it all. Yum!” –Byron Coley. Edition of 250
| GLASS & FODAY MUSA SUSO, PHILIP: The Music of Philip Glass & Foday Musa Suso CD (OMM 066CD) 19.00|
“The Music of Philip Glass & Foday Musa Suso is the sixth volume of Orange Mountain’s series From the Philip Glass Recording Archive. Suso is one of the most prominent musicians to come out of Africa in the last forty years. This album re-releases the music that Glass and Suso wrote for the Jean Genet play The Screens and includes two live bonus tracks of Glass & Suso playing live in New York in 2009.”
| VA: From the Kitchen Archives No.5: Pianos in The Kitchen CD (OMM 070CD) 19.00|
“Pianos in the Kitchen, the fifth volume of Orange Mountain’s series From the Kitchen Archives, features piano music played at New York City’s famous venue The Kitchen. Performances include music by Philip Glass (Mad Rush), Meredith Monk (Traveling, Paris), Charlemagne Palestine, Anthony Davis (A Walk Through the Shadow), Harold Budd (Preludes for Solo Piano), and Dennis Russell Davies performing music by Keith Jarrett (Ritual for Solo Piano).”
| VA: The Secret Museum of Mankind: Central Asia 2LP (OUTRE 1004LP) 25.50|
…Ethnic Music Classics: 1925-48. Outernational Records is pleased to announce the fourth volume of this legendary series, now available on vinyl. This series of archival 78 transfers was originally released in 1995 on CD only. This volume from Central Asia has to be one of the most revelatory volumes yet presented. Concentrating on a singular geographic region, this volume unearths some of the rarest recorded artifacts of music from the Central Asian countries of Mongolia, Uzbekistan, Kazakhstan, Kyrgyzstan, the Caucasus region, Tadjikistan, Azerbaijan and others. Of all the recent excavation projects inspired by our voracious musical culture, none is more fascinating than Pat Conte’s Secret Museum series for Yazoo. Until now, a Western listener’s familiarity with ethnic music from the distant past has depended on unsexy field recordings of relatively recent vintage, produced in a spirit of near-scientific inquiry by anthropologically-minded musicologists. When the commercial record business really began to expand in the late ’20s however, just about every national style of music was sought out and captured for a growing marketplace. This was true “world music,” dressed in its Sunday best perhaps as performed by ambitious locals, but still more vital than the academic, folklorist approach that followed. Just as Harry Smith compiled early commercial blues and country records for his monumentally influential Anthology Of American Folk Music, so Conte has gathered even rarer 78s from all over the globe. Thanks to excellent remastering, we can hear vividly how an ensemble sounded in India or Japan more than a half-century ago or a klezmer orchestra right before the Nazis destroyed that bit of local culture. It’s like owning your own time machine. Gorgeous gatefold Stoughton tip-on sleeves with newly-discovered vintage color photos not available on the original CD issue. This is a limited edition one-time pressing of 1,000 copies.
| MANIK: Armies Of The Night Vinyl Sampler 12″ (OVM 9012EP) 11.00|
Scoring the soundtrack of a new electronic frontier, the young New Yorker named “artist to watch” of 2011 by Mixmag and DJ Mag, MANIK delivered a prototype debut album Armies Of The Night (OVM 9012CD) for Ovum Recordings — here is a 12″ taster. Inspired by his surroundings in New York City as well as the 1979 cult classic film The Warriors, MANIK portrays the raw urban grittiness of the city and mimics the film’s rendering of the underground gang world.
|PHOENIX RECORDS (UK)|
| UCHIDA & THE FLOWERS, YUYA: Challenge! CD (ASH 3044CD) 17.00|
Following his self-imposed exile in Britain, soon-to-be Flower Travellin’ Band leader Yuya Uchida embarked on the task of creating a hand-picked band in the hope of achieving a home-grown outfit to rival groups he’d been listening to in London. Legendary guitarist Hideki Ishima was his first recruit, followed by steel guitarist Katshiko Kobayashi and then the bravest move of all, the beautiful vocalist Remi Aso was asked to front the band, now named The Flowers. The band’s debut LP, originally released in 1968, completely changed the Japanese musical scene, featuring as it did, hard covers of Big Brother And The Holding Company, Cream and Jefferson Airplane songs, and its ground-breaking cover art, featuring the band’s members, including Miss Aso, naked in a cornfield, changed the musical landscape for ever. Digitally remastered. Numbered, limited collector’s edition.
| LES RALLIZES DENUDES: Cable Hogue 2LP (ASH 3045LP) 31.00|
Gatefold 2LP version. Another crucial release from the highly influential and reclusive Japanese psychedelic noise band Les Rallizes Dénudés, now available for the first time on vinyl. Originally formed in 1967, the band was known for its ties to avant-garde theater groups (as typified by Shuji Terayama’s troupe) and leftist political groups, and their feedback-drenched live shows and use of strobe lights and mirror balls onstage earned them comparisons with The Velvet Underground. In 1970, bass player Moriaki Wakabayashi was involved in the hijacking of Japan Airlines Flight 351, orchestrated by the Japanese Red Army. Singer Takashi Mizutani was allegedly offered a role in the hijacking, but he turned it down. Cable Hogue is a CD release compiled by Mizutani from the original tapes he used for the Rallizes video which was released in 1992. Housed in a deluxe gatefold sleeve.
| FLOWER TRAVELLIN’ BAND: Made In Japan CD (ASH 3047CD) 17.00|
Following critical acclaim but meager record sales in their native Japan after their superb debut album, Satori (ASH 3002CD/LP), Yuya Utchida and his Flower Travellin’ Band decamped to Canada following an invitation to open for local jazz-rock outfit Lighthouse. While there, Lighthouse leader and keyboard player Paul Hoffert offered to produce the band’s next studio album, the ironically-titled Made In Japan, originally released in 1972, although it must be said, Hoffert’s musical vision didn’t always reflect the band’s. However, Utchida was particularly happy with the results; although again, critical acclaim didn’t translate into significant record sales and the band duly parted company following their half-live/half-studio release, Make Up (ASH 3033CD). Numbered, limited edition collector’s edition, housed in a gatefold sleeve with slip case and original LP artwork. Digitally remastered.
| PROPER, SAN: Shook 12″ (RT 002EP) 12.50|
San Proper whips up an enchanting vocal house-track entitled “Shook” with a specific “Proper-feel” of groovin’ synth-bass melodies, straight-up funkin’ house-beats and a message which invites you to shake your behind. Side B contains the track “Buckle Up & Ride,” another instant dancefloor classic which will take us out for a spin around town as we drive down memory-lane to honor some of Chicago’s heritage.
|REEL TIME (UK)|
| VA: Angels From Hell: Original Motion Picture Soundtrack CD (RT 1001CD) 17.00|
Depicting a disaffected Vietnam vet’s involvement with a violent biker gang (and subsequent descent into criminal mania), Angels From Hell has long been a favorite with B-movie enthusiasts. Its rare soundtrack makes its CD debut here, and is packed with superb music composed by film score composer Stu Phillips, with rare contributions from cult psychedelic acts The Lollipop Shoppe and Peanut Butter Conspiracy. Originally issued in July 1968, original copies of the LP have changed hands for as much as $250, making this reissue especially welcome. Includes explanatory liner notes.
| VA: The Trip: Original Motion Picture Soundtrack CD (RT 1002CD) 17.00|
Starring Peter Fonda and Dennis Hopper, written by Jack Nicholson and directed by Roger Corman, The Trip practically defines the psychedelic exploito film genre. Its superb soundtrack was originally released in September 1967, and features 18 tracks by the nascent Electric Flag, with outstanding guitar from the great Mike Bloomfield, and prominent contributions from Moog maestro Paul Beaver. Showing influences from rock, blues, jazz and classical music, it is simply one of the best psychedelic albums of the period, and is reissued in its full form for the first time here. Includes explanatory liner notes.
| OXTIRN: Live CD (REL 017CD) 14.00|
“Oxtirn live documents a performance in New York City, by the new trio Of Geoff Mullen, Ashley Paul and Eli Keszler. Following a score by Keszler, the group performs on an array of instruments, using three guitars, drums, voice, auto-motorized harps, tenor harp, bass harp, microphones, clarinet, alto saxophone, crotales, drums and cymbals. The music drifts in a unique way between a wide variety of sounds, from incredible density of clattering metal textures and string attacks, wall of sound guitars, mechanical music, high pitched saxophone bends and an oddly dim shimmering high harmonic sound. All creating together, a harsh, jagged and angular wash of ricocheting materials. In other sections, metal and vibrating strings, crotales and horns create a calmer and high contrast atmosphere. In the end, the music evolves into an area of sustained sound, space and sparse gesture, featuring one of Ashley Paul’s songs and vocals, where the music takes on a new formation, leaving the listener with a question mark, and in some way is a new form of intuitive song. The recording itself is a low-fi document with a spacious, raw and aggressive timbre to it, adding to the all ready unique feel of the music. The packaging is intricately designed with a multi-color silk screen, based on a drawing by Eli Keszler. The CD itself is housed in a multi panel, fold-out, metallic paper print with pictures from the concert and excerpts from the Oxtirn score, with gold stamping on the outside of the metallic paper.”
|RUSH HOUR (NETHERLANDS)|
| RECLOOSE: Saturday Night Manifesto 12″ (RH 035EP) 12.50|
Recloose is back with a state-of-the-art house 12″. Two refreshing house tracks on the A-side, and a banging, heavy one on the B that’s leaning towards electro. The EP starts out smooth and mellow with “Electric Sunshine,” a heartfelt future-soul piece. It then moves on to the bumping groove of “Parquet,” a shaker that carries that signature Recloose funk. It closes out the night with “Tecumseh,” a dirt-deadly primetime mover that makes you want to reach for the stars.
| BRAILLE: The Year 3000 12″ (RH DC9-EP) 12.50|
Braille presents his first single for Rush Hour. The mind behind Braille is better known as Praveen, who forms Sepalcure together with Machinedrum. He uses this new alias for his house-oriented output. “The Year 3000” is a vocal house mover of anthemic proportions, reworking a classic Chicago house vocal and giving it new life. “Leavin Without You” is built around a heartfelt vocal soul sample, which cuts in and out of the mix, taking off away from planet earth.
| MAXI MILL: To The Next/Sun Rays 12″ (RH VD5-EP) 12.50|
Next up on Tom Trago’s Voyage Direct series is Maxi Mill, a young producer from Amsterdam. Maxi Mill came up under the wings of Tom Trago, co-producing some of Trago’s tracks, like “Steppin” Out” or “200 B.C.” This is his debut release and showcases his love for raw, dirty and syncopated house music. A hot debut from a producer we will surely hear more of soon. Another Voyage Direct banger.
| BORDEN/FERRARO/GODIN/HALO/LOPATIN: FRKWYS Vol. 7 CD (FRKWYS 007CD) 14.00|
“FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin. When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments. The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation levity. Atlantic Sound Studio in DUMBO, Brooklyn became the meeting destination for Lopatin and and by a basic desire for collective energy and Borden, alongside musicians Halo, Godin, and Ferraro. The cosmically dense but dynamic nature of the recording reveals the diverse ingredients seasoning the spatial stew. ‘People of Wind’ Parts 1 and 2 were amongst first takes from the two-day session. The pieces exhibit the ensemble in early harmony, allowing each other textural counterpoint play while avoiding rigidity. ‘Internet Gospel’ Parts 1 and 2 demonstrate the players at ease and taking turns at solo accompaniments, ending in a Fourth World freak out. ‘Twilight Pacific’ and ‘Just a Little Pollution’ are compiled from middle points of the session – structured statements in solidarity.”
| SUN RA & HIS MYTH SCIENCE ARKESTRA: Angels And Demons At Play LP (SATURN 407) 11.50|
2011 repress. Recorded between between 1963 and 1967. Tracklisting: Tiny Pyramids, Between Two Worlds, Music from the World Tomorrow, Angels and Demons at Play, Urnack, Medicine for a Nightmare, A Call for All Demons, Demon’s Lullaby.
| ELIAS HULK: Unchained LP (SOMM 006LP) 29.00|
“A classic in the collecting circuit since ages, the sole release by UK group Elias Hulk was out in 1970 on the Youngblood label. Raw hard-rock, adding some Eastern and blues-rock elements as well. First ever licensed vinyl reissue, 180g vinyl in a one-off 500 copies pressing. Insert with photos and extensive liners by Andy Morten.”
| EXPO ’70: Awakening LP (SM 027LP) 16.00|
“Long out-of-print cassette originally released on Sloow Tapes (Belgium) in an edition of 70 with hand colored inserts. Cassette sold out within a week and has become quite collectible. Recorded after Expo ’70 played France in 2008, just weeks after the IAO festival where the label owner and musician met. Upon returning to the states, the experience spawned the 2 day recording session materializing these 2 improvised tracks with no overdubs. Both tracks begin with rhythmic beats and slowly morph into sprawling ambient pieces, shifting and shifting moods gradually into floating space.” Limited to 500 copies on 180 gram vinyl with locked grooves on both sides, full color artwork.
|SOUL JAZZ RECORDS (UK)|
| VA: Invasion Of The Killer Mysteron Sounds Volume 1 2LP (SJR 236A-LP) 24.00|
Gatefold 2LP version, volume 1. Includes limited edition graphic novel by Paolo Parisi. Tracks by: Steely & Clevie, Lenky & Sly, Ricky Ranking feat. Roots Manuva, Dave Kelly, Annex Crew, Federation Sound, Lenky, Team Shadatek, Stereotyp feat. Alley Cat, The Grynch feat. Tippa Irie, Fira, Diplo, Harmonic, War 21 Productions, Redlight and The Bug.
| VA: Invasion Of The Killer Mysteron Sounds Volume 2 2LP (SJR 236B-LP) 24.00|
Gatefold 2LP version, volume 2. Includes limited edition 20×27 inch poster. Tracks by: Fat Eyes, Steven Ventura 4 Kings Of Kings, Sly Dunbar and Christopher Birch, David Jahson, South Rakkas Crew, Parara and McCoy, King Tubby, World Beat, Andre “Suku” Gray, Henfield and Shadowman, Firehouse Crew, Computer Paul, Prince Jazzbo, Wiz Kidz Team, Pliers (Bonner Productions), Kickin’ Productions and Jammys “Jam 2” James (Jammys).
| VA: Invasion Of The Killer Mysteron Sounds 2CD (SJR 236CD) 21.00|
“Kevin Martin (aka The Bug/ King Midas Sound) and Stuart Baker (Soul Jazz Records) have put together a unique new project bringing together new, exclusive and in-demand digital music by electronic futurists Harmonic 313, Diplo, Roots Manuva, South Rakkas Crew,The Bug and more alongside a killer selection of Jamaican digital and electronic scientific dub and dancehall. Exclusive new tracks and mixes by Harmonic 313, Stereotyp, Federation, in-demand tracks from the likes of Roots Manuva, Diplo and South Rakkas Crew, the toughest digital and twisted rhythms from legendary producers King Jammy, Steely and Clevie, Sly Dunbar, Prince Jazzbo, King Tubby, Firehouse Crew and more all feature on this unique release. The double album comes in limited edition heavyweight deluxe hardcover 2-CD card-casing complete with a limited-edition graphic novel by Italian comic book designer Paolo Parisi (whose books include subjects as diverse as John Coltrane and Chernobyl). This specially commissioned graphic novel is a science-fiction vision of the future of digital music, featuring King Tubby, Steely and Clevie, Jammy, Jazzbo, complete with Alien Sound Lord Abductors, Aural Freedom Fighters and Digi-Dub Voyagers!”
|STIR 15 (GERMANY)|
| VA: Colourharmonies: Sounds For Coloured Rooms 01 CD (STIR15 007CD) 17.00|
Stir15 presents design and style in a contemporary composition based on the works and ideas of designer Lars Contzen, who is regarded as one of Germany’s best interior designers. His vision of rooms and colors trigger all your senses, which is one of the reasons why he teamed up with Christian “C-Rock” Rindermann to combine his art with the right sound-design. Together with Joachim Stretz (photography) and Joerg Obernauer (video and light installation), the four created this CD and art concept including amazing pictures, furniture design and of course, top-notch music. This first CD in the Colourharmonies series features impressive artwork and the music of C-Rock and his label Stir15 as well as parts of his latest joint ventures with Matthias Vogt (aka Motorcitysoul). Music and design seem to be made for each other and the CD appears almost like an artist album. Sounds and colors in perfect harmony based on the visionary ideas of mastermind Lars Contzen. Other artists include: Westpark Unit, Glissando Bros., Jay Shepheard, Nacho Marco, Alex Santos, Djazzy, Jussie Pekka, Glance and Marlene Johnson.
| O’ROURKE & CHRISTOPH HEEMAN, JIM: Plastic Palace People Vol. 2 CD (STREAM 1029CD) 13.00|
“The windowsare ringing.Shaking Night-nitesFor angels,rattling throatsup and downon a beam.CoolingThe hearts,cooling the plasma,keepingice junkiespacked hardon a seam.” — (N.S. Engel)”Produced by Jim O’Rourke and Christoph Heemann in Aachen, Germany 1992, mainly composed from field recordings and found sounds of all sorts.”
| SZCZEPANIK, NICHOLAS: Please Stop Loving Me CD (STREAM 1031CD) 13.00|
“Finding direction can be a simple understatement. It’s a process that lasts a lifetime, and in the end there’s still the question if anything was ever answered. The new work of Nicholas Szczepanik, Please Stop Loving Me, is a desire for something more. With torrential energy, this piece filled with raw emotion has a far-reaching expanse and the willingness to disenthrall expectation and requirement. Upended wellings lay within the ambit of the album’s sound. Harmony dives forward, undulates behind and catches up again. Nicholas Szczepanik has always been fascinated by music. After acquiring a tape recorder from a thrift store in his native Maryland, Nicholas became enthralled with the sounds around him. He now focuses on creating sound art heavily influenced by emotion and memory. Following his highly praised debut album, The Chiasmus and the mini-epic, Dear Dad, comes this most intimate Szczepanik work to date, Please Stop Loving Me. It offers a true example of passionate instinct, carefree ambition and subtle poise. So seldom does an album unseat restriction, yet retain the virtue of creative purity, without fundamental concern, kindling the calms of fearlessness. This music is presented by Streamline with genuine empathy and sense of purpose.”
| SOULEYMAN, OMAR: Jazeera Nights: Folk & Pop Sounds of Syria CD (SF 055CD) 15.00|
2011 repress. Sublime Frequencies is honored to present Omar Souleyman’s third Western collection on disc. This retrospective features live recordings spanning 15 years of Omar’s tireless repertoire, and is rife with frenzied Syrian dabke (a regional folkloric dance and party music), Iraqi choubi and a host of Arabic, Kurdish and Turkish styles, among others — an amalgamation that exemplifies the musical essence of Northeastern Syria. Culled from cassettes recorded between 1995 and 2009, this collection offers a further rare glimpse into Syrian street-level dabke folk-pop — a phenomena seldom heard in the West, not previously deemed serious enough for export by the Syrians and rarely, if ever, included on the import agenda of worldwide academic musical committees. Over the years, Souleyman’s popularity has risen steadily and the group tirelessly performs concerts throughout Syria and has accepted invitations to perform abroad in Saudi Arabia, the United Arab Emirates and Lebanon. In 2006, Sublime Frequencies partnered with Omar to release Highway To Hassake (SF 031CD), the first compilation of his works to be issued in the West. The success of this release and the video for the song “Leh Jani” helped see Souleyman and his group invited for their first Western tour in 2009 alongside label-mates Group Doueh from the Western Sahara. This successful tour quickly elevated Souleyman to the status of an international legend — and deservedly so. This release coincides with the beginning of Omar’s 2010 international tour in May which will take him to the UK, the European mainland, and hopefully the U.S. and Canada. CD features a full-color 8-page booklet with great photos, a general overview of the lyrics translated into English and liner notes by compiler Mark Gergis.
| PIEMONT: Sand Hills CD (SRX 001CD) 17.00|
Piemont’s Frederic Möring-Sack and Christian de Jonquieres scored with several early My Best Friend singles such Carbonat and Black Smoker, ending up in the flight cases of many of the DJ world’s leading lights. Both of these tracks were included on their debut album Strange World Beyond (MBF 003CD) in 2009. Prepare yourself for a new adventure with Sand Hills on their own imprint Suchtreflex. Sand Hills is a techno album with elements of house and funk, full melodies, and real instrumentation. This is an album without cracks, without excess, presenting well-balanced bass and a wide range of details for your brain only. For this release, Piemont intended to present another side of their musical diversity by combining ambient sounds and abstract electronic, producing an album that is not only DJ-friendly but lounge room compatible. The result is a piece with atmosphere and mood, melodious scapes and atypical dancefloor arrangements.
| KALKBRENNER, FRITZ: Right In The Dark 12″ (SUOL 028EP) 12.00|
This is the third single taken from Fritz Kalkbrenner’s highly-successful album Here Today Gone Tomorrow (SUOL 001CD). Along with the original version is an amazing remix by Robag Wruhme that is perfect for the floor. Great groove, great sound and great vocals. Henrik Schwarz builds up a mind-boggling atmosphere that will tear every floor apart. You have to be patient if you are waiting for the 4/4 kick drum, but no worries, it will come … eventually.
| JUNIOR KIMBROUGH WITH THE SOUL BLUES BOYS: Do The Rump! LP (SP 1014LP) 18.00|
“In 1979, historian David Evans, a professor of music at the University of Memphis, chanced upon Junior Kimbrough playing at Ethel’s Juke Joint in Holly Springs. The University had recently created its own small record label called High Water and he brought Kimbrough in to cut some sides, including his next single titled, ‘Keep Your Hands Off Her.’ The sides would be compiled for Junior’s first full-length album, Do The Rump!. The result has become hill country legend, and his band, featuring Calvin Jackson on drums (father to Cedric Burnside and one of the most rock steady drummers of all time), created a sound that launched a whole new generation of blues fans. This is the first time this record appears on vinyl.” On 180 gram vinyl.
| MCDOWELL, FRED: Amazing Grace LP (SP 1015LP) 18.00|
“One of the truly legendary releases in the cannon of the man who defined modern Hill Country Blues, Amazing Grace finds Fred McDowell playing with the Hunter’s Chapel Singers in Hunter’s Chapel of Como Mississippi. This 1966 release originally on Testament was one of the few records producer Jim Dickinson took with him to every recording session to make sure there was always some REAL SHIT present. The recordings also features Fred’s wife Annie Mae. McDowell and company perform what the record subtitle calls ‘Mississippi Delta spirituals’ on this stark and moving set, which includes a version of one of his signature tunes, ‘You Got to Move.'” On 180 gram vinyl.
| BURNSIDE, R.L.: Sound Machine Groove LP (SP 1017LP) 18.00|
“Recorded by folklorist David Evans in 1979 and 1980, these are Burnside’s first recordings with electric guitar and also his first with a band. That band was the Sound Machine, a band he literally created himself out of members of his own family, blending raw Mississippi blues with soul, funk, R&B, contemporary beats and other urban flavors to make a marvelous amalgam of his own. Especially notable is a version of ‘Sitting on Top of the World’ with Burnside on slide guitar that, with Jackson’s help, neatly evokes the sound and feel of a fife and drum band. Although Burnside became the darling of the blues crowd and hailed as something of an overnight success, one listen to this disc tells you he was already forging a new chapter in the Mississippi blues tradition with these recordings. Well, well, well.” On 180 gram vinyl.
| OTTUM, JOSH: Watch TV CD (TR 217CD) 17.00|
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.
| VA: Ililta!: New Ethiopian Dance Music CD (TERPAS 015CD) 14.00|
Compilation of contemporary urban Ethiopian dance music produced by Mesele Asmamaw (of Ethiopiques fame) and compiled by Terrie Ex and Emma Fischer. Includes a 24-page booklet of photos by Andy Moor. “The era of the Ethiopian big brass bands came to an end in the period of 1975-1991. In the last few years something new is emerging. Young producers have started combining traditional rhythms & strong dance beat production. The result is very original, uplifting & very danceable music. The gurage, wollo, gondar, konso & other traditional rhythms work wonders for this new dance music.”
| VA: Ililta!: New Ethiopian Dance Music 12″ (TERPAS 018LP) 15.00|
12″ single featuring two exclusive tracks not included on the Ililta!: New Ethiopian Dance Music CD full-length (TERPAS 015CD).
|THE WIRE (UK)|
| WIRE, THE: #330 August 2011 MAG (WIRE 330) 8.50|
“Attached to the front cover of every copy: The Wire Tapper CD, the latest in our ongoing series of exclusive new music compilations. On the cover: Zomby (A rare in-person interview with UK Bass’s mystery man who has dedicated himself to redefining the nation’s club music). Features: Global Ear: Kiev (DakhaBrahka’s ‘ethno-chaos’ reconnects Ukrainian music to its pagan roots); Cross Platform: Seb Patane (The Italian artist stays faithful to the line despite irruptions of frontier-pushing music); Collateral Damage (Bob Ostertag comes to terms with the ‘professional suicide’ of giving music away for free); Luo Chao Yun (The Taiwanese pipa virtuoso is plucking her way to the heart of the UK Improv community); Forest Swords (Mark Fisher hears post-punk echoes in the new Mersey home recordings of Matt Barnes); Invisible Jukebox: Jan Anderzén (The Finnish frontman of Kemialliset Ystävät and Tomutonttu gnomes in on The Wire’s mystery record selection); Daphne Oram (From founding the BBC Radiophonic Workshop to designing new instruments for a new age, the British composer/inventor was a true pioneer); The Primer: Jim O’Rourke (A guide to the multi-talents of the Chicago born guitarist/improviser/producer, who prodigious output covers electronic drones, tapes music, uneasy pop, soundtracks and more); Epiphanies.”
| ETERNAL TAPESTRY & SUN ARAW: Night Gallery CD (THR 266CD) 14.00|
“The session took place in a large TV studio on the UT campus, with the band setting up in a big circle. The line-up was Dewey Mahood and Nick Bindeman on guitars, Jed Bindeman on drums, Ryan Carlile on tenor sax, Yoni Kifle on bass, and Cameron Stallones on keyboard and trademark flute. After a brief discussion of mood, the six musicians improvised together for 45 minutes continuously. The music is heard as played that evening – no overdubs, and only a few edits to create a four section suite for the LP release. The piece is titled Night Gallery, in homage to the surreal early 1970s TV show produced by Rod Serling of Twilight Zone fame. It was this program that the six musicians fell asleep to, and woke up with, during their five day stay in Austin.”
| ETERNAL TAPESTRY & SUN ARAW: Night Gallery LP (THR 266LP) 15.00|
| FUTURE ISLANDS: Before The Bridge 7″ (THR 284EP) 6.00|
“The 7″ format exists for tight concept records like Before the Bridge, the first release of 2011 from the band. Here Future Islands serves up two addictive new tunes exploring the flip sides of love – from the hopeful first encounter to the painful final parting – each threatening to take control of your turntable once the needle hits the wax.”
| NAKION: Oh Ah! CD (TSR 022CD) 15.50|
This is Nakion’s first official album, but the young Korean spent many years recording songs in her home-studio and eventually released a homemade CD of some of her early works in her home country. As you will hear, this is not music for the faint-hearted. Nakion’s music is intense and takes you on a wild ride through strange melodies and chaotic beats, mad peaks and sudden silence. Making music, for Nakion, was a way to overcome the limitations she felt in painting, her first main artistic form of expression. With keyboards and a drum machine, she could express even more exaggerated and extreme feelings then she was able to with paint-brushes. She has made all her music alone with a very minimalistic set-up, just a computer and a few synths. The result recalls electronic music from artists such as Yellow Magic Orchestra, Art Of Noise, or even Aphex Twin and the dark romanticism of early ’80s synth music, new wave and industrial. As Nakion says, “I like humor. I like funny things, chaotic energy and loud noises versus serenity, strange-looking people, extreme personalities, street kids, mean-looking punks, cliquey crowds, ’80s manga, juvenile naivety and rawness.” Nakion doesn’t like labels; those sticky things, which unfortunately most people need to help understand complex things. For some artists, labeling is the end of freedom, and Nakion is one of those artists. So you, the listener, will have to do the work and find your own way through Oh Ah!.
| DYE: Taki 183 CD (TSR 023CD) 15.50|
Under the guise of DyE, we find Taki 183, an enigmatic debut album from Juan de Guillebon; long-time bass player in the Parisian electronic scene — Joakim & The Disco, Botox and Maestro. DyE has said of Taki 183 that it “is a personal and progressive urban design” already popular with artists as diverse as James Murphy, DJ Mehdi, Erol Alkan and James Holden. The album is filled with dreamy electro-pop and excessive shoe gaze, and also introverted dubstep and hallucinogenic nu-disco. Previous to this album, DyE created a little project called “One Week, One Track!” which saw him upload a new track to MySpace every week. Artists such as Zombie Zombie, Cosmo Vitelli and Feadz all waxed lyrical about this new artist, but DyE said nothing of his diabolical plan to be both anonymous and popular to anyone. His first release was the 12″ Imperator, but again, no word from DyE. So when the second single came, Cristal d’Acier, which was considerably more “wonky,” DJ Mehdi decided to remix it. Later, DyE contributed the track “Nike” to the Tigersushi 10 Year Anniversary release. “Vader,” “Taki 183” and “Star Vac” were all born during “One Week, One Track,” while “Nike,” “Cristal d’Acier” and “Dark White” all featured as catalog releases on Tigersushi. But this is not a compilation of tracks, this is collection of tracks “to create my sci-fi universe: each track is the color of a mood, made of time, experience and loss.” The sentiment couldn’t be more true, with “Immortals Only” mapping a period of loss and “Matthias & Charlotte” suggesting a milestone on a great journey to a happier place. Between these two key tracks is “Hole In Ocean,” which is a nightmare that DyE enjoys relishing in, possibly suggesting the inevitability that one day this body of work will be released, which brings us to date. Taki 183 was recorded using analog equipment such as the Roland TR606, Moog Source and a Korg Ploy Six into Pro-Tools.
| RICE, LARRY ‘SUNSHINE’: Here’s Sunshine LP (TLR 053LP) 27.00|
“Top quality official reissue of this wonderful album. This project is a bit different from other Time-Lag reissues, as the original isn’t exactly a mega-rarity. That’s not to say that they’re easy to find, but our motives for the reissue have more to do with the fact that this great LP has been seriously overlooked by so many, and feels very ripe to reach some new ears. This one’s got a pretty wild backstory too, being a rather undiscussed piece of 60s Texas underground history: in 1966 Larry ‘Sunshine’ Rice was feeling burnt by the increasingly superficial hippy scene in San Francisco, so headed to Dallas, Texas, the ‘center of darkness’ and the place he was raised, with a vision to transform minds. A random gig doing psychedelic light shows at a local bar led to a job managing a new ‘hip’ church. And so the ‘Satori House’ was founded. Through this outlet Sunshine held experimental light & sound worship sessions, began hosting underground rock concerts, launched a free press, and just about any & all other activities towards the goal of turning on Dallas. It was, of course, a great success while it lasted, which was not long once a federal drug bust (total set-up) went down, and the higher-ups in the parent church organization got wind of just exactly what their cash had been backing. During the extended trial that followed Sunshine split the city for tiny Justin, Texas and founded ‘The Church Of Changes’ Texas’ first marijuana church, claiming grass as their sacrament and legal right. It was at this point that a series of truly unlikely synchronicities led to a record deal & recording session, but by the time Here’s Sunshine was released in the summer of 1969, Sunshine was back in California living as a fugitive. He never showed up at his meeting with the bigwigs at blue thumb records who were planning to release his follow up album, thus quickly and purposely ending his connection to the music industry. If that’s got your head turned, you’ll almost certainly dig the music. It’s a mystical and convoluted folk trip, executed with the lonesome single-mindedness of a true searcher. Warm intense vocals are delivered in a magically loose, flowing style. Tim Buckley comparisons pop up, and that’s not totally off the mark if you replaced any avant/jazz leanings with more of a tripping-in-the-desert vibe. Lyrically things get truly bent, venturing into some deeply surreal & glassy-eyed zones. There are a few grasps towards religious ponderance, but it’s very far from a ‘xian’ album. Stream of consciousness broodings on nature, work, love, god, Satan, sex, hallucinations, and so forth. It’s a totally solo recording centered on understated but effective acoustic guitar, and fleshed out via overdub with rather unusual use of electric bass, organ, banjo, mandolin, and harmonica. Things get especially psychedelic when the bass comes in, either as an ultra-minimal echo-drenched pulse or a flowing tonal improvisation. The hyper compressed and reverb saturated production somehow suites the material perfectly, and the combination of elements creates quite an immersive, mirage-like and exploratory space. This one is far stronger, more hallucinogenic, and has gobs more personally then most of the over-hyped, mega-bucks coffee house folk strummers passed off as loner/downer/acidfolk these days. This record’s got a real spirit of its own, that with repeated listens will sneak right into your mind before you even know it. And I’m sure that’s the way Sunshine intended it. Beautiful exact reproduction art packaged in a lovely heavy 60s style cover and pressed on 180gm audiophile vinyl. Includes an insert with new notes from the artist, as well as a short except from his book ‘Morning Glory,’ which was written in 1968 and tells the story behind the album, but has yet to be published. One time vinyl only edition of 500 copies.”
| VARIOUS BUFFET CAR ATTENDANTS: The MMs Bar Recordings LP (JBH 040LP) 18.00|
LP version. Trunk presents quite an unusual release; it’s various buffet car announcements recorded over a period of three months on the Leicester to London train. Spelt “MMs” and pronounced the “Em’s Bar,” this small hive of buffet activity used to live in Coach F on the Midland Mainline trains (hence the “MM”) running between Leicester and London. At the beginning of each train journey, the staff at the MMs Bar would announce that it was, or in some cases was not, open for business. Business meant hot food, light snacks and a dazzling array of hot drinks. Making the journey weekly between 2006 and 2007 was Sandra Cross. An artist working on an ongoing project exploring food, she recorded the MMs bar announcements whenever she got on the train. There was no consistency as to when the announcements would start, sometimes at the beginning of a journey, sometimes they pipe up several minutes after the train had started. You’ll hear that the recordings have a wide fluctuation in quality based on a wide variety of voice, tone and delivery. Simply shunted together like old rail yard stock, these basic recordings represent a strangely engaging set of monologues all based on the same exciting menus and occasional “safety information.” “On a 6am drive to Tonbridge on my way to the Audio Jumble last year, I was tuned into Resonance 104.4 FM and heard the MMs Bar recording. It lasted about 30 minutes and I found myself strangely hypnotized by the way it sounded, the mundane nature of the announcements and the almost infinite number of variations possible within each one. I found myself laughing out loud as each announcer mentioned the phrase ‘bottle of pop,’ and decided to find out more about the recording. I did, and then decided the best thing to do was put it on very limited vinyl. There are only 250 of these. I figured there must be that many people out there who will find this as entertaining as I still do. Sadly the MMs bar is no more, and has been replaced by the far less attractive trolley system. Apparently the bar is still there, but the shutters remain permanently shut.”
|VINYL MAGIC (ITALY)|
| BLOCCO MENTALE: Poa LP (VM 032LP) 37.00|
“A very obscure and one of the rarest albums from Italian rock music scene of the 70s. This album takes on ecology as its theme and sings of the evil of polluting the planet. Terrific basic progressive music housed in a creative gimmick sleeve with window to flower. Blocco Mentale were a quintet, consisting of Aldo Angeletti (who wrote the music) on vocals and bass, Michele Arena on drums and vocals, Gigi ‘Roso’ Bianchi on guitar and vocals, Filippo Lazzari on keyboards, harmonica and vocals, and Dino Finocchi on vocals, sax and flute. Musically Blocco Mentale is characterised by a progressive style with some personal touches. The best instruments are the horns and the keyboards. The album opens with angular staccato sax riffs and then slides into a lush melody somewhat reminiscent of PFM (Premiata Forneria Marconi) in their early (and best) days. There are rich vocal harmonies blended with organ and flute, and once again a Mediterranean sensibility which distinguishes much of the best Italian progressive rock. (The opening lines of that opening track, ‘Capita,’ are recapitulated in the closing lines of the sixth track, ‘Ritorno,’ but the album still has one track to go at that point, oddly enough.) Swelling Mellotrons blend into vocal harmonies, and give way to a cascading piano line. The music moves around a lot in the course of the album. The fourth track, ‘Io E Me,’ is an amazing Mediterranean blues, with a wailing harmonica taking the lead. First time ever reissue, in its gorgeous gimmick gatefold cover. Limited to 500 copies.”
|WARP RECORDS (UK)|
| ENO, BRIAN: Drums Between The Bells 2CD/BOOK (WARP 10214CD) 41.00|
“This special hardcover edition of Brian Eno’s Drums Between The Bells includes a second disc with instrumental versions of tracks, and a 44-page book containing an essay by Eno as well as further images.”
| ENO, BRIAN: Drums Between The Bells 2LP (WARP 214LP) 22.50|
Gatefold 2LP version. “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.” Includes mp3 download code.
| MENDOZA, ELENA: Scenes from Niebla CD (WER 6580) 24.00|
“This new disc from Wergo includes a selection of scenes from her music theater stage work Niebla based on the novel of the same title by the Spanish author Miguel de Unamuno. Fe de erratas pursues the idea of inventing a musico-theatrical situation by constantly correcting things just heard. Gramatica de lo indecible for instrumental ensemble was inspired by a saying by Wittgenstein that is interpolated into the composition at the end of the spoken material. Mendoza’s works are a sonic and semantic kaleidoscope of extraordinary sensual presence.”
| ZIMMERMANN, BERND ALOIS: Initiale – Lieder and Early Chamber Music CD (WER 6735) 24.00|
“This CD is the first recording of Bernd Alois Zimmermann’s complete vocal works. His eleven songs are interpreted here by renowned singer Anna Prohaska, who captivates the opera world with her light and lyric soprano voice. Never had Zimmermann been as close to the neo-romantic tonal language as he was in his songs. They reflect both an expression of intimate feelings and his strong interest in literature. The CD also contains his early chamber music. Members of the Berlin Philharmonic, including the Trio Berlin, present his Trio, Kleine Suite and Aria and Sonate.”
|WOO ME (UK)|
| THROSBY, HOLLY: Team CD (WOOME 008CD) 15.50|
Australian singer-songwriter Holly Throsby presents a follow-up to 2009’s A Loud Call (WOOME 007CD). The album included performances from a handful of very special guests including Bonnie “Prince” Billy and members of Lambchop and The Silver Jews (Matt Swanson on bass, Tony Crow on synth and William Tyler on electric guitar). Strings and horns were recorded in Kangaroo Valley by Tony Dupé. Now Holly has returned to her roots with long-time friend and producer Tony Dupé, recording a brand-new collection of songs in a 19th century Methodist church in the Southern Highlands of New South Wales. Mixed by Burke Reid (Jack Ladder, The Drones, The Mess Hall) at Sydney’s Big Jesus Burger studios, Team is a warm departure that echoes contentment as the singer-songwriter begins her next chapter.
| INCA ORE/GROUPER: Split LP LP (IOG 001LP) 19.00|
“Self-released second vinyl pressing of the split by Inca Ore and Grouper. Initially self-released on tape in 2007. This version has new black and white artwork. Though it’s a proper split, each side resonates strongly with the other–hissing and dream-sick, songs whispered in the dark. Inca Ore’s side is feverish and haunted, much of it recorded while on a somewhat nightmarish journey taken through Mexico several years ago. Grouper’s side is distorted and pitch-twisted Wurlitzer and guitar songs, recorded during a rain heavy winter, about unexplainable disappearances, invisible structures.”
| TRIMBLE, BOBB: The Crippled Dog Band CD (Y 007CD) 13.50|
The year was 1983, and Bobb Trimble had two then-unrecognized masterpieces to his credit and a lot of confusion and indifference from his fellow travelers in the Worcester, MA “Wormtown” scene. Never one to worry much about appearances, Bobb accepted an invitation to join a group of teenage boys who called themselves The Crippled Dog Band, named after Boopsie, a three-legged canine local. Bobb donned the title of Chief Crippled Dog and led the Band on enthusiastically-received gigs throughout the region. Unbeknownst to almost anyone, they completed a raucous album full of addictive hooks, feedback, teen chatter and video game noises. But soon the Band splintered and Bobb decided to forget about the whole thing, disposing of the entire 500-count LP pressing in an office park dumpster. All of which would be nothing more than a typically weird footnote to the Bobb Trimble legend, except for the fact that The Crippled Dog Band is very different from, but every bit as remarkable and brilliant as Iron Curtain Innocence and Harvest Of Dreams. Having proved himself, if only to himself, this is where Bobb stops chasing glass menagerie fantasies of perfection, tempers the dread of his first two records, and reconnects with his DIY roots. This unique collaboration between “the greatest psychedelic musician of the ’80s” and his scrappy acolytes yields pure rock and roll and the effect is raw, crazy, and infectiously exciting.
| TRIMBLE, BOBB: The Crippled Dog Band LP (Y 007LP) 15.00|
LP version. Pressed at RTI and housed in top-quality “old style” covers by Stoughton Press.
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