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3DB 006CD VA: Sleppet 2CD/BOOK (3DB 006CD) 23.50
Originally released in 2009. Six artists toured western Norway in April and May 2007, to experience and record its nature and rural culture. The itinerary included the small town of Sandane, the Jostedal glacier, Utvær — Norway’s westernmost island and the fjord city of Bergen. The works created out of the sonic input from this tour made up the components of Sleppet — a sound art exhibition curated by Jørgen Larsson and presented by Grieg07, Lydgalleriet, Galleri 3.14 and Ultima. +3DB Records is proud to present a series of works based on the materials from Sleppet. “In my art I could not help but search for a way to express the wild music of the ocean’s roar, but alas, in vain. I felt most deeply the impossibility of conveying that mighty chord in music. There was in that rushing and roaring something so infinite that it seemed presumptuous to dwell even for a moment on the idea of being able to reproduce it. Nonetheless, I found some comfort in that it is the artist’s responsibility not to convey its material effect, but the reflection of the emotions it awakens; if this is done with genius then the impression can be equally divine despite the lack of the mass effect which is nature’s own.” –Edvard Grieg; Double CD and a 65-page catalog presenting works by Natasha Barrett, Marc Behrens, Bjarne Kvinnsland, Steve Roden, Chris Watson and Jana Winderen. Featuring color photographs, essays and interviews in Norwegian and English.
3DB 010CD DUCH, MICHAEL FRANCIS: Edges CD (3DB 010CD) 15.50
Originally released in 2010. This is the first solo album from Trondheim-based double bass player extraordinaire Michael Francis Duch, exploring 1960s experimental works as vehicles for contemporary improvisation. Duch is a highly generous musician and improviser. This is equally audible as he moves in the outskirts of reductionism, flirts with noise, engages in the domain of contemporary composition or happily indulges in the joys of free jazz. Mixing a keen and exploratory sense of sound with firm and insistent formal thinking, he approaches his bass both as a source of personal expression and as a tool to discover new ways of music-making. Having performed internationally over the last 10 years and contributed to more than 20 recordings, Michael brings a wide range of influences to his current project: a quest to revisit, test and bring new life into the sparse scores of early experimental music. These works, although composed as tools to inform non-improvisers challenged to leave the conventions of traditional notation, are being set up as vehicles to rearticulate the ideas of a fully-fledged free improviser. Duch’s album is the first in a new series from +3DB called “Music for ONE” — showcasing artists working with different forms, strategies and approaches to improvising in a solo format. Includes compositions by: Christian Wolff, Earle Brown, Cornelius Cardew, Morton Feldman and Howard Skempton.
3DB 011CD LEMUR: Aigéan CD (3DB 011CD) 15.50
Originally released in 2010. Norway’s Lemur presents another journey in their quest for a new improvised chamber music: acoustic sound-oriented music from four highly original players. Aigéan is Lemur’s follow-up to their acclaimed debut IIIIIIII, from 2008. Continuing their work to develop an improvised chamber music with an emphasis on sonic experimentation and ensemble character, the ensemble delivers a darker and more fragile album. More open to explore the particulars in each piece, the ensemble seems to strengthen their sound, delivering a truly insistent and strongly-crafted album. Lemur has found their position as one of Europe’s truly original improvising ensembles. The four instrumentalists combine their work from classic composition, noise, chamber music and free jazz making a highly surprising and unique blend of contemporary sound and attitude. Since their first performances in 2006, the ensemble has done a series of tours in Scandinavia, Europe and Asia to great acclaim. Members include Bjørnar Habbestad (flutes), Hild Sofie Tafjord (horn), Lene Grenager (cello) and Michael Francis Duch (double bass).
3DB 012CD CARDEW, CORNELIUS: Works 1960-70 CD (3DB 012CD) 15.50
Performed by John Tilbury (piano), Michael Duch (double bass) and Rhodri Davies (harp). Cornelius Cardew’s music of the ’60s is arguably from his most creative and experimental period as a composer, beginning with “Autumn 60” and ending with the last paragraphs of “The Great Learning” in 1970. This decade can be divided into two parts, where the first half focuses on indeterminate music and the latter sees a growing emphasis on improvisation. “Treatise” functions as a bridge between these two periods as it contains elements of both. This recording is a document of this duality; a portrait of Cardew leaving the avant-garde he got to know from his work with Stockhausen and Cage, and entering the scene of improvised music as he would get to know it in AMM. Cardew’s work with improvisation would culminate with the Scratch Orchestra — as much a social experiment as a musical one. In the ’70s, Cardew left radical music in favor of radical politics. “Autumn 60” is Cardew’s first indeterminate score. It is often performed with larger ensembles, but also works well in a smaller format. It was premiered by a quartet consisting of the composer on guitar and John Cage on piano, amongst others. This version was arranged and conducted by John Tilbury. “4th System” is taken from February Pieces, composed between 1959 and 1961. Originally written for solo piano, “4th System” is the last, most open and flexible of these four pieces which were published together in 1961. “Material” is a work for an ensemble of harmony instruments. As in “Autumn 60,” letters are used to identify each section (A to Q). These sections of phrases are to be played together and in succession before the performers depart to their own tempo and individual choice of sections to be played. “Solo With Accompaniment” has a complicated accompaniment supporting a relatively simple solo part consisting of a repetition of single notes and a quasi-improvisational middle section. It is one of Cardew’s most complex compositions and while the form of the piece seems quite conventional and traditional, ironically it has more sets of rules and examples than any of his other compositions. “Treatise,” in which the interpretation is left entirely up to the performer, is undoubtedly Cardew’s most famous work, and probably also the most performed of his compositions. In “Treatise,” there are no parts indicated by either numbers or letters; only the overall form of this massive 193 page graphic masterpiece is given. “Unintended Piano Music” sounds unlike anything else Cardew produced. It lies somewhere between the most melodic of his experimental music from the ’60s and his politically revolutionary music of the ’70s. While the rest of the compositions on this CD outline a particular period and style of the composer’s music, “Unintended Piano Music” is a form of a musical fragment standing on its own.
100% SILK
SILK 010EP ITAL: Only For Tonight 12″ (SILK 010EP) 11.00
“Dancing in the light of a miracle: that’s the gift Ital keeps giving. A love song from an era gone, Only For Tonight is a tawdry affair with rhythm, fickle and free. And if rhythm is a dancer, then Ital is her choreographer – he’s got his hands on her hips and he’s showing her the way. Ital knows how to lift you up, and up and up. There’s no ceiling to his dancefloor, no cap on his bottle of juice, and with this – his second SILK – Ital’s found his first sexy single. Twelve inches of time running out; you’ve got this night with Ital, but will you love him tomorrow? Lovers don’t just rock; they let their bodies talk, but only for tonight.”
4M 105LP REDDING, OTIS: The Great Otis Redding Sings Soul Ballads LP (4M 105LP) 19.00
2011 repress. “Originally released in 1965 on Stax/Volt, this is Otis Redding’s second album and noted in the August 2001 issue of MOJO as one of the best soul albums ever recorded. It contains several of Otis’ classic tracks: ‘That’s How Strong My Love Is’, ‘Chained and Bound’, ‘A Woman, A Lover, A Friend’, ‘For Your Precious Love’ and ‘Mr. Pitiful’. This reissue has new exclusive and detailed liner notes by maverick ’60s music historian Alec Palao. Audiophile remastering from the original master tapes.180 gram HQ vinyl. Original artwork. Gatefold sleeve.”
4M 138LP NICO: Chelsea Girl LP (4M 138LP) 19.00
2011 repress. “Her debut originally released in 1967 (mere months after the groundbreaking The Velvet Underground & Nico album). A masterpiece of dark orchestral folk-pop featuring playing and songwriting help from the VU’s Lou Reed, John Cale and Sterling Morrison (as well as the then unknown Jackson Browne who was dating Nico at the time). Features the definitive version of Browne’s ‘These Days,’ as well as classics like the title track and Tim Hardin’s ‘Eulogy For Lenny Bruce.'”
ACKER 023.2EP SVENDSEN, BE: Catchpenny & Cosmos 12″ (ACKER 023.2EP) 12.00
Featuring deep atmospheres and altogether slightly more electronic rhythms, the second part of Be Svendsen’s Catchpenny & Cosmos series features an even greater variety of sound. Just like its name implies, the “Black Tower Hotel” is a wondrous and mysterious place. In his remix, Mollono.Bass delivers a rolling groove. “Jäger” gains experience with acid, minimalism and enigmatic wind instrument sounds. Last but not least, there is “Morgania,” a laid-back song that does not aim the dancefloor.
AG 002EP ALEX Q & OLIVER SCHORIES/SANDRU: Stars/No Good Music 12″ (AG 002EP) 12.50
Amuse Gueule’s second release is a perfect summer spotlight. Alex Q and Oliver Schories joined up in a gregarious circle, hitting the cookbooks and creating a midsummer night’s dream to convince everyone’s palate. This piece of poetry will be topped off by a dish from Argentinean artist Sandru, who is well-versed in noble ingredients and has also prepared the right wine.
SD 33386HLP HATHAWAY, DONNY: Live LP (SD 33386HLP) 14.00
Live in Hollywood and New York, originally released in 1972. Featuring Phil Upchurch and Cornell Dupreeon lead guitar. 180 gram exact repro reissue, manufactured by Rhino.
SD 1354HLP COLTRANE, JOHN: Coltrane Jazz LP (SD 1354HLP) 14.00
“The first album to hit the shelves after Giant Steps, Coltrane Jazz was largely recorded in late 1959, although one of the eight songs (‘Village Blues’) was done in late 1960. On everything save the aforementioned ‘Village Blues,’ Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb.” –All Music Guide. Exact repro reissue, on 180 gram vinyl.
SD 1572HLP COLEMAN, ORNETTE: The Art Of The Improvisers LP (SD 1572HLP) 14.00
180 gram vinyl version. Exact repro reissue, manufactured by Rhino. Originally released in 1961. “Like many of Ornette Coleman’s Atlantic sides, The Art of the Improvisers was recorded in numerous sessions from 1959-1961 and assembled for the purpose of creating a cohesive recorded statement. Its opening track, ‘The Circle with the Hole in the Middle,’ from 1959, with the classic quartet of Don Cherry, Ed Blackwell, and Charlie Haden, is one of Coleman’s recognizable pieces of music.” — All Music Guide
AX 043CD MILLS, JEFF: 2087 CD (AX 043CD) 19.00
“It is the year 2087. The world had become a place where thoughts were not only monitored and restricted, but also, muted or reconstructed to favor the current rulers of Earth and its inhabitants. The once exceptional human was merely reduced to a byproduct in the multi-dimensional industry of Planetary Hypostatisification. A boundless depository of cosmic energy controlled by an unknown force that had become too powerful to even reveal itself. A small and resourceful group of young scientists, engineers and devoted supporters create and send back through time a Cyborg. A low technological invention consisting of human fibers and machine. Out of desperation and precise planning, he is sent back to the year 1966 to prevent Earth’s leading mathematician from thinking about the numeric breakthrough that would eventually lead to the mass thought control and human manipulation of the future. The Cyborg (Garth) soon discovers he is not alone in his mission, giving grave suspicion to possible traitors or spy within the young group of his creators. Garth succeeds in finding and assassinating his target, but as the result, he alters the Future and becomes the only remaining symbol of a time that never existed. A man out of Time. 2087 is inspired by the science fiction film Cyborg: 2087 (1966) by the writer Arthur C. Pierce, directed by Franklin Adreon. Plot modification and soundtrack by Jeff Mills.”
BMS 035CD GERE, DON: Werewolves On Wheels CD (BMS 035CD) 15.50
“B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo’s fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line. Werewolves on Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany’s emerging Krautrock scene or the more localized stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognized by Columbia Records as their lowest selling record in the company’s history). Imagine guitarist Sandy Bull jamming with Munich’s Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil’s Angels, Thunder Alley, and Born Losers (often released on Curb’s own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it’s from an entirely different generation.”
BEC 5772066 REVL9N: Walking Machine Remixes 12″ (BEC 5772066) 12.50
2006 release. Remixes by Hot Chip, SebastiAn and Simian Mobile Disco. While Hot Chip’s is certainly the more experimental and darker interpretation and Simian Mobile Disco (unsurprisingly) go for the cowbell-wielding, foot stomping approach, the most down n’ dirty cut comes from future glitch king, SebstiAn.
BEC 5772136 LES RITA MITSOUKO: Variety Remixes 12″ (BEC 5772136) 12.50
2008 release. Les Rita Mitsouko get remixed by Kap Bambino on the catchy pop song “Ding Dang Dong.” Incisive rhythms, defying classification. On the flip, Daniel Wangon the remix duty for the song “So Called Friend,” focusing on melody and texture rather than trendy production techniques or uninspired samples. His remix strongly echoes disco from the 1970s and ’80s, with modern touches added. An instrumental version of his remix is included, too, for those who think French lyrics cannot fit dancefloors.
BEC 5772159 VIOLA, FREDO: The Sad Song 10″ (BEC 5772159) 12.50
2007 release. Fredo Viola has collaborated with Massive Attack and this debut EP is the perfect introduction to his own work. The choral majesty of Fredo’s voice and the utterly refreshing production sound sets this EP apart as something very exciting indeed. Three different tracks open the account; the sweet electronic waves of the title track, the playful sounds of “Hogwash” and the dark demented abrasive “Ether.” It’s quite the debut.
BEC 5772299 SEBASTIAN: Motor Momy Army 12″ (BEC 5772299) 12.50
2008 release. Three tracker, all killer dancefloor burners. Amazing follow-up to the acclaimed and sooo sought-after Walkman2/Killing In The Name.
BEC 5772579 MOBY: Mistake 12″ (BEC 5772579) 12.50
2009 single. Remixes by Lifelike, Funkagenda, Yuksek and Dabruck And Klein.
BJ 003LP CARN, DOUG: Infant Eyes LP (BJ 003LP) 11.50
1997 reissue, originally released in 1971. Righteous spiritual jazz done with such a sophisticated execution that this album separates itself from anything else of its kind.
BLP 1538LP MORGAN, LEE: Indeed! LP (BLP 1538LP) 11.50
Exact repro reissue, originally released in 1956. Featuring Clarence Sharpe (alto sax), Horace Silver (piano), Wilbur Ware (bass) and “Philly” Joe Jones (drums).
BLP 4034LP MORGAN, LEE: Lee-Way LP (BLP 4034LP) 11.50
Exact repro reissue, originally released in 1960. Featuring altoist Jackie McLean, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Blakey. Hard bop with a strong dose of who gives a shit.
BLP 4318LP DONALDSON, LOU: Hot Dog LP (BLP 4318LP) 11.50
Gatefold exact repro reissue of Lou Donaldson’s most appetizing album, originally released in 1969. Featuring guitarist Melvin Sparks, organist Charles Earland, and trumpeter Ed Williams.
BST 84324LP MITCHELL, BLUE: Bantu Village LP (BST 84324LP) 11.50
Exact repro of this 1970 release. Arranged and conducted by Monk Higgins. Also featuring Al Vescovo (guitar), Bob West (bass), John Guerin (drums) and Charlie Loper (trombone).
ST 304LP FOOD: Forever Is A Dream LP (ST 304LP) 11.50
This mysterious Chicago band’s only album, which originally appeared in 1969, has been hailed in recent years as a lost classic. A beautifully-arranged set that alternates between fragile ballads, orchestrated pop and rousing hippie rock, it’s highly sought-after by collectors and has an ever-growing reputation among fans of intricate psychedelia. Exact repro reissue.
CAT 2604LP LITTLE BEAVER: Party Down LP (CAT 2604LP) 12.00
1974 album from the “legendary” Little Beaver (Willie Hale). What starts out on the coldest borders of funk guitar eventually comes round to warm your face with mellow grooves. Produced by Willie Clarke. Exact repro reissue, manufactured by Rhino.
CIV 024EP DRUMS OF DEATH: Black Waves 12″ (CIV 024EP) 17.00
“Black Waves is 4 tracks of deep, dark club music. Since the release of his critically acclaimed album Generation Hexed, Drums of Death has been obsessively developing a deeper and darker sound that is tailored for the dance-floor. Black Waves fuses frantic 808 drum patterns and dramatic synth lines with fresh, contemplative melodies. It’s music born out of its maker’s passion for techno and house. Black Waves opens with ‘Cold Lazarus’ an intense 4 minute ride of classic techno taken to its intense conclusion. Strings derived from his raucous live show build tension before the track spirals out of control descending into a frenzied, audio assault. Further high-end club tendencies are delivered on ‘I Can’t Take It.’ Drenched with early 90s rave influence, it’s house music looking forward at 135 beats per minute. Urgent soul vocals, torn apart and carried along by rattling snares.”
CSR 127CD EMME YA: Atavistic Dreams & Phallic Totems CD (CSR 127CD) 16.50
40 minutes of dense astral emanations and magickal paradigms transmitted through the ritual mantras generated by Emme Ya. Emme Ya’s Atavistic Dreams & Phallic Totems is based on the mysterious African Dogon tribe and their secret oral tradition. In the 1930s, two anthropologists gained their trust enough to be told these remarkable secrets. The Dogon seemed to possess advanced astronomical knowledge beyond their means, without any instruments. They revealed that the star Sirius was orbited by the “smallest and heaviest of all stars” and drew its elliptical orbit, which spans 50 years. This white dwarf (Sirius B) is so invisible, that the first image was only obtained by scientists in 1970. But the Dogon also told of a third star in the system named Emme Ya (now Sirius C). This was only discovered in 1995 and only with the use of advanced infrared imaging. The Dogon say that their information was given to their ancestors through contact with beings from the star system of Sirius, calling these beings Nommos or “the monitors of the universe.”
Mountain is an artistic collaboration between musicians Anni Hogan, Robert Strachan and Itchy Ear, film maker Bob Wass and mountaineer Cathy O’Dowd. Hogan and Itchy Ear originally worked on a series of piano pieces inspired by René Daumal’s Mount Analogue and the superior wisdom of mountains, using O’Dowd’s Himalayan conquests for particular authentic inspiration. Robert and Anni used these pieces and the Himalayan peaks as a template for painting a soundwave soundscape around the piano compositions. Cathy has supplied all the photographs for the album sleeve, beautifully edited by Abby Helasdottir, and Cathy has performed a fascinating and revealing monologue over the piece “Deathzone.” The Mountain film has been created by Bob Wass from Cathy’s original film footage of her Everest expeditions. The film and soundtrack are an experimental “journey” exploring the nature of “journey and mountains” sonically and visually.
CSR 151CD SKULLFLOWER: Fucked On A Pile Of Corpses CD (CSR 151CD) 16.50
The most remorseless, brutal Skullflower ever. Alternating between granular lo-fi primitive rock and granular lo-fi primitive power electronics, this taut disc is a chain mail glove of hate to any lazy minds who’ve tainted the air with describing Skullflower as “psychedelic.” But that’s not to say this is an all-out total assault. There are also moments of tender acoustic balladry, it’s just that they don’t exist. The remorseless brutal sound is primitive, but as detailed and rich as a blood-soaked medieval canvas, somewhere betwixt The Rita and Clandestine Blaze, but more brutal! Long live the New Flesh! Kether is in Malkuth, Malkuth is in Kether, but in a different way.
CTI 6013LP HUBBARD, FREDDIE: First Light LP (CTI 6013LP) 11.50
Gatefold exact repro, originally released in 1971. “Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor’s studio for the third time in 1971 with the express purpose of making a record radically different from anything he’d cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him.” –All Music Guide
DPROM 080LP NURSE WITH WOUND: Salt: Music From The Horse Hospital LP (DPROM 080LP) 25.50
Previously available only as an extremely limited edition CD alongside Current 93’s Music From The Horse Hospital. Salt was created as a continuous backdrop to Steven Stapleton and David Tibet’s art exhibition and installation at the Horse Hospital gallery, Russell Square, London 2002. The CD was sold at the event and all copies were sold. The piece was subsequently reworked by Steven Stapleton and Colin Potter for the album Salt Marie Celeste. This vinyl version is limited to 500 copies and is pressed on clear vinyl. It arrives in a beautiful gloss laminated outer sleeve and contains a double-sided full-color insert.
DPROM 082CD LILES, ANDREW: Where The Long Shadows Fall CD (DPROM 082CD) 7.00
Dedicated to David Tibet and made in celebration of Current 93’s 25th anniversary, this single captures the spectral heart of one of Current 93’s defining pieces. Here Andrew Liles’ (Current 93, Nurse With Wound) reconstructs what was originally the opening volley of Tibet’s “Inmost Light” trilogy. 1995’s “Where The Long Shadows Fall” was one of the key moments in Current 93’s career. The combination of Tibet’s lyrics, some achingly gorgeous music and, most significantly, that haunting loop of the last castrato, Alessandro Moreschi, made for one of the finest 20 minutes of music committed to tape. Only a madman would try and outdo the original, but Liles proves he is more than capable on this single.
Diynamic’s 50th release features collaborative tracks by Stimming & David August, H.O.S.H. & Stimming and UNER & H.O.S.H.
“Composed in 1970, Stockhausen’s Mantra is a duet for piano written for the Donaueschingen Festival. It is Stockhausen’s first completely scored piece after a long string of largely improvised compositions. Here both pianists play ring-modulated pianos, cymbals, and a wood block. One player is also controlling a recording of Morse code. The purpose of this composition was to explore the idea of a musical ‘mantra.’ The repetition of sounds are intended to place both the audience and the musicians themselves into an altered state of consciousness, thus changing the concert performance into an interactive event where the composer and listener are equals.” Limited, numbered edition of 500 copies on 180 gram vinyl.
DC 387LP DEATH: …For The Whole World To See LP (DC 387LP) 15.00
2011 repress; LP version. “Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up …For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things weren’t really going anywhere when they heard from Columbia Records’ president Clive Davis. He was interested, but he had one demand — they’d have to change their name. David, acting as the band’s leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Death’s 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here …For The Whole World to See. …For The Whole World to See is the first full-length release EVER for the band called Death — with only one 7″ single to their name, and that usually goes for about a grand per. That’s $1000! For those who do have the single, the remastered sound here will break you up.”
DEEPD 003EP KROMESTAR: Colourful Vibrations EP 1 12″ (DEEPD 003EP) 12.00
The first of a pair of limited run 12″s pulling up tracks from Kromestar’s CD Colourful Vibrations. Colourful Vibrations has a variety of moods, but the main focus of Kromestar’s genius is his ability to create ambient, soulful dubstep. Includes the exclusive vinyl-only track “Earthling.”
BEC 5772130 JUSTICE: D.A.N.C.E. Remixes 12″ (BEC 5772130) 12.50
2007 release. Remixes by Jackson, Mstrkrft, Alan Braxe and Fred Falke.
BEC 5772451 KRAZY BALDHEAD: Sweet Night 12″/PIC DISC (BEC 5772451) 12.50
2009 release. Krazy Baldhead presents 4 tracks for Ed Banger. He has remixed the noisy duo dDamage, the funky duo Outlines and met the Brooklyn rapper TES, signed on Lex/Warp. TES also featured on “Crazy Moth3f2ck8z,” a track from Krazy Baldhead’s second EP Dry Guillotine, which confirmed Ed Banger’s hip-hop turning point. Just like SebastiAn, Justice or DJ Mehdi, Krazy Baldhead has become one of the mainstays of the label.
BEC 5772461 MR. OIZO: Pourriture 12″ (BEC 5772461) 12.50
2009 release. Mr. Oizo is back again with a second EP taken from his Lamb’s Anger album. Instead of asking remixers ”à la mode’,” Mr. Oizo is proposing some radical, self-reworked versions of “Lars Von Sen,” “Pourriture” and “Steroids” (featuring Uffie). Some Irish dude sent the label a remix of “Erreur Jean” and you can bet that Arveene & Misk will make some more noise soon. Finally, Mr. Oizo gives you an extract from “Con Tact” — from a short movie project.
BEC 5772549 DSL: Stupid Bitches 12″/PIC DISC (BEC 5772549) 12.50
2009 release. DSL present their second 12” for Ed Banger Records, Stupid Bitches, which defines their sound better than ever and affirms their personality among the Ed Banger roster. The title track doesn’t sound like a love song, but it’s DSL’s way of saying “I love you” to the ladies. A pure zoukadisco tune. Remixes are provided by DatA for the perfect sunset soundtrack and Rynecologist with a more booming version. “J’m’en Bats Les Couilles” could be a #1 hip-hop hit.
BEC 5772606 UFFIE: Pop The Glock 12″ (BEC 5772606) 12.50
2009 release. Uffie pops the glock! She is the spearhead of electro 2.0, and after years of spreading chaos with the club kids of the modern world, the princess of freestyle takes the next step by putting out her long-awaited first album. Pop The Glock is the first single from this album, with remixes by Mirwais Pop, Felix Da Housecat and Ellen Allien.
Einmaleins presents an outstanding remix EP of “Would You” on vinyl. The first track is a special vinyl version which is a bit more trippy than the 2010 original. The second one is a remix by Solan, who takes the vocals and pitches them down to create a fantastic Detroit-styled remix. Matthias Meyer and Patlac contribute a second remix, an incredible tech-house bomb. Finally, Filtertypen spice up the original with their unique rhythms and some fresh new chords.
EM 1071CD RAY, BRENDA: Walatta CD (EM 1071CD) 20.00
2011 repress. Certainly the most unusual reggae album ever made. Augustus Pablo, King Tubby, Asha Puthli with Ornette Coleman, Lonnie Liston Smith and Pharoah Sanders — very disturbing slices of psycho-dub/doo-wop/jazz-fusion/exotica music. Her breathy Chordettes meets Susan Cadgan vocals, multi-tracked whisperings about inter-galactic Bluebeat starlights over what sounds like a modulated cut of heavy rhythm. Brenda Ray will be familiar to observers of the Liverpool scene as part of the NAFFI organization through the ’80s, also famed as Brenda & The Beachballs. Over the past years, together with cohort Sir Freddie Viadukt (aka The Minister of Noise), she has been aiding and abetting the reggae producer Roy Cousins, once of The Royals, in his program of remastering and reissuing selections from his Tamoki Wambesi imprint. Cousins suggested she record an album using original roots reggae tracks from original tapes. The whole album was overdubbed, played, recorded and mixed between 1995-2005 at NAFFI Studios. Everything was done by herself except the final mix-down with Sir Freddie. The cover photo has Brenda in a pose somewhere between Pharoah Sanders’ Thembi and Augustus Pablo’s East of the River Nile with a melodica pointed towards the water.
EM 1074CD WADA, YOSHI: Lament For The Rise and Fall of the Elephantine Crocodile CD (EM 1074CD) 20.00
2011 repress! Finally, a CD reissue of Yoshi Wada’s most important and most rare LP, Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on the India Navigation label. Yoshi Wada is a Japanese sound installation artist and musician — he moved to New York in the late 1960s, and became well-known as a Fluxus artist with links to La Monte Young, and has been involved in many performances and sound installations. However, he has released only two recordings, which are both hard to find. This CD contains two pieces: track 1 features a solo overtone voice (he studied with legendary Indian vocalist Pandit Pran Nath) recorded at the performance space Dry Pool (literally a dry pool that Wada slept in before this recording), with a deep underground echoing feeling. Track 2 displays Wada’s trademark dense psychedelic drones using his “pipe horn,” a home-made, bagpipe-like instrument. These wondrous sounds will take you to another, better world. 96khz/24bit digitally remastered complete full-length version (original LP edition was edited). Liner notes in English & Japanese.
EM 1092EP RAY, BRENDA: Starlight 12″ (EM 1092EP) 17.50
Four 12″ tracks cut from the album Walatta (EM 1071CD/LP). Handmade silkscreen print sleeve in a 2-holed disco bag. Super limited edition.
EM 1093CD CARROLL & FRIENDS, CORKY: Laid Back CD (EM 1093CD) 20.00
Laid Back by Corky Carroll & Friends is a warm-hued snapshot of the musical life of one segment of the American surfing world, circa 1971. This album, the first ever recorded by true surfers, captures the relaxed, truly laid back feeling of the surfing life. The album features none of the tropes of “surf music”: no reverb, no sugary vocal harmonies. Simply recorded with warm fidelity, what we hear is pro-surfer Corky Carroll and his surfer pals in various combinations delivering songs and instrumental pieces, perfectly capturing the sultry seaside atmosphere and their idyllic oceanic lives. All the performers were, in Corky’s words, “real surfers” (unlike the Beach Boys), well-recorded in casual circumstances in California in 1971. Beginning (and closing) with Hawaii-born master board-maker Raymond Patterson’s joyful slack-key guitar fantasias, the album features the famed Denny Aarberg on guitar (with Kathy Dragon of the legendary Dragon family), the articulate folk picking of David Lyons, Al Oakie’s affable acoustic blues (with some fine harmonica), and the folky guitar playing of Carroll himself. A blend of vocal and instrumental pieces, the album is largely acoustic, and even the two tracks with electric instruments (from the band Hana, with electric pianist Jon Close, guitarists Dave Rullo and Herb Torrens, and bassist Dave Shoffner, surfers all) do not break the serenity of the calm, Pacific mood. Laid Back was Carroll’s first recording, released independently on Rural Records (jointly run by Carroll and Dennis Dragon) while Carroll was still surfing professionally. Dragon, a skilled engineer, and Carroll “travelled up and down the California coast with (Dragon’s) mobile recording setup and recorded this music in these people’s living rooms and garages.” You can feel the ocean nearby. Laid Back, a long-prized treasure, is an oceanic balm retrieved from the waves of time and offered to all by EM Records. Housed in a cardboard sleeve jacket plus an insert with liner notes written by Corky Carroll.
“Playing almost weekly since fabric’s opening in 1999, Craig is arguably the most famous club resident in the world. He set the benchmark for the fabric series with inaugural release on the label, fabric 01: Craig Richards, whilst his second contribution, fabric 15: Tyrant, was lauded for its experimental direction. fabric 58 is a showcase of Richards’ ‘The Nothing Special’ events at fabric, where he hand-picks artists to perform live around his DJ sets throughout the duration of the night. He is in his curatorial element on fabric 58, selecting unheard and underexposed tracks from 20 years of house and techno, giving his refined, understated mix a timeless quality. ” Artists include: Two Lone Swordsmen, Carl Finlow, Melchior Productions, Gemini, Housey Doingz, Proper & Awanto 3, Weinberg, G-Man, Conscious Minds, Eco Tourist, L.I.E.S., Joel Mull, Marcel Janovsky, Loop Hotel, Conforce, Johnny Fiasco, Convextion, Maurice Fulton, Semtek and $tinkworx.
GET 50760CD PABLO, AUGUSTUS: Dubbing In Africa CD (GET 50760CD) 15.00
“After releasing his Ital Dub, Get On Down continues their ongoing series of classic dub reissues with another lost classic from the legendary Augustus Pablo. Originally released in 1975, Dubbing in Africa features arrangements from Charles Reid, while Pablo, playing organ, leads a strong cast of musicians–including Sly Dunbar (drums), Robbie Shakespeare (bass guitar) and Melodice Gladdy (piano)–on another journey into African-themed dub sound. Tracks include ‘Everlasting Dub,’ ‘Nigerian Love Dub’ and ‘Dub in Ethiopia.’ Appearing for the first time in years on CD, Dubbing in Africa is an essential addition to any dub fan’s music library. Packaged in digipak featuring original album artwork.”
GET 56001CD SKULL SNAPS: Skull Snaps CD (GET 56001CD) 15.00
“Skull Snaps’s legacy isn’t defined by a prolific catalog or the longevity of their career. In fact, this album from 1973 is the group’s only album, yet it was enough to earn them a place as one of the more mysterious and fascinating funk ensembles of the era. Previously known as The Diplomats, the group–featuring Sam Culley, Erv Waters and George Bragg–became the Skull Snaps after several notable releases (including ‘She’s the One’), and their self-titled album is nine tracks worth of gruff, unpolished vocals, crisp drums and driving pace that hasn’t diminished with age. ‘I’m Your Pimp’ echoes the jazz-funk fusion sound of Blaxploitation cinema, while the second single ‘Snapped’ is fueled by a tough horn break. But the real jewel here is ‘It’s a New Day,’ the group’s signature song, who’s unmistakable opening drum break has become a staple ingredient of hip-hop cuts by Ol Dirty Bastard, Das EFX, Eric B. & Rakim, Digable Planets, DJ Shadow and others. In continuing our series of rare, vintage funk reissues, Get On Down is proud to present Skull Snaps lost classic in a special edition in CD format.” Deluxe paste-on gatefold packaging.
GPM 025CD DEAR, MATTHEW: Body Language 7 CD (GPM 025CD) 11.00
2008 release. Matthew Dear’s eagerly-awaited Body Language mix is a very personal selection, and one which reflects his own artistic interests, concerns and strategies. In a sense, he approached the project literally, seeking to explore aspects of both the “body” and “language” in his selection and ultimately achieve a marriage of the two. Matthew’s celebrated 2007 album Asa Breed was remarkable in its organic synthesis of vocals and house grooves, and that same synthesis lies at the heart of this mix; if you listen carefully, you’ll hear that every track featured on Body Language 7 employs a vocal or “language” of some kind — some explicit and pronounced, some broken down or indistinct. Meanwhile, the mix’s rhythmic default is one of sinewy, dancefloor-aimed 4×4 grooves, “body” music at its purest and most devastating. Artists: Dinamoe, Kalabrese, Sascha Dive, Samuel Davis, Kid Sublime, Johnny D, Martinez, Diz, Johnny D, Mlle Caro & Franck Garcia, Radio Slave, Prompt, DJ Koze, I:Cube, Soulphiction, Two Armadillos, Seth Troxler, Patrick Russell, Even Tuell, Basti Grub and Lorenzo.
GPM 025LP DEAR, MATTHEW: Body Language 7 2LP (GPM 025LP) 21.00
2LP version.
2009 release. Revolving around Bristol, UK-based producer/multi-instrumentalist Guy Bartell, Bronnt Industries Kapital has spent eight years exploring deep frosts of electro-acoustic melancholy, slow-burning sonic terrain and uncharted detours into the absurd. Hard For Justice, however, will blow away any lingering preconceptions with a phallic flourish of a Colt 45. In open homage to the spirit of ’80s Hollywood vigilante cinema, low-rent sci-fi, Italian fright flicks and the music of Goblin, Neu! and Giorgio Moroder, this eight-track suite is precision-engineered to unleash endless horror on the dance floor. Hard For Justice is front-loaded with an arsenal of synth-funk bullets that fizz with thrilling John Carpenter electronics (“An Index Of Corporate Art,” “Knights Of Vipco,” “Streets Of Fury”), low-end motorik finesse (“Objects & Purpose”) and HI-NRG Giallo-disco pulsations (“S.T.R.Y.K.E.R.”).
LP version.
GPM 141EP AUDIOFLY (FEAT. FIORA): 6 Degrees 12″ (GPM 141EP) 12.50
Audiofly’s debut album Follow My Liebe (GPM 039CD) is the long-awaited passion project that references all shades of the duo’s production spectrum. Vocals are an integral part of the brilliant LP, providing its most affecting, personal moments. The melancholic electronic pop of album favorite “6 Degrees,” featuring Fiora, is the second album cut to undergo the remix treatment, this time receiving unique re-tweaks from Booka Shade, Martin Buttrich, Tale Of Us and Guti.
GHOST 005EP WILLIAMS, JERRY: Easy On Yourself 12″ (GHOST 005EP) 11.00
“Assembled in conjunction with the Warner Music Group, The Jerry Williams EP presents for the first time the work of this legendary Texas guitarist, singer and composer. A band mate of Jimi Hendrix in Little Richards group, Jerry went on to write and record for some of the most famous acts of the 70s and 80s (Eric Clapton, Bonnie Raitt, B.B. King, Mick Fleetwood). The tracks on this EP were originally penned for Williams’ second solo effort ‘Gone’ which never received a proper release as Williams and Mo Austin didn’t quite see eye to eye and the label pulled the release from stores. The A side of the EP features The Beat Broker’s remix of ‘Easy on Yourself’, a swelling beautiful tune that features a brilliant vocal. The Beat Broker stays true to the songs intent while molding its melody to an easy swing that makes it a dancefloor essential. Already getting play from the likes of Mudd, DJ Harvey, and Prins Thomas, this record is a summer jam.”
GW 3002LP CARR, JAMES: A Man Needs A Woman LP (GW 3002LP) 11.50
Exact repro reissue, originally released in 1968. “… James Carr’s Man Needs a Woman represents one of the high watermarks of Southern soul music. And beyond his tonal resemblance to Otis Redding, Carr was as distinct a voice as the genre ever produced.” –All Music Guide
HLT 016EP ZEV: Queen Of Hearts 12″ (HLT 016EP) 14.00
Hallucination Limited delivers a limited edition vinyl-only release from Zev of Wolf + Lamb. Gathered here are Zev’s strongest outings for the club since the brilliant “Forget The World feat. Beckford.” “Queen Of Hearts” is one of the freshest takes you’ve heard of good ole house music. Pushing all the right buttons, but also some most would never think to. “Can’t Get High” taps directly into the spirit of Brooklyn’s nu-disco house scene while “Tonight” plays like a lost classic.
HRMN 016LP VA: Harmonia Family Album 2LP (HRMN 016LP) 31.00
“Harmonia Family Album includes 12 artists from 7 countries giving their own interpretations of skweee, the synthetic Scandinavian funk. This double album features both skweee -innovators and brilliant second generation rookies like Finnish dub specialist Levon Zoltar and Japanese child prodigy Neo Hetare. The process of compiling these twelve tracks took more than six months, since each track was carefully handpicked from a selection of more than hundred songs from around the world. Harmonia’s previous Skandinavian Skweee Vol. I &II and International Skweee Vol. I&II -compilations were immediately sold out after release and nowadays go up to 100 euros on internet. Because skweee owes so much to the so-called world music, we thought of taking the whole thing to the next level and asked our artists to make their own versions of ‘ethnic’ music. As you will soon hear, the idea took off like a lazer beam in an Ethiopian desert. The results are breathtaking: music so contemporary yet still so archaic! It gives a great deal of pleasure to the listener to hover through the native American mantras of BMMB’s Huuhka-Eno, tribal chanting of Ransta Congregate and slavic pfunk of Eero Johannes. Viva Harmonia!” Housed in a deluxe gatefold sleeve.
HEK 011EP BLAKE, JAMES: Order/Pan 12″ (HEK 011EP) 11.50
“James Blake returns to the label that gave him his debut release with two brand new sub heavy club tracks. Hemlock were responsible for his Air And The Lack Thereof single back in 2009. Neither ‘Order’ or ‘Pan’ have appeared on Blake’s soulful, electronic self-titled album from this year; the new material sees the return of Blake into the more sparse, experimental and wobbling bass heavy sound of his earlier work.”
HIGH 099EP PHONOKEMI: Decompose 12″ (HIGH 099EP) 12.00
Phono and Kemi display their wealth of combined musical experience for Highgrade. These three tracks assemble punk rhythms, elegant voices and dizzying loops in a multi-layered sound excursion. The result is a perfectly-produced EP, but one that has not been ironed smooth. With the “Made in Denmark” seal of quality, PhonoKemi bring some extra depth to the party attitude.
HAFTW 011LP KIRBY, LEYLAND: Intrigue & Stuff Vol.2 LP (HAFTW 011LP) 18.00
James Leyland Kirby (aka The Caretaker) presents the second in a set of four limited edition vinyl pressings. Three tracks wide, 35 minutes long, all previously-unreleased retro-futurist recordings. Vinyl cut at Dubplates & Mastering, Berlin. 500 copies only.
HJR 052CD VA: Shangaan Electro: New Wave Dance Music From South Africa CD (HJR 052CD) 17.00
2011 repress. An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto (an urban area of the city of Johannesburg in Gauteng, South Africa), recorded between 2006 and 2009. From his small home studio in Soweto, Nozinja (aka Dog) sells more than 50,000 records a year (DVD, cassettes, CDs) — without iTunes, without digital distribution. This is hyper?local music, all of it still considered traditional, all of it marketed through Shangaan radio and newspapers to a relatively small set of people who live between Johannesburg, Limpopo and Mozambique. Besides Dog himself — or rather Zinja, Dog’s performance name — his label roster includes BBC, Tiyiselani Vomaseve, and Dog’s famed mask?wearing, clown?dancing group, Tshetsha Boys. Dog often goes to the dances to scout for new talent. That’s where he found Tiyiselani Vomaseve, two sisters who perform together as one of the most popular Shangaan traditional groups in South Africa. They count South African President Jacob Zuma’s wife, Thobeka ka? Mabhija?Zuma, as a fan and won a 2010 SABC award for Best Female Traditional Album, which is just one of many awards that Dog has accrued. Tshetsha Boys won Best Newcomer, Best Male Song of the Year and best Shangaan Song of the Year. BBC (trans. “Black Beautiful Culture”) took home an award for Best Song as well. The awards are indicators of Dog’s success, but the real test comes every Sunday in Soweto. Groups like Tiyiselani Vomaseve and BBC compete regularly for the crowd’s favor. “You must be prepared to see the fastest dance ever,” Dog declares. The dances are wild, with films of them attracting more than half a million hits on YouTube. The tradition grows out of the Shangaan disco movement, a music that dominated in the ’80s with artists like Penny Penny and Peter Teanet. Shangaan disco ran at 110 BPM. Dog’s music is around 180 and it’s getting faster. Yet the lyrics seem to run counter to this rapidity. They read like African soap operas, tied up with domestic matters and a yearning for the slower life. This is country music. There’s something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet “tradition” to them can also be living, electronic and nuanced. Just as Dog samples American phrases in his songs, his videos cut in shots of white joggers on a spring day, a foggy lakeshore reminiscent of Wisconsin, even a corporate office space — mundane yet exotic images which become intriguing takes on the modern South African dream. Instead of African music becoming Americanized and re?framed for the global market, Dog’s productions do the opposite. American phrases and foreign images become samples in his collage, in his traditional context. This album is the first release of its kind outside South Africa. Here is Dog’s music as?is.
CNL 003EP MOUNT KIMBIE: Carbonated 2×12″ (CNL 003EP) 19.50
2×12″ version.
HF 004LTD-CD MOUNT KIMBIE: Carbonated CD (HF 004LTD-CD) 14.00
After releasing their debut album Crooks & Lovers in 2010 to huge critical acclaim and racking up numerous end of year lists including the shortlist for The Guardian’s (UK) First Album Award, plus sell-out tours in North America, Australia and Europe, London duo Mount Kimbie announce the news of their next EP, Carbonated. This EP follows the release of the Blind Night Errand EP and will be the final release from the album. “Carbonated,” the lead track on the EP, is joined by two previously-unreleased tracks, the buoyant effervescence of “Flux” and “Bave’s Chords., which showcase the lush, elegant percussive sound Mount Kimbie have become known for. “Bave’s Chords” was recorded around their early EP Maybes and “Flux” was created during the album recordings. Airhead, who’s shortly releasing his own album on Brainmath and is a member of James Blake’s live band, subtly twists “Carbonated” with his remix, while Belgian producer & DJ Peter Van Hoesen creates a six-minute dark techno rework for the dancefloor. “Adriatic,” also from Crooks & Lovers, is transformed completely by Klaus with his style of detailed production hitting the mark once more. Crooks & Lovers defined.
HF 005CD VA: Back And 4th 2CD (HF 005CD) 16.50
With dubstep’s big push into the mainstream, stirring up all manner of hybrids, variants and mutations, it’s worth remembering that some have been creating fresh twists on the current generation of global bass music from its very inception. Paul Rose aka Scuba, and his Hotflush label have, since 2003, had experimentation and genre-collision etched into the very structures of everything they do. Putting out key tunes by the core pioneers of dubstep, but also by true outliers like Mount Kimbie, Joy Orbison and Sepalcure, Hotflush has created a sense of absolute consistence in diversity: multiple sounds united by true craftsmanship and high-tech expression of complex emotion. Joining the UK underground to the deep-rooted techno culture of Berlin, where Rose is now resident, the label is a vital nexus in the flow of musical information that is fuelling the current innovative climate. So next time you hear someone talking about “post-” this or “future-” that, consider that maybe the times are just catching up with Hotflush. Back And 4th features 10 brand-new exclusive tracks from bass music’s most innovative producers including: dBridge, Roska, Boddika and FaltyDL as well as a collection of essentials from Hotflush’s catalog with tracks and remixes from James Blake, Untold, Pangaea, 2562 and more. Other artists include: Boxcutter, Scuba, Sigha, George FitzGerald, Incyde, Jamie Vex’d and TRG & Dub U.
HF 005LP VA: Back And 4th 3×12″ (HF 005LP) 34.50
3×12″ version, containing tracks on CD1 of the double CD release (HF 005CD). Artists: Sepalcure, Boxcutter, Boddika, DBridge, Scuba, FaltyDL, Sigha, George FitzGerald, Incyde and Roska.
HF 027EP JOY O: Wade In/Jels 12″ (HF 027EP) 11.50
Repressed. “Since the release of his debut Hyph Mngo that swept the global dance music world in 2009, British producer Peter O’Grady (aka Orbison) makes his return on Hotflush Recordings as Joy O in 2011. These two productions take a more straightforward approach, toeing along the lines of classic house music, infused with this talented producer’s own signature style, weaving rolling acidic basslines in ‘Wade In’ and uplifting melodies in ‘Jels’ and over shuffling Roland drums and blissful atmospherics.”
HUBRO 2503CD APELAND, SIGBJORN: Glossolalia CD (HUBRO 2503CD) 17.00
Glossolalia is the first-ever solo album by the innovative musician Sigbjørn Apeland, a courageous and challenging recording of improvised music for the harmonium. The term “glossolalia” comes from the Greek “glossa” meaning “tongue” and “lalia” meaning “to speak.” To speak in tongues is to talk in unintelligible sounds in a state of religious ecstasy. The title of the album is a play on the instrument’s association with low-church traditions, that the music “came to” Apeland in an inspired moment, and that the harmonium, unlike the church organ, has metal tongues instead of pipes. The harmonium had its heyday between 1880 and 1960; its technical limitations resist all types of virtuosic performance. “Most harmoniums are old and poorly maintained, and often out of tune — and sometimes they are more or less defect,” says Apeland. “Although this is a problem for trained musicians, I have instead attempted to exploit the potential of these defects to create a new and previously-unheard kind of music. I grew up with the instrument, but changed to piano and organ — right up until I rediscovered the harmonium as a very versatile instrument in my collaborations with Norwegian folk musicians. I gradually began to discover the potential of the instrument in improvised and experimental music settings.” Apeland describes the music on the album as his “attempt to create a form of ambient acoustic music.” Sigbjørn Apeland is a Norwegian record producer, musician (organ, harmonium) and the only Norwegian to have obtained a doctorate in ethnomusicology. He is known for his distinctive mix of folk music, church music and improvised music. He works as an organist, and specialized in free jazz with the legendary British drummer John Stevens; he has contributed to numerous recordings with Nils Økland and Sigrid Moldestad, folk singers Åsne Valland Nordli, Berit Opheim Versto and Agnes Buen Garnås, jazz musicians Øyvind Skarbø, Per Jørgensen and Bjørn Kjellemyr, electronica innovators Alog and noise duo Golden Serenades, in addition to many others.
HUBRO 2505LP HUNTSVILLE: For Flowers, Cars And Merry Wars LP+CD (HUBRO 2505LP) 23.50
On Huntsville’s very first release on vinyl, the group is heading in a heavier, darker, more rock-flavored and electric direction. Huntsville, an improvisational trio with a distinctive sound, has already released two unique, critically-acclaimed albums on the Norwegian label Rune Grammofon. The group has toured in Europe and the USA several times, has collaborated with Sidsel Endresen, Wilco’s Nels Cline and Glenn Kotche, and held a concert in Spain with Thurston Moore of Sonic Youth. Like so much other good music, Huntsville’s music is difficult to categorize. Music journalists have tried calling it “yoga country” and “abstract drone Americana,” and this time around it is not improbable that there will be comparisons with both “Krautrock” and bands such as Black Dice. But this is primarily Huntsville music. Nobody sounds like them. On the monumental track that fills the entire A-side, they are joined by the superb alternative pop vocalist Hanne Hukkelberg. The album was mixed at Propeller Studios with Kåre Chr. Vestrheim (Motorpsycho, Jaga Jazzist) at the board. This is clearly the most cohesive album the trio has made so far. Hypnotic and energetic music that deserves to be played at a high volume. Members include: Ivar Grydeland, Tonny Kluften and Ingar Zach. Limited edition LP in white vinyl with a printed inner sleeve. Free CD version included.
HUBRO 2506CD BJORNSTAD, KETIL: Early Piano Music 2CD (HUBRO 2506CD) 18.00
With Ketil Bjørnstad’s Early Piano Music, the albums Preludes Vols. 1 & 2 and Pianology from the mid-1980s are once again becoming available. These recordings have been unavailable since the mid-’90s, and have been very much in demand. Ketil Bjørnstad: “People have been asking me for many years why these recordings are not being re-released. It is very gratifying that Hubro is releasing them now, and this also serves as a reminder that even if you develop and change throughout the years, there are some central concepts which can be pursued throughout life and which are closer to you than any others. For me, these are mainly melody, harmony and structure. And the amazing possibilities inherent in improvisation.” These three albums are from the middle period of Ketil Bjørnstad’s career, and were recorded in 1984 and 1987. The music evokes imagery, and like so much of Bjørnstad’s music, it straddles the border between classical and jazz. All the music on the records has been composed, but there is plenty of space for improvisation. In the 1970s and ’80s, Ketil Bjørnstad enjoyed considerable success with several large-scale, ambitious recording projects for the Norwegian market, including Leve Patagonia, Tidevann and Aniara. His collaboration with Manfred Eicher and ECM, which would bring his music to a large, international audience, did not begin until 1993 with the album Water Stories. “My decision to produce both Preludes 1 & 2 and Pianology myself was probably due to the fact that I was in the process of developing a new artistic idiom,” says Bjørnstad in the liner notes. “All of the major projects in which I had been involved had demanded a great deal of time and energy, and I began to focus on a more minimalist idiom. I rediscovered the pleasure of exploring the grand piano, and was once again reminded of the extraordinary richness of the instrument’s sound, especially in a small and naked format.” He finds a close interconnection between these two recordings and the music he later recorded for ECM. Several of the preludes are found in a larger format on later recordings such as The Sea (1995). The 24 compositions in total that constitute Preludes 1 & 2 were written by Bjørnstad in 1984. They were first released on two LPs by the Norwegian underground label Uniton, which is most renowned for its releases with Holy Toy, Conrad Schnitzler, Fra Lippo Lippi and Harold Budd. “I recorded them in two different studios a few months apart. The first twelve were recorded in the summer of 1984 at the newly opened Rainbow Studio, which had not yet gone digital, with sound technician Espen Dahl. I recorded the next twelve at Rosenborg Studio in February 1985, with my old friend Hans Petter Danielsen. This was our last project together after years of collaboration.” Preludes 1 & 2 were later released as a CD set on Bjørnstad’s own label, Hermitage, and the Japanese label September, in 1993. Pianology was first released by the Norwegian label Hete Blikk in 1987, and re-issued on Hermitage and September in 1994. “I recorded Pianology in 1987, and as far as I recall it was one of the first digital recordings made by Jan Erik Kongshaug in his already-famous Rainbow Studio. The Steinway Model C in the studio, which I really loved, enabled me to work in an even more minimalist idiom.” Liner notes by Ketil Bjørnstad in the booklet insert.
INC 010LP SMEGMA & JOZEF VAN WISSEM: Suite The Hen’s Teeth LP (INC 010LP) 23.50
Incunabulum label-curator Jozef Van Wissem and Smegma’s Ju Suk Reet Meate collaborate at the Pink House in Portland, Oregon, 2010. Recorded by Ju Suk Reet Meate on the coldest day in Meate’s bathroom. The pieces are named after classical solo baroque lute pieces and this deconstructed classical baroque lute suite form will definitely piss off the purists. Jozef van Wissem plays a 13-course swan neck baroque lute built by Michael Schreiner. Screenprinted black and silver cover.
INC 011LP HERESY OF THE FREE SPIRIT: A Prayer For Light LP (INC 011LP) 23.50
Heresy Of The Free Spirit is a trio comprised of Dutch lute player, Jozef van Wissem and Brooklyn-based multi-instrumentalists, Che Chen (of True Primes) on violin, bowed rawap, bass recorder, percussion and tape machines, and Robbie Lee (of Howling Hex, Baby Dee, Brightblack Morning Light) on portative organ, bass recorder, guitar, banjo and electronics. Using early European as well as non-Western instruments and electronics, the trio plays arrangements of van Wissem’s lute compositions as well as free improvisations that draw on early music, folk traditions, minimalism and noise. Fully utilizing the extended techniques, unique textures and tuning possibilities of their unusual instruments, the trio use both repetition and silence as ways of entering trance-like states. Their record, A Prayer For Light is a radical re-imagining of early European and American primitive music in which the sources are stretched and re-purposed to accommodate free improvisation, extended, repetitive song forms, and tape manipulations. Screenprinted black and silver cover. Art by Che Chen.
Dutch lutenist Jozef van Wissem is renowned for his experimental approach to Renaissance and Baroque forms of lute music. By cutting-and-pasting classical pieces, constructing palindromic melodies, or adding electronics and processed field recordings, he manages to seamlessly bridge the musical languages of the 17th and 21st centuries. If this approach seems coldly academic on paper, the results are anything but: his music is uncluttered and direct, with a viscerally hypnotic and emotional impact, and delivered with an ascetic intensity reflected both in his Biblical titles and his No Wave influences. He has collaborated with James Blackshaw, Smegma, Keiji Haino and Jim Jarmusch, amongst others. Mostly based in Ireland, the ever-shifting line-ups of United Bible Studies have spent the last decade roaming far and wide from their folk roots, exploring ecstatic group improvisation, song-craft, and studio-based prog epics. The album title Downland is a play both on van Wissem’s Lowlands home, and the Renaissance lute composer John Dowland, rumored to have been born in Ireland. The seeds of this collaboration were sown in late 2007, when United Bible Studies were part of the bill for van Wissem’s first Irish concert. He was particularly taken with Paul Condon’s bass playing and eventually wrote a piece with this in mind, which became the ecstatic “Come Holy Ghost.” Van Wissem began recording tracks for United Bible Studies to overdub and a postal collaboration began in earnest in 2009. The Bible Students were given a free hand, and different band members were drawn to different pieces. Áine O’Dwyers’ harp playing goes hand in glove with the lute parts, both players favoring hypnotic figures accruing impact over time. The album is bookended by two different versions of the same composition, “Downland” and “The Seas Have Lifted Up Their Voice.” Propulsive and metronomic, with Beach Boys-inspired harmonies, it led UBS to a new way of working. Van Wissem’s pieces were either stark and minimal, or had multi-layered harmonies which led UBS into less-than-familiar territory. The sparser pieces lent themselves to being shaped into songs, and the addition of extemporaneous textures. Van Wissem wrote the lyrics for “Altars Of Brick (The Day Is Coming)” for Alison O’Donnell to sing. Its ominous tone inspired Gavin Prior to write the tangentially-related “Í Rith na h-Óiche” in Gaelic. O’Donnell did historical research for her courtly romance “Seven Tears,” named after Dowland’s famous song cycle. The Bible Students have woven murk and mystery around the lucid austerity of van Wissem’s compositions, together creating an album which is unlike anything in either of their substantial back catalogs and more than the mere sum of its parts. United Bible Studies are: Paul Condon, Diarmuid MacDiarmada, Alison O’Donnell, Áine O’Dwyer, Ivan Pawle and Gavin Prior.
IRR 009EP HRDVSION: I Can’t Exist 12″ (IRR 009EP) 12.00
With “I Can’t Exist” Hrdvsion successfully strikes the balance between deep housiness and accelerated departure. If you turn the piece of plastic around, you find a more typical Hrdvsion track, celebrating the same magical atmosphere. Last, but definitely not least, the B2 is a fusion-remix by Ada that insists on being played in the sunshine.
JMAN 042LP GILSON, JEF: Jef Gilson 2LP (JMAN 042LP) 26.50
Deluxe gatefold double LP version. Jazzman Records presents one of the most brilliant and productive jazzmen ever to have lived: French pianist, composer and arranger extraordinaire Jef Gilson. With his career spanning the best part of a century, Gilson has made music with a who’s-who of European and American jazz greats, has written, performed on and recorded innumerable film scores, albums and 45s, ran the Palm jazz record label… yet despite all this, the French jazzman remains criminally under-appreciated by so many jazz fans. Look him up on the internet — there isn’t even a Wikipedia entry! Jazzman addresses this unfortunate situation by releasing 19 songs spanning decades of his recording career. High points include the awesome modal masterpiece “Modalité Pour Mimi”; “Chakan” and “Agnus Dei,” which feature a cathedral choir, and lesser-known private recordings such as “Valerie’s Waltz” and “Valse A Quatre Temps.” Jazzman also includes field recordings made on his trip to Madagascar, including a percussive version of the Lloyd Miller favorite “Chant Inca” and an unforgettable version of Pharoah Sanders’ cult classic “The Creator Has A Masterplan.” All in all, this is one of the finest albums Jazzman Records has made to date. Jef Gilson is now 84 years-old and wheelchair-bound. This album is all about the little-known musical genius, and the label has done their very best to represent his life story with the best of his music. Includes never-before-seen pictures, photos and images as well as exhaustive and extensive original liner notes in both English AND French. 180 gram vinyl pressing with cool textured art sleeve.
MJJ 320LP GINSBERG/WILLIAM BLAKE, ALLEN: Songs Of Innocence And Experience LP (MJJ 320LP) 21.00
“The original volume of William Blake’s collection of poems Songs Of Innocence And Experience Showing the Two Contrary States Of The Human Soul was published in 1789 and since then many have tried their hand at putting some of his ‘songs’ to music, including poet Allen Ginsberg who believed that Blake himself had originally intended for his poems to be sung. Ginsberg also believed that by studying their meter and verse he could roughly figure out how Blake would have performed them. This album then, originally released in 1970 on Verve, is the result of his efforts. Here Ginsberg sings — as well as plays the piano and harmonium — on the 21 ‘songs’, accompanied by partner Peter Orlovsky, and jazz musicians Don Cherry (finger cymbals, trumpet, wood flute, sleigh bells, beaded gourd), Bob Dorough (harpsichord, organ), Cyril Caster (guitar, trumpet), Hanet Zeitz (flute), Jon Sholle (drums), and Herman Wright (bass).”
KOM 232EP BORATTO, GUI: The Drill 12″ (KOM 232EP) 12.00
Gui Boratto needs little introduction — after all, he’s played pretty much every corner of the globe, placing himself as one of the most in-demand producers and performers in dance music today. “The Drill” embraces the classic Kompakt schaffel but delivered in a chalice of class that only Gui Boratto is capable of drinking from. Bold, brazen, BORATTO. “Stems From Hell” is classic Boratto. Guitar-esque chording launches this depth charge that is just pure build.
LITA 026LP DAVIS, BETTY: Betty Davis LP (LITA 026LP) 19.00
2011 repress, deluxe vinyl pressing housed in an old school tip-on jacket. “First official Betty Davis reissues. Mastered from the original tapes (First time since the ’70s!). Betty recorded some of the finest punk-funk of all time, introduced Miles to Hendrix, and inspired generations.”
LITA 027LP DAVIS, BETTY: They Say I’m Different LP (LITA 027LP) 19.00
2011 repress, deluxe vinyl pressing housed in old school tip-on gatefold jacket. “Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual ‘Shoo-B-Doop and Cop Him’ (later sampled by Ice Cube). Her follow up is full of classic cuts like ‘Don’t Call Her No Tramp’ and the hilarious, hard, deep funk of ‘He Was A Big Freak.'”
MR 081EP MEDEH, HADRAMI OULD: Kamlat 7″ (MR 081EP) 6.50
“Two songs from Mauritanian guitarist and singer Hadrami Ould Medeh. Originally pressed in Lebanon in 1970. There were 500 copies pressed but only distributed at shows. Before a second pressing could be made, war broke out in Lebanon.”
MR 086EP COUNT VERTIGO: I’m A Mutant 7″ (MR 086EP) 6.50
“Reissued for the first time, a crazed Portland punk record from 1979. A side project of Ice Nine, Count Vertigo only existed for this one record as a band. Side A features ‘I’m A Mutant’ – an uneasy little song with a relentless menacing organ riff. On the flip is ‘Patriot X,’ an angry political song that still rings a little too true. Two heroic punk anthems not to miss.”
MR 089LP DEAD MOON: In The Graveyard LP (MR 089LP) 14.00
“Reissued for the first time – Dead Moon’s first record! Originally released in 1988. Dead Moon were a band that existed outside of the constraints that time & style usually impose on artists. An authentic mix of psychedelic rock, punk, blues, country, & every other American music worth a damn. This LP features all time classics such as ‘Graveyard’ (A 13th Floor Elevators type vibrating psychedelic song), ‘Don’t Burn The Fires’ & ‘I Hate The Blues’. Lo-fi as hell. Remastered from the original tapes. We are very proud to make this LP available on vinyl once more.”
LOVE 068EP MILES: Facets EP 12″ (LOVE 068EP) 15.50
Miles’ Facets EP brings together different ends of his production style, unifying elements of the house and techno he’s most commonly released as MLZ together with the more broken production signatures usually reserved for Millie and the darkened tribalism of Demdike Stare. “Flawed” opens with a Linn loop from the archives, stretched and slowed down with an intoxicated aesthetic that’s somewhere between house and dub, before “Lustre” re-configures source material originally keyed in by label-mate Andy Stott with a nice line in squashed percussion. “Primer” extends from a Demdike Stare outtake and veers off into an analog drum machine workout, before “On The Fly” ends the set with a recording made straight to mixing desk from an array of mis-wired and malfunctioning drum boxes, contact microphones and samplers. Thirty minutes long, mastered and cut at Dubplates & Mastering, Berlin. Limited to 700 copies for the world.
MULE 081EP FRED P: Soul Music 12″ (MULE 081EP) 15.50
Fred P aka Black Jazz Consortium’s debut release on Mule Electronic. Fred has released music on his own imprint Soul People Music, Jus-Ed’s Underground Quality and DJ Qu’s Strength Music Recordings. He is well-known as an important artist & DJ in the modern New York house scene. “Soul Music” is a warm deep house tune with some male spoken-word, for fans of Underground Quality or Move D. On the flip, “Black Magic” is a dark and hypnotic tune.
MGF 017EP ALEX Q: Jule EP 12″ (MGF 017EP) 12.00
Alex_Q previously showed off his talent on MGF with his Endlich Frühling EP. This time, his music is even more intimate. As the name suggests, it’s all about a girl. But who are we to talk about this. “Everyone has fallen in love before. Actually, it should not be difficult to identify with this music.” –Alex_Q
NA 5080CD VA: True Soul: Deep Sounds From The Left Of Stax Volume 2 CD/DVD (NA 5080CD) 21.00
“Now-Again Records, in association with label-owner Lee Anthony, is proud to present the release of True Soul: Deep Sounds from the Left of Stax, a collection of rare and unreleased funk and soul music from the fabled Arkansas indie. Over twelve years in the making, this anthology — presented over the course of two volumes of CD/DVDs and one four-LP box set — seeks to establish True Soul’s rightful place within America’s funk and soul pantheon. As much as this CD/DVD set is about the adventurous, always-funky and oh-so-rare recordings that True Soul made possible, it is also about Anthony, the man. A true, American ‘up-from-the-bootstraps’ story, Anthony’s is one in which his frontiersman’s entrepreneurial spirit and vision remains undeterred as he sets up black-owned businesses in a post-Jim Crow South and succeeds in capturing recordings from the high water mark of America’s funk and soul movement. Anthony’s story intertwines with the renowned Sam Philips — an early mentor and patron — and Memphis’s Al Bell and Willie Mitchell — with whom Anthony collaborated as he tried to cultivate Little Rock’s funk and soul in the shadow of Stax and Hi Records. This anthology will make influence amongst the history of southern funk and soul is transparent, as his story of how he helped turn a stranded road band into the Gap Band. This comprehensive True Soul Records anthology — presented in a 56- page, full color hardbound book chock full of photos, ephemera and extensive liner notes — not only carries the rare distributed funk and soul 45s that led the likes of renowned collectors DJ Shadow and Cut Chemist to Lee Anthony’s door in search of Anthony’s fabled ‘treasure chest,’ but also includes previously unreleased boogie, disco and party rap recorded in True Soul’s early-80s twilight. Accompanying legendary cuts such as ‘Slipping Around’ and ‘Doing my Own Thing’ is a DVD containing excerpts from The True Soul Revue television program, which captured live performances from the True Soul All Stars in 1973.”
Whiplash funk that’s gonna wipe the streets clean of all the scum of the Earth. Tracks: “I Turn You On,” “One More Time,” “Funky Feelin’,” “It’s Your Life,” “We Can Work It Out” and “Baby I’m For Real.”
PCD 72007CD WASHINGTON, ELLA: Ella Washington CD (PCD 72007CD) 16.00
“Ella Washington is one of those rare ’60s soul albums which is all classics and no filler. This material was recorded and produced by legendary DJ/producer John ‘JR’ Richbourg and originally released on his Sound Stage 7 label. Deep and southern soul aficionados rate Ella as one of the best singers of the genre with over half the songs on this collection being strong ballads which showcase her raw and emotive style. She has the unique ability to pull everything out of a lyric and literally ‘lives’ the songs she sings. From the heartaches of her revival of the country classic ‘He Called Me Baby’ to the desperation of ‘Doing The Best I Can’, this is true southern soul at its finest.”
PS 1001CD VA: Beat Jazz: Pictures From The Gone World CD (PS 1001CD) 15.00
“Fabulous collection of ’50s/60s beat jazz classic cuts, songs and poetry.” Featured artists include: Frosty & The Diamonds, Slim Gaillard, Kenneth Rexroth, Coleman Hawkins, Gregory Corso, Scotty Mckay, Jack Hammer, Gil Melle, Doctor Bop, Anita Ellis W/David Amram, Bob Dorough, Harvey Anderson, Jack Kerouac, Cosmic Rays, Roy Glenn, Ada Moore, Moondog, Woody Leafer, The New Bangs, Ellie Girl & 7 Beat Sulks, Jack Hammer, Jim Henson, Aggie Dukes, Kenyon Hopkins and Shel Silverstein. This contains all the tracks from volume 1 of the LP version (PS 1001LP), plus 5 extra tracks.
PS 1001LP VA: Beat Jazz – Pictures From The Gone World Vol. 1 LP (PS 1001LP) 15.00
LP version, featuring 20 of the 25 tracks from the CD Beat Jazz: Pictures From The Gone World.
PS 1002LP VA: Beat Jazz – Pictures From The Gone World Vol. 2 LP (PS 1002LP) 15.00
“Beat poetry, hip Jazz and Be-Bop with the feel of a smoky club underground club in the early ’60s, make this one of the coolest compilations you’ll ever hear.” Featured artists include: Buddy Collette, Kenyon Hopkins, Amus Moore, Wardell Gray, Young Tiger, Babs Gonzales, Muhamed Habeebalah, Ernie Andrews, Oscar Moore, Early Zell, Katie Lee, Johnny Lewis Trio+Millie, Bing Day, Maxwell H. Brock, Joya Sherril and Mel Henke.
PPRO 015VSX-EP PHOTEK: Aviator/Totem 12″ (PPRO 015VSX-EP) 13.00
“Having released Avalanche in February (2011), a new Photek sound was introduced to the world. Combining a rich past in jungle with his well-known love of ambient textures, his experience in cinematic soundtracks and a fresh enthusiasm for the current tempo’s that are lighting up the world’s most exciting clubs. DJ support from the likes of Crookers, Moska, Sinden, Slam, Zinc and Seji.”
PSP 721CD VA: Lukk Opp Kirkens Dører CD (PSP 721CD) 17.00
Subtitled: A Selection Of Norwegian Christian Jazz, Psych, Funk & Folk 1970-1980. This compilation documents the Norwegian progressive Christian music scene that grew out of the Ten Sing-movement (“Teenage Singing”) and Jesus revolution at the end of the 1960s. Within a few years the Christian music industry in Norway became almost as powerful as the secular, with the rise of new labels, festivals and fan clubs. With a wish to throw open the church’s doors to new cultural expressions, Christian youth all over Norway created a now-forgotten catalog of albums with jazz, psychedelic, beat, funk and folk mixed with a Christian message. Twenty nuggets from this obscure music catalog are now gathered on this release. It took a while for the Norwegian church to ask itself the question: why should the devil have all the good music? If you search through the massive heaps of Norwegian EPs released on the Christian record companies Ansgar, ETON and Klango before 1970, you will find hours of congregation house quartets and choirs. But with the great transformations within youth and popular culture in the 1960s, there also came a great renewal within Norwegian church music. In 1967, the writer of psalms and priest Olaf Hillestad (1923 – 1974), founded Forum Experimentale, an organization that promised to: “boldly work for a renewal in service life, church music and church art.” Hillestad acquired premises in Bogstadveien 49c, which served both as a chapel and youth club where young Christians could worship their God with poetry recitals, art, acid rock and theater. That same year, the Teenage Singing revolution came to Norway. Kjell Grønner was hired as a youth priest in the Bergen YMCA in 1965 and quickly reasoned that something had to be done in order to get the youth to attend church. Inspired by the American Christian show Up With People!, he started Norway’s first Ten Sing choir. Finally, young people came to the churches and thoroughly refurbished Norwegian psalms with rock’n’roll, beats, jazz and protest singing. A few years later, the Jesus movement swept over Norway, a Christian ’68-revolt that grew strongly during the 1970s. This led to the rise of Norwegian fractions like Ung Visjon (“Young Vision”), Jesu Glede (“Jesus’ Joy”) and the collective Guds Fred (“The Peace of God”) which all used music in a very active manner to spread the gospel. As this revival spread across Norway, a Christian record industry grew in its wake. The Norwegian Lutheran Inner Missionary Society started the Luther Foundation’s Music Department (LUMI), The Pentecostal church started a youth label Joy for their label Klango and Forum Experimentale went on to become the record company Kirkelig Kulturverkested (“The Churches Cultural Workshop”). Here one finds a hidden and fantastic catalog of progressive and experimental Christian music, from the gritty fusion-funk and electric jazz of Good News and That’s Why to progressive folk by singer-songwriters such as Grete Salomonsen and Kari Hansa and Gregers Hes. Also unearthed are the psychedelic sounds of Crossing and KERYX to rock-musicals by Arnold Børud and Angelos. If one wonders what the Christian people danced to late at night, just listen to disco, beat and funk gems by Heralds, Joyful Singers, Soli Deo, Reflex and Presens.
PSP 721LP VA: Lukk Opp Kirkens Dører LP (PSP 721LP) 21.00
LP version.
PD 14428EP BUCKINGHAM NICKS: Crying In The Night 7″ (PD 14428EP) 8.00
“The fantastic opening track of Buckingham Nicks super rare 1973 LP on Mono and Stereo versions! Great repro 45 with black & white picture sleeve. Classic!”
PRISMA 708CD BERGE, SIGURD: Early Electronic Works CD (PRISMA 708CD) 15.50
Prisma Records is proud to present the first release dedicated to the music by the late Norwegian composer and electronic music pioneer, Sigurd Berge (1929-2002). This release showcases some of Berge’s earliest experiments with tape-machines and early synthesizers. The music is taken from three reels found in the Henie Onstad Art Centre music archives in 2009. The reason why these tapes were located at the art center is probably because Berge worked for several years at the NSEM – Norwegian Studio for Electronic Music, located at the art center. Berge also was a central part of the electronic music concert series Elektrofoni which took place at the center from 1968 until 1983. On the first tape were the unreleased pieces “Preludium,” “Ritual” and “Sørgemusikk” and the pieces “Erupsjon” and “Eg Beisla Min Støvel.” On a different tape, was the musique concrète piece “Delta,” which Berge also used in collaboration with the avant-garde jazz group Svein Finnerud in 1970. The second part of this release is dedicated to one of Norway’s first multimedia art installations entitled “BLIKK.” The work was commissioned for the Henie Onstad Art Centre in 1970 and created by the artists Irma Salo Jæger, Jan Erik Vold and Sigurd Berge. The installation consisted of Jæger’s kinetic sculptures, Vold’s abstract poetry and Berge’s electronic music, all blended together with one of Norway’s first computer-generated laser-light shows. The multimedia piece was so complicated to produce that the engineers Halvor Heier, Birger Komedal and Harald Schiøtz were hired on for technical assistance. The pioneering work “BLIKK” was exhibited at the Henie Onstad Art Centre between April-May in 1970. Prisma Records is proud to release one of Norway’s most acclaimed experimental composers and electronic music pioneers for the first time on a complete CD release.
PRISMA 710CD MERZBOW: Live at Henie Onstad Art Centre CD (PRISMA 710CD) 15.50
Masami Akita aka Merzbow is the biggest name in noise music. Few other artists enjoy the kind of respect within their fields as Merzbow does within the noise scene. If talking about noise music there is simply no way getting around Merzbow. Since 1979 Akita has worked relentlessly, producing hundreds of records. He also has a long list of collaborators: Richard Pinhas, Sunn 0))), Autechre, Pan Sonic, Jim O’Rourke, Boris, Gore Beyond Necropsy, Smegma and many others. Merzbow performed at the Henie Onstad Art Centre on October 11th, 2009. This performance was for the exhibition “Kurt Schwitters in Norway.” Since Akita has sited Kurt Schwitters as one of his main influences for his music, and took his name from Schwitters’ Merzbau sculpture, it was a natural choice to have Merzbow perform at the center on the opening weekend of the exhibition. The complete 40-minute performance is presented on the Live At Henie Onstad Art Centre CD. Musically, this is classic Merzbow; hypnotic loops, layers of white noise and massive sweeps of sonic overload. Akita performed using two computers, synthesizer, custom-made metal objects and a host of effect pedals. The CD is mixed and mastered by Lasse Marhaug and the inner sleeve features a unique photo of Masami Akita inside Schwitters’ Merzbau. Merzbow in Merzbau. Limited edition of 500 copies.
ALA 1995LP VA: The Mack Soundtrack LP (ALA 1995LP) 11.50
Exact repro of the soundtrack to the 1983 film starring Richard Pryor. ’80s soul with a ’70s blaxploitation sound, composed by Alan Silvestri and featuring vocal performances on “In The Beginning” and “Party Time” by Gene McDaniels (Headless Heroes Of The Apocalypse).
DRUNK 023EP BASS CLEF: Rollercoasters Of The Heart/So Cruel 12″ (DRUNK 023EP) 11.50
Bass Clef’s Punch Drunk 12″ debut. “Rollercoasters of the Heart’s euphoria fuelled piano refrain combines with dub echoed beats and rolling, ground shaking bass before delving deep into acid bliss, juxtaposing the darker, melancholic yet tough and club ready ‘So Cruel’ on the other side.”
R&S (UK)
RS 1003EP BLAKE, JAMES: CMYK 12″ (RS 1003EP) 11.50
2010 debut single from the London-based producer on R&S. James Blake is so enormously-tipped by the forward-thinking “dubstep” universe that Mary Anne Hobbs used up all the wobbles in her head trying to come up with a goofy quote about him.
RS 1007EP BLAKE, JAMES: Klavierwerke 12″ (RS 1007EP) 12.00
2010 single that opened the post-Burial, family-friendly UK bass continuum. Brilliant sleeve art by Will Bankhead.
MM 11761LP WHITE BOY AND THE AVERAGE RAT BAND: White Boy And The Average Rat Band LP (MM 11761LP) 21.00
“My eyes did a double take when I see this record perched in my mail trap (theys aint got no word here for box nears I can tell). Good lord I was happy, only cause Id been lookin for a copy since Robin Yount was a five figure Brewer. The writeup that Roach Records put togther kindve says it all, cept I aint got a damn clue whats Lamour is (or was) ors this Meanstreak theys reference. I guess Ill have to get to investigatinem! Wouldnt wanna miss out. Some nimble-toed piker once tried to tell me this was the same band as Mr. Ott & Jake Whip had but Id knowed that was a sack of shit n told him about it.He made a mess in his drawers what stunk up the bar to high heaven, but at least hes still around to deny it. The real word is the band aint but one feller & he hired them others on the front to look all tough. It sorta works. Takes me back to some dumbshits what tried to tangle w/yours truly in Parkersburg, WV in the early 80s. None ofem even seen the blade theys surrendered to, let alone feel it. Ah, youth, to be wasted so young. Feel free to quote me on that. So White Boy & The Average Rat Band…..hard to say exactly where theys (or he) was comin from but know this; when it wants to, this lp is as wild as a peach orchard hog. Theres also some screwy ballads goin on (Oriental Doctors, wow! Too bad Tommy Bolin aint around to here THAT one) + an outta nowhere acoustic number too. Locked into some current thats more metal than punk, it aint no joke, as funny as it may seem at times. In other words, Nig Heist it is not. Im hip to the Kenneth Higney reference too, and Michael Schenker. It woulda been cool if Kennyd aped Scorpions more than Cat Stevens, but he didnt & behold wes got both Attic Demonstration AND this here White Boy lp. Hows are any of us worse off for that? The best of both. Now if only that Higney lp would get rereleased….” – Roland Woodbe, Siltblog. Not related to White Boy on Doodley Squat. Highly recommended!”
Charles Widmore and Daniel Rajkovic’s tendency towards the more reduced and slightly darker side of electronic music led to a fertile cooperation that culminated in an imposing 12″ on Rrygular. The three tracks ride wonderfully unagitated and alarmingly progressive along the label’s typical minimal techno road. Suspenseful bridges and therapeutic vocals will excite you between off-beat emphasis, tribal influences, straight percussions and a slightly mystical touch, focused on the function of a loop.
RCD 2111CD FIRE! WITH JIM O’ROURKE: Unreleased? CD (RCD 2111CD) 17.00
Rune Grammofon are delighted to present the second album from this excellent Swedish trio, something of a supergroup with members from already well-known projects. This time they collaborate with the legendary Jim O’Rourke. With their hypnotic, psychedelic jazz of sorts, they have carved out a different sound than any of the groups they are normally associated with, now enhanced by the vital contributions from O’Rourke. Sax player, improviser, composer and fervent record collector, Mats Gustafsson is possibly most known from power-jazz trio The Thing. He has also played more than 1,500 concerts and participated on around 150 records with musicians like Peter Brötzmann, Sonic Youth, Merzbow, Barry Guy, Otomo Yoshihide, Ken Vandermark, Hamid Drake, Derek Bailey, Evan Parker, Joe McPhee and a host of others simply too many to mention here. Johan Berthling has freelanced in jazz, improvised music, pop, folk and more. He is a founding member of the trio Tape and founded Häpna. Among his current other groups are Animes with David Stackenäs and Raymond Strid and Sten Sandell Trio with pianist Sten Sandell and drummer Paal Nilssen-Love. Johan is also working as a record producer. Andreas Werliin, drummer extraordinaire in Wildbirds & Peacedrums, is Fire!’s youngest member and one of the most interesting and acclaimed new percussionists in the creative music scene of Scandinavia. Probably best known as a member of Sonic Youth and Gastr Del Sol, Jim O’Rourke has played with an impressively large number of musicians and produced albums for the likes of Wilco, Sonic Youth, John Fahey, Smog, Beth Orton, Joanna Newsom and Stereolab, to name but a few. Born in Chicago and long associated with the city’s experimental and improv scene, he later relocated to New York before moving on to Tokyo where he now lives and works. Mats Gustafsson (baritone saxophone, live electronics, Fender Rhodes), Johan Berthling (electric bass), Andreas Werliin (drums and percussion) and Jim O’Rourke (electric guitar, synthesizer, harmonica).
RLP 3111LP FIRE! WITH JIM O’ROURKE: Unreleased? LP (RLP 3111LP) 22.00
LP version. Includes voucher for free mp3 download of the whole album.
SS 056LP VA: FM-BX Society Tape 001 LP (SS 056LP) 14.00
2011 repress. “S.S. Records is pleased to present the first vinyl edition of the FM-BX Society Tape Vol. 1. Originally released in 1981 only on cassette, with a limited run of 200, FM-BX V1 was the first in a series of compilation tapes released by the staff of a radio station in Brussels, Belgium. Needless to say, not many tapes made it around, and very few survive today. I’d say that is a shame but with this vinyl release, the word will get out about the bands on this tape, albeit a few decades after its initial release! FM-BX V1 features three bands, two from Belgium, one from Scotland. The Belgium bands are Isolation Ward and Unit 4. Isolation Ward are known in underground synth collector circles, as they had a bit of a run after their debut on this release. Bleak and futuristic, Isolation Ward fuse post punk with early 80s synth sounds and a DIY approach. The stars of FM-BX are the all-woman foursome Unit 4. Little is known about the band or their current whereabouts. No problem because their music is all you need to tell you that they had something special going. By their sound, the influences are obvious: Kleenex, Delta 5, and the Raincoats all reverberate here though less ‘slick’ than any of those bands. Unit 4’s aesthetics are more akin to the Petticoats and, at times, the Shaggs. This is truly wonderful punk rock. From Scotland comes the Topplers. Great stuff. Teens with an ear towards the TV Personalities, The Times, and Subway Sect. Housed in a sleeve cobbled together from the original cassette release.”
STSJ 107CD DISKAHOLICS ANONYMOUS TRIO: Diskaholics Anonymous Trio CD (STSJ 107CD) 17.00
“The debut by Diskaholics Anonymous Trio – Thurston Moore, Jim O’Rourke, and Mats Gustafsson – was released 10 years ago on the now defunct Crazy Wisdom/Universal label, having been unavailable since. Now Smalltown Superjazzz brings it back into the fray. The trio creates a pulsing, massive & monumental sound. Free-jazz, noise, electronic ambience, drone music & punk all mixed. The result of these 3 titans clashing together is an intense blow-out. Raw, grandiose & brutally beautiful. Cover art by Thurtson Moore & Kim Gordon’s daughter Coco Hayley Gordon Moore.”
SMALL 024EP VA: Twentyfour Ways 12″ (SMALL 024EP) 12.00
The outdoor season is on the run and Smallville Records present another adventure into sweetest house music. Twentyfour Ways presents four beautiful sunset tracks by Benjamin Brunn, Christopher Rau and Smallpeople and special guests C-Beams aka Break SL and Sandrow Mitzschke from Dresden. Enjoy the essence of deep house combined on one 12″ and get your soundsystem ready for the next barbeque.
SG 1148EP OBTANE: The Utopian Man/Symbology Of Decline 12″ (SG 1148EP) 12.00
One of Italy’s strongest techno forces returns with his third release for Sonic Groove. Obtane’s latest expedition comes in the form of two songs. “Utopian Man” is a highly infectious foot and mind burner with sweeping bass sounds, dark atmospherics & solid rhythms. “Symbology Of Decline” is a banger of a peak-time dancefloor techno track that reeks of old school Belgian techno flavor.
SVT 063EP CHANNEL X: Little Symphony 12″ (SVT 063EP) 12.00
Channel X are two of Stil vor Talent’s most active producers of meticulously-crafted and deeply energetic tech-house smash hits. They now return with two very convincing pieces of dancefloor art. First up is “Little Symphony,” an epic space opera that takes its cues from early ’90s techno and mixes it up with post-modern grooves and beats. “Steamboat Willie” is a heavily sample-oriented, swinging piece of jack. Two very different tracks, but both equally stand out for themselves.
STIR15 041EP VA: Motorcitysouled: Selected Remixes 2004-2010 12″ (STIR15 041EP) 12.00
Matthias Vogt and Christian “C-Rock” Rindermann form the deep house syndicate Motorcitysoul. Here is their first selection of remixes released between 2004-2010. So far, more than 30 artists or labels have asked for a Motorcitysoul remix treatment since the duo joined forces in 2004. “Seeded” (Motorcitysoul remix) is a Johannes Heil original, previously released in digital form only on Cocoon. Stir15 makes this heavy house cut a vinyl exclusive. Also includes remixes of tracks by Ernesto and Clara Hill (feat. Atjazz).
SWAMP 012EP FUNKBIAS: Last Forever/Heaven Sent 12″ (SWAMP 012EP) 13.00
“Zed Bias teams up with UK house up-and-comer Funk Butcher, Swamp81 pressure.” Limited pressing with embossed front cover (design by Will Bankhead).
TEC 011CD PURSUIT GROOVES: Frantically Hopeful CD (TEC 011CD) 16.50
Pursuit Grooves’ Frantically Hopeful continues rhythmically where 2010’s Fox Trot Mannerisms EP left off, but launches into a different head space with lyrics touching on current affairs and technological dependency. Juggling all angles from production, songwriting, MCing and singing, Pursuit Grooves continues what she does best, fusing elements of hip-hop, house and broken beats with sensual melodies and vocals. Armed with an analog four-track cassette recorder, drum machine and years of studying her grandmother and aunt on the piano, Pursuit Grooves began her first productions at the age of 16, and never looked back. A demo in the right hands landed her track “Push Up” on Rush Hour’s Beat Dimensions collection, alongside some of the brightest up-and-coming electronic artists around the world, and following three mostly instrumental albums on her own What Rules label; Fun Like Passion, Wild Art Forestry, and Sustainable Movements For A New Age, she signed with Tectonic, releasing Fox Trot Mannerisms to great acclaim in 2010.
TTW 031CS FANTOM AUDITORY OPERATIONS/MICHAEL ESPOSITO: The Child Witch Of Pilot’s Knob Cassette (TTW 031CS) 7.00
EVPs captured at a cemetery in Pilot’s Knob, Kentucky, PAW Case File PAW120. Situational Specific Frequency Tests and Results captured in 2009 at a cemetery location where in the late 1800s, reportedly accused of witchcraft, a woman and her daughter, Mary Evelyn Ford were burned alive in Marion County. The daughter was buried at Pilot’s Knob cemetery and her mother at a separate location. At the cemetery, a dark, foreboding figure has also been seen. People have named this figure “The Watcher.” It is said that this evil presence tries to get the little girl but cannot pass beyond the crucifix-decorated fence that surrounds her grave. Michael Esposito is an experimental artist and researcher in Electronic Voice Phenomena (EVP). He is a descendant of Alfred Vail, who invented the Morse code with his partner Samuel Morse, and Jonathan Vail, office manager and assistant to Thomas Edison. Michael has participated in hundreds of paranormal investigations globally using his techniques and theories within the field of EVP. He and his partner Heidi Harman have collected tens of thousands of EVPs and video. He has appeared in a number of films, television shows and documentaries and has lectured to a variety of audiences. Fantom Auditory Operations’ attempt is to take EVP research a step further, developing a body of work researchers and scientists may use in the future to unlock the mysteries of our own mortality.
TTW 032CS OTHON: Silky Hands Of A Rough Piano Boy Cassette (TTW 032CS) 7.00
Just before releasing Impermanence, his long-awaited second album, Othon has come up with an unexpected limited edition tape release. As the title suggests, Silky Hands Of A Rough Piano Boy centers on Othon’s life-long companion, the piano. On the A-side, Othon returns to his soloist roots performing his new work “Behind The Veil Behold The Liquid Light!,” together with two gems by Chopin (“Étude Op. 25, No.1”) and Mendelssohn (“Venetian Gondola Song No.1” in G minor from “Songs Without Words”). On the B-Side, Othon is releasing for the first time two of his oldest and most adventurous songs to date. “Kali Dances” and “Digital Angel 000” were both recorded live as part of the composer’s final recital at Blackheath Halls while still studying at London’s Trinity College of Music, back in 2006. “Digital Angel 000,” though not included on Othon’s debut album Digital Angel, was originally one of the first songs written for the eponymous song cycle. Cover features linocuts by Dale Cornish. 200 copies only.
TTW 034CS BURNING TREE: Stinger Cassette (TTW 034CS) 7.00
Burning Tree are Dag Stiberg and Dag Erik Knedal Andersen. Andersen is perhaps best known for his “hyperactive, take-no-prisoners” approach to drumming. He has been a ubiquitous presence on the Norwegian improvised music scene over the last couple of years, and has toured all over Europe with groups such as Golden Dawn, Cunt Rash, and the now-inactive Supersonic Rocketship. Dag Stiberg has been studying alternative approaches to the saxophone sound for a decade, both solo and with his band Maranata. Mostly known for his wide use of guitar effects, he has taken another approach in the band Burning Tree, which explores the sounds of the acoustic realm. Burning Tree decided to go into the studio in February 2011 and record an acoustic session. They had recently done a lot of noise stuff with their noise bands Cunt Rash and Maranata and wanted to bring that energy to this recording. The result is a very harsh free-jazz tape with five tracks — total 35 minutes — with extremely dirty saxophone and ecstatic drums. Cover features an illustration by Florian Hetz. 200 copies only.
TTW 035CS DR. FLEISCHBRITTEL: The 7th Synphonie Of The Seven Swevens Cassette (TTW 035CS) 7.00
Andrew Lagowski writes: “The 7th Synphonie of the Seven Swevens aka 777 by Dr. Fleischbrittel was recorded direct to cassette on the 29th and 30th of May 1983 at IP1 3PG, Ipswich. The project was realized as a means of escape from the band mentality that I was part of at that time. It offered me the chance to free-form in more ways than one and express my more demonic leanings — those of a frustrated teenager recording in whichever bedroom had the space for the equipment. Unbeknownst to them, my parents were sonic partners in this exploit. Power drill and spade by Ryszard Lagowski. Vocals by Dr. Fleischbrittel and family. Reworked & edited on the 6th of March 2011 by Andrew Lagowski.” Andrew Lagowski, London, 17 April 2011. Cover features an illustration by SavX. 200 copies only.
TBT 011LP NOVA SCOTIA/EYE: A Million Corpses of Dead Bees/High Road LP (TBT 011LP) 17.00
“Tipped Bowler returns to the fertile soil of New Zealand to cull two choice improvisations. On the A-side, Wellington’s Nova Scotia delivers ‘A Million Corpses of Dead Bees’, an eighteen minute free-rock burner. Growing from violin sine-squeak and distant shortwave, the piece gains momentum with its patient drumming and resolves into a saxophone swarm shot through with synthetic scrabble. On the reverse, Dunedin’s Eye comes off colder and more aggressive. ‘High Road’ throttles the listener with Schnitzler-ian electronics, militant percussion, and guitar strangulation before collapsing into coda of cymbal taps and glassy string-work. Rigorous yet unbound, these pieces shine a light on a musical community few of us can witness firsthand. Issued in an edition of 250 150-gram black LPs in elegant black-and-white matte sleeves screened with consummate skill by Alan Sherry of Siwa.”
“Two of Europe’s finest collide on a 12″ 45 RPM platter loosely inspired by the club single. On Wet Wheel/Hot Wheel, Neil Campbell of Astral Social Club succumbs to the heartbeat throb of house but tops the bass with a frenetic squall of darting alien melodies. On cursory listen, the elements congeal into honest-to-god body music, but the track is riddled with stutters and gaps that the flooded synapses fill with aural afterimages. On the reverse, Jan Anderzen of Tomutonttu buries the dance influence, retaining only the genre’s neon shimmer and linear logic. ‘Syvat Svyät’ overflows with cuckoo loops that briefly cohere into musical shapes before casting off, replaced by an ecstatic march of manic squiggles. One must focus to follow the train of musical thought, but Anderzen’s humor and intuition reward the effort. Issued in an edition of 300 hand-stamped, 150-gram lavender LPs in matte sleeves screened with consummate skills by Alan Sherry of Siwa.”
TONE 044EP FENNESZ: Seven Stars 10″ (TONE 044EP) 12.00
Fennesz’s first solo release since Black Sea (TO 076CD/LP) is a 4-track 10″ vinyl. Using acoustic and electric guitars, bass, synths and computers, Fennesz continues to engage and entrance us in equal measure. Fennesz writes: “Seven Stars was recorded in Vienna in January 2011. I recorded and mixed the album within 3 weeks. ‘Liminal’ and ‘July’ were existing pieces which I have reworked. (I wrote an early version of ‘Liminal’ in a hotel room in Bali in 2010). There is also a version of ‘Liminal’ that I have been playing live for some time. My friend Steven Hess, with whom I have worked before, happened to be in Vienna at the time of the sessions, so I invited him to join me in the studio. Christoph Amann recorded the drums using a selection of his great microphones, including his amazing new Josephson. I wanted to make a record that has a certain lightness about it and at the same time explore new territory using drums on one track. This might be something I will continue with in the future.” Printed inner and outer color sleeve.
TPI 1004LP BOTH WORLDS: Don’tcha Hide It LP (TPI 1004LP) 11.50
Early ’70s space-hall tripped-out funk with a heavy, raw production that carries its weight beyond good and evil on tracks like “Freedom Jazz Dance,” “Get Up,” “It’s Love,” “Solide” and “Stop, Turn Around.” If anybody can source any of the t-shirts this 8-member band is sporting on the back cover, please get in touch.
UAS 5225HLP WOMACK, BOBBY: Across 110th Street LP (UAS 5225HLP) 14.00
The original motion picture score, with music composed and conducted by J.J. Johnson; songs written and performed by Bobby Womack. The title track is one of the best songs compiled on Soul Jazz Records’ Can You Dig It? compilation and it appears on the original soundtrack in an instrumental version as well as album closer, “Part II.” Originally released in 1972. 180 gram exact repro reissue.
SAINT E AFX/AUTECHRE: Quex-RD/Skin Up, You’re Already Dead 12″ (SAINT E) 10.00
Remixes of Saint Etienne tracks. AFX’s “Quex-RD” mix of “Who Do You Think You Are” backed by Autechre’s “Skin Up You’re Already Dead” mix of “Like A Motorway.”
UY 048EP ONNO: Hablando Loco 12″ (UY 048EP) 12.00
Onno is a highly-dosed dancing pill — pop one and your rubber legs turn into those of Fred Astaire. The title track opens with some sweet vocals and drills into your memory banks. On B2, he’s quite content with the repetitive use of vocals, like a fitness trainer trying to squeeze that last drop of sweat out of you. Gavin Herlihy takes a subtler approach to the track with a remix that writhes in the scented oils that is house deepness.
VAMPI 067CD VA: I Gotta New Dance CD (VAMPI 067CD) 12.00
2005 release. Vampiaddicts, your share of fresh blood is coming to you! Stuff stored in the groove catacombs and delivered to you so you can sink your teeth into it and enjoy a taste of these goods full of funk, soul, progressive rhythms and Latin sounds. Taking off with one of the El Barrio partisans, from Spanish Harlem, the genuine, undisputable King of Latin Soul, Mr. Joe Bataan is back with the title track from his first new album in 20 years, Call My Name. The Diplomats of Solid Sound deliver a good dose of Hammond power. Mary Jane Hopper and The Vibrettes are Eddie Bo protégées from the ’60s, bringing you authentic New Orleans funk. Ruth Brown is a distinguished survivor from the late ’50s who has undergone highs and lows, major companies, tragic personal moments, and a comeback in the late ’80s. In the “occult Vampi treasures” section we find lost gems now recovered and worthy of attention, such as La Sangre Caliente or Augustine Ramirez. Exploring the Latino territories, we find one of the first Mexican bands to achieve success in the mid ’70s, The Headhunters (not to be confused with the American jazz-funk band), a band founded by Frankie García, a.k.a. “Cannibal,” whose “Land Of 1000 Dances” would be more successful in Mexico than the original version by Wilson Pickett. The most meaty soul and R&B are represented with contributions from Johnny Adams and Mickey Murray. This sampler also rescues forgotten names with little success in their time who are praised now by DJs, collectors and good music lovers alike. Such is the case with the likes of Sexteto Electrónico Moderno, Boris Gardiner, Maranata or Roland Mesquita. From the Latino side we also find the Peruvian band Traffic Sound, who published four albums and called it quits in 1972. We also have the unclassifiable Totem from Uruguay; and the Lat-Teens, who in 1968 made one of the first pothead hymns in music history, the successful hit “Mary Wanna” –enjoy it with a nice joint close to your lips. To finish with this showcase of sounds, we get into the boogaloo and Latin Soul territories, with big names from which rare, hard-to-find songs have been recovered: Jimmy Sabater, Cal Tjader, Coco Lagos or Johnny Colon.
VAMPI 090LP ALLEN, TONY: Afro Disco Beat 3LP (VAMPI 090LP) 34.50
2007 release. 3LP version. 2007 release. Vampisoul presents a complete ’70s anthology of the drummer and music director of African superstar Fela Kuti’s band Africa 70, from 1968 until 1979, the creators of Afrobeat. This monster pack includes Tony’s first four solo albums: Jealousy (1975), Progress (1976), No Accomodation for Lagos (1978), and No Discrimination (1979). The first three produced by Fela Kuti himself and with Africa 70; the last one with Tony´s band The Afro Messengers. Complete extensive liner notes inside. Mild-mannered, but iron-willed, Tony Allen is the co-creator of Afrobeat, and one of the most distinctive and in-demand drummers on the planet. No one swings like this Nigerian rhythm man — with that amazing, loose-limbed, poly-rhythmic technique that has powered some of the funkiest and most challenging dance music ever created. Best known for his involvement with the late, great Fela Kuti, Tony Allen is very much more than Fela’s — or anyone else’s — drummer. Bandleader, composer and husky rapping vocalist, Tony Allen has recorded a string of groundbreaking solo albums since parting company with Fela in 1978 — sides that draw together African rhythm, funk, jazz, soul and hip hop. His inimitably propulsive skinwork has enhanced the work of an amazing range of artists, from Afro-giants Manu Dibango, Ray Lema and Sunny Ade to British-Indian songstress Susheela Raman and Californian rock-rappers Spearhead. Complete extensive liner notes included.
VAMPI 094LP QUINTEPLUS: Quinteplus 2LP (VAMPI 094LP) 25.50
2LP version. 2007 release. Founded after the “New Jazz Collective” movement in Argentina in the late ’60s, Quinteplus was a space for reflection and rehearsal to determine the paths that jazz should take. An experiment with folk genres in a jazz key, and the exploration of African rhythms, as a bridge between both musical worlds. This set contains the only studio album they ever released (in 1972) and a great bonus: a complete live recording of a gig from the same year, unreleased until now. The record is a sophisticated exhibition of the musical cocktail that characterized the band — tunes composed by its members, fluent jazz language, experimentation with folk rhythms, funky touches by the amplified upright bass and electric piano, compact sound and great solos by the group’s brass players. The music sounds fresh, attractive, unprejudiced and dexterously played. A work ahead of their time.
2008 release. More than three decades after its original release, and for the very first time on CD, Marie Queenie Lyons ‘cult classic Soul Fever. Marie Queenie Lyons is a mystery girl, a Southern enigma. Like a kind of black Bobbie Gentry, after just this one album Queenie vanished. Following its 1970 release, she disappeared off the soul map forever, like a Roman candle floating off into the warm Southern night. Because of the prodigious wealth of talent in black America at the time, great albums with miniscule marketing budgets were often overlooked. Soul Fever was just a drop in an ocean of fabulous, funky R&B recordings released that year. But over the decades, it’s become a cult classic and established as one of the rarest and most prized Southern soul albums from that prolific era. Queenie certainly had the qualifications (in both sass and vocals) to be hired by James Brown as one of his “funky divas.” But quite what happened to Queenie after the album’s release has been lost in the mists of time. Soul Fever languished in obscurity for a couple of decades. But slowly, through the years, it’s ascended to cult classic status. Now, after over three decades from its original release, it’s finally been reissued.
VAMPI 103CD MOHAWKS, THE: The Champ CD (VAMPI 103CD) 16.50
The Mohawks were a band fronted by arranger, Hammond grinder and king of British Library music composers, Alan Hawkshaw. All top session musicians, The Mohawks released their astonishing 1968 LP The Champ, chockfull of incredibly groovy and funky tracks. Vampisoul presents this club/groove masterpiece with no less than six bonus tracks not included on the original album. This is a high-octane release with soul/jazz organ fueling hits, one after another. The songs herein contain arguably the best and grooviest Hammond heard east of the Atlantic, the heaviest bass ever played in London, tight-or-die drum work and a full set of explosive horns. An endless string of killer dancefloor fillers, from 1 to 12 (not to mention our bonus tracks, taken from 7″ singles!). You’ll sure recognize the title track (or at least its organ intro). A cult classic for more over 30 years, sampled by dozens of hip hop artists such as Erik B. & Rakim, De La Soul, DJ Shadow, etc. Since the early ’60s, Alan Hawkshaw played his custom-built Hammond organ in thousands of studio sessions for a myriad of artists: Serge Gainsbourg, Jane Birkin, Georgie Fame, David Bowie, Cliff Richard, Donovan, The Tremeloes, Dusty Springfield, Los Bravos, Barbra Streisand and Olivia Newton-John.
VAMPI 130LP VA: Chicas: Spanish Female Singers 1962-1974 2LP (VAMPI 130LP) 25.50
Gatefold 2LP version. Vampisoul presents a compilation of Spanish girl groups circa 1962-1974. Spanish girl pop made itself present when it was necessary. Oblivious to the scarcity of exciting sounds that late-Francoist Spain offered them, the Spanish girls disregarded conventions and overcame all barriers and suspicions without letting the latest fashionable hairdo get ruined. In those doubtful years during which, apart from copla, any other music style was considered highly suspicious, the leading girls didn’t hesitate and abandoned themselves to the whole musical range, both local and international, at their disposal. Despite the difficulties, and there were many, the incipient permeability of Spanish politics of the time played its part and, from 1963 onwards, female ye-yé became an absolute reality that shook the Spanish society of the period. A true salvation, a social panacea, that’s what female ye-yé was in 1960s Spain, a small revolution of customs dressed in a mini-skirt and playing at 45 rpm. In the wake of its charm, modernity and intrinsically female character, everyone in Spain became ye-yé and the social landscape gained freedom following the trail left by the girls. Thanks to it, girls were subsequently able to take part in the beat, garage, soul, psychedelia and prog scenes as well. For a while now, various compilations have been released in Spain documenting styles, scenes and artists belonging to such happening decades (creatively speaking) as the ’50s, ’60s and ’70s, and nevertheless, there hasn’t been one featuring only female contributions to the cause. When compiling ¡Chicas!, all genres were considered: Latin, rock & roll, twist, ye-yé, beat, garage, rhythm & blues, soul, etc. Secondly, apart from celebrating all the shining artists featured here, there are also a great number of recordings released on the Catalan label, Belter. Discover once again for the first time the unbelievable legacy of the Belter factory as well as these revolutionary women. Includes sleeve notes by expert Vicente Fabuel as well as a fantastic selection of record sleeves and photographs.
VAMPI 45050EP VIKLICKY, EMIL: Pochod Zlochu/Hromovka 7″ (VAMPI 45050EP) 8.50
Limited edition 7″ by Emil Viklický, one of the most renowned Czech jazz musicians and composers. “Pochod Zlochu” is exclusive to this release, not featured on the full-length The Funky Way Of Emil Viklický (VAMPI 115CD).
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