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12K 2021CD DEUPREE & MARCUS FISCHER, TAYLOR: In A Place Of Such Graceful Shapes CD BOX/7″ (12K 2021CD) 30.00
“In the fading days of autumn in 2010, Taylor Deupree and Marcus Fischer, having become acquainted only earlier that year, set out on the sort of cross-country collaboration typically executed via technology and the web. However, having made a few rough sketches, they became disenchanted by the Internet and the machines between them, and quickly realized that the only way forward was via a plane ticket. Marcus left Portland for New York in February of 2011. The two met face-to-face for the first time, and without any hesitation embarked on 4 days of creating music and photographing the bitter cold and deep snow that covered the state. Buried in a sea of guitar pedals, looping boxes, analog synths, tape recorders, found objects and percussion instruments, Deupree and Fischer settled into the 12k studio and began crafting long passages of music, with no editing, into what would become the single composition on the CD. The creative energy didn’t stop in the studio, however, as the frozen bay and snow-covered hills of a park along the Hudson River became the visual backdrop that brought the project to completion. The fruits of their collaboration could not be realized only with a single compact disc, and grew to become a boxed set containing a CD, a 7″ record and a booklet of photographs. Titled In a Place of Such Graceful Shapes and limited to only 500 copies, the stark and austere package starts with a black box adorned with a monochromatic photograph of a winter landscape, with the artists’ names and the album title only appearing in tiny print on the bottom of the box. Inside, the jacket of the 7″ shines in a bright, warm yellow — the only color in the landscape, provided by waterside grasses — and contrasts with the black and white photography (taken by both Deupree and Fischer) inside the booklet. A warm grey tone ties everything together on the CD and outer box to balance the color palette.”
ASHES 001.1EP BRUNN, BENJAMIN: Dust Part 1 10″ (ASHES 001.1EP) 11.00
Benjamin Brunn has been releasing music for over 10 years for labels such as Workshop, Smallville, Third Ear & Wave and has been a long-time collaborator with Move D. Strictly using hardware only, Ben delivers his latest EP via new label Ashes. Four cuts of Clavia Nord & 707 — heavy, blissed-out house music spread over two slabs of vinyl. Very limited copies, featuring full artwork sleeve by Franski.
SD 1477HLP HUBBARD, FREDDIE: Backlash LP (SD 1477HLP) 14.00
180 gram vinyl version. Originally released in 1966. Gatefold exact repro, manufactured by Rhino. “…this excellent set falls between hard bop and the avant-garde, often hinting at both. Hubbard’s regular group of the time (with James Spaulding on alto and flute, pianist Albert Dailey, bassist Bob Cunningham, and drummer Otis Ray Appleton, plus guest conga player Ray Barretto) performs the debut version of his famous ‘Little Sunflower,’ an excellent remake of ‘Up Jumped Spring,’ and four lesser-known pieces. Hubbard and Spaulding made for an excellent team and there are plenty of exciting moments on this brief but potent set.” — All Music Guide
SD 7268HLP COBHAM, BILLY: Spectrum LP (SD 7268HLP) 14.00
180 gram exact repro reissue, manufactured by Rhino. Originally released in 1973. “Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include ‘Red Baron’) make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.” — All Music Guide
AU 1012CD RUSSELL, ARTHUR: Let’s Go Swimming CD (AU 1012CD) 11.00
“A lot of DJs stake the tapes I make and try to make them into something more ordinary. Let’s Go Swimming was supposed to be a futuristic summer record. Some DJs said that nobody would ever, ever play that. I think eventually that kind of thing will be commonplace.” – Arthur Russell interview with David Toop in 1986.”This is an impossible dance music, jumbling your urges, making el you want to move in ways not yet invented, confounding your body as it provokes it — a work of genius” – Simon Reynolds, Melody Maker in 1986.”Remastered reissue of Arthur Russell’s most mind-bending (and boggling) psychedelic dance-raga originally released in 1986. The 12″ and CD include all three versions of Let’s Go Swimming: Arthur’s own mixes of the Gulf Stream Dub and Puppy Surf Dub and the legendary Coastal Dub mixed with love by Walter Gibbons. Also included is the previously unreleased epic 11-minute keyboard funk version of ‘Make 1,2’ (Gem Spa Dub).”
AU 1012EP RUSSELL, ARTHUR: Let’s Go Swimming 12″ (AU 1012EP) 14.00
12″ version.
BRG 010LP WEIS, MIKE: Loop Current/Raft LP (BRG 010LP) 14.00
“Mike Weis is no stranger to the American indie/experimental music scene. He’s been the percussionist and drummer for the highly respected Chicago outfit Zelienople for the better part of the last decade, and has collaborated with such esteemed underground luminaries as Scott Tuma, The North Sea, Xela (John Twells), and Jasper TX. With so many feathers in his proverbial cap, it’s hard to believe that this is Mike’s first solo outing. Upon the very first listen to Loop Current/Raft it becomes clear that Mr. Weis is much more than just another hired gun. The compositions on Loop Current/Raft breathe a singular vision of percussion as centerpiece to a multilayered aural canvas. Mike’s drums are shrouded in billowy clouds of ambient sound and muted synthetic drones. Tribal rhythms glean in and out of focus as sheets of bells, claves, bowed cymbals, and rattles dance over a hazy backdrop of manipulated field recordings, short wave radio samples, and found sounds. There is a subtle yet unmistakably eastern feel to the recordings. Mike’s training in West African polyrhythmic drumming as well Korean Pungmul drumming coupled with his foundation of traditional western ‘rock’ percussion patterns–birth an almost neo-gothic gamelan style. This inspired approach produces a recording that is both compelling and mesmerizing.” Limited edition of 250 for the world. Hand assembled, stamped and numbered.
BAO 032EP TRIPMASTAZ: House Syndrome 12″ (BAO 032EP) 12.00
Tripmastaz debuts with a full EP on Be As One. “House Syndrome” is truly an infectious tech-house stormer for the big stages, which is already being championed by the A-list DJs. “Constant Learning” is a proper tribal techno affair that combines a rolling groove with a catchy melody and an uplifting, summery mood. On the B-side, Tripmastaz takes things into deeper territories with “Quiet Hit Men,” an acidic bassline worked around a machine groove. “Pende (Dub)” closes with an underground attitude.
BLP 1560LP MOBLEY, HANK: Hank LP (BLP 1560LP) 11.50
Originally released in 1957. Featuring Donald Byrd (trumpet), John Jenkins (alto sax), Bobby Timmons (piano), Wilbur Ware (bass) and “Philly” Joe Jones (drums).
BLP 1568LP MOBLEY, HANK: Hank Mobley LP (BLP 1568LP) 11.50
Originally released in 1957. Featuring Bill Hardman (trumpet), Curtis Porter (alto and tenor sax), Sonny Clark (piano), Paul Chambers (bass) and Art Taylor (drums).
BLP 4006LP REECE, DIZZY: Blues In Trinity LP (BLP 4006LP) 11.50
Originally released in 1958. Featuring Donald Byrd (trumpet), Tubby Hayes (tenor sax), Terry Shannon (piano), Lloyd Thompson (bass) and Art Taylor (drums).
BLP 4023LP REECE, DIZZY: Star Bright LP (BLP 4023LP) 11.50
Originally released in 1959. Featuring Hank Mobley (tenor sax), Wynton Kelly (piano), Paul Chambers (bass) and Art Taylor (drums).
BOND 004EP BEES, ANDREW: Life In The Ghetto 7″ (BOND 004EP) 5.50
“Straight from Maxfield Avenue, 1989, Castro Brown’s New Name Muzik outfit produced some of the best of the first wave of digital roots. Here are a couple of their finest outings.” Backed by “New Name Muzik Computer Version.”
BOND 005EP BEES, ANDREW: Struggle & Strive 7″ (BOND 005EP) 5.50
“Andrew Bees has two of his finest tunes in ‘Struggle & Strive’ and ‘Life in the Ghetto.’ These stand right beside his classic ‘Militant’ on Music Lion as early classics of the emerging style.”
BZJ 7502LP VA: Turkish Freakout 2: Psych-Folk 1970-1978 2LP +7″ (BZJ 7502LP) 25.00
Repressed. Gatefold 2LP version — includes a limited edition bonus 7″ single with vintage sleeve artwork. “Last summer (2010), indie label Bouzouki Joe brought you a choice selection of some of the finest rare Turkish funk and psych-rock grooves, painstakingly unearthed direct from the source in Istanbul. The result: you freaked out (in a good way). With that in mind, we present the second installment of Turkish Freak Out!, featuring another batch of classic tracks from the Golden Age of Turkish music. With spiritual guidance from Mister Jason, this compilation, comprised entirely of original 7″ recordings from Turkey’s most creative and experimental artists, is guaranteed to deliver another five-star freak-out.”
BOXCL 009EP KAHN: Way Mi Defend/Azalea 10″ (BOXCL 009EP) 11.00
Box Clever present Kahn’s second record, which sees him take his music to darker, more intense territory. “Way Mi Defend” is a militant stepper, where ticking cymbals and war-like dread speech introduce shuffle-grooved beats and tough boom bass. As the battle progresses, Kahn piles on the pressure, adding speaker-test sub bursts and rolling, tribal drums. “Azalea” finds Kahn in a slightly more reflective mood, delicately-arranged strings providing the backing for sultry French vocal samples, echo-chamber snares and subterranean bass pressure.
BNR 010CD DRIVER, JAN: Amatilda CD (BNR 010CD) 17.00
Jan Driver has been releasing music since 1993. Born and raised in Berlin, he started to produce music with analog gear and ever since, he’s done more than 100 remixes for artists such as Armand Van Helden, Laurent Garnier, Boys Noize, Faithless, Blaze, Romanthony, Afrika Bambaata, and others. With his own hits and remixes, he has toured the world from 1995-2003, until he decided he needed a break, saying goodbye to the pressure of making hits. He founded his own label Grand Petrol in 2004 where he started to release more deeper and playful tech-house while also releasing the music of his long time friend, Siriusmo. Between 2006-2009, studio work took up most of his time, so he didn’t do many DJing gigs but found himself being the mastering engineer, mixer and co-producer for Riva Starr, Modeselektor, Siriusmo and many more productions. In 2010, he released his much-anticipated Gain Reaction EP which got him big support from house and techno DJs like Erol Alkan, Miss Kitten, Tiga, A-Trak, Jesse Rose, Annie Mac and many more. Soon, Jan started producing his own music everyday and suddenly there was an album, his very first — playful as never before, and so colorful — an album that reflects his experience of almost 20 years of electronic music, quality production and forward-thinking tracks you can’t put in any category. Do you like techno? Disco? Punk? UK dub-tech? Listen to this album — it’s all in there, but be prepared, your head might explode because of Jan’s heavy bass. Real bass. Deep shit. Great tracks. Welcome back, Jan Driver.
BUR 008EP AKA AKA & UMAMI & THALSTROEM: What Matters Remixes 12″ (BUR 008EP) 12.00
This EP by AKA & Thalstroem is a collaboration with Umami. On A2, Hanne & Lore reinterpreted the track with their distinctive minimal style, Broombeck boosted it to the maximum on B1, and Philip Bader drifts away in endless after-hours on B2.
BR 008EP TRIM: I Am 12″ (BR 008EP) 11.00
Revisiting TRC’s “Skipping Rope” instrumental from the first release in the Butterz White Label series, “I Am” shows Trim on a more laid back vibe then his usual “war monger” approach, but it is one of the best things he has written so far, already strongly supported by a host of big name DJs including Logan Sama, Sinden, Benji B, and Mistajam. On the remix duties are Preditah (JME, Earth 616 and LV (Hyperdub/Keysound).
T 1186HLP ESQUERITA: Esquerita! LP (T 1186HLP) 15.00
180 gram exact repro reissue of the 1959 debut from “the original Little Richard.” “For the most stomping, all out rock ‘n’ roll, Esquerita takes a back seat to no one. In fact he takes no seat at all — he stands, crouched and weaving over his piano, with a rhythm group and strong tenor sax right behind him.”
CBS 65804LP PUTHLI, ASHA: Asha Puthli LP (CBS 65804LP) 11.50
Exact repro of Indian diva Asha Puthli’s first album, originally released in 1974. Covers of George Harrison’s “I Dig Love,” J.J. Cale’s “Right Down Here,” Bill Withers’ “Let Me In Your Life” and John Lennon’s “Love.” Another J.J. Cale cover, “Lies,” is completely OUT, with schizoid, phase-shifted wailing that characterizes this singer’s ultimately avant-fused psyche.
CBS 80978LP PUTHLI, ASHA: She Loves To Hear The Music LP (CBS 80978LP) 11.50
Asha Puthli’s 1974 follow-up to her eponymous debut includes covers of Cole Porter’s “Night And Day,” Neil Sedaka’s “Laughter In The Rain” and Van McCoy’s “You’ve Got To Tell Her.” Production and arrangements by Del Newman.
CBS 81443LP PUTHLI, ASHA: The Devil Is Loose LP (CBS 81443LP) 11.50
Asha Puthli’s third album, 1976’s The Devil Is Loose, is one of her most critically-acclaiemd. The spacey, groove-driven originals “Flying Fish” and “Space Talk” predate dancefloor classics from the likes of Donna Summer and Giorgio Moroder.
PRESERV 003EP CHASING VOICES: Another Walk 12″ (PRESERV 003EP) 11.00
Another dark, mutant techno exercise from anonymous producer Chasing Voices. One-sided release, housed in a silkscreened jacket.
CSR 110CD NDE: Krieg Blut Ehre Asche CD (CSR 110CD) 16.50
2009 release. Debut from this Belgian duo. Like the dark, solitary figure which adorns the cover, NDE are shrouded in mystery and desolation. No web site. No Myspace. No contact details. The music speaks loudly and across the centuries. A unique smelting of malevolent, noisy black metal, pounding, anthemic martial drums and wretched death industrial in eight acts.
CSR 116CD IRON FIST OF THE SUN: Behavioural Decline CD (CSR 116CD) 16.50
Originally released in 2009. Personal obsessions skewed by drug use, codes of behavior observed by a misanthropic mind. Bitter and cold. Nihilistic and scornful. Elitist and pure. Behavioural Decline documents the rise of treachery and the fall of honor. Power electronics that sonically take inspiration from electro-acoustics and ideology akin to black metal/black noise. A deeply personal recording. For fans of Prurient and Sutcliffe Jugend.
CSR 124CD SEHNSUCHT: Wüste CD (CSR 124CD) 16.50
Former Mayhem front-man Maniac, whose band Skitliv has proved to be a surprising departure from the black metal genre for which he was best known for over 20 years, has formed a side-project with fiancé Vivian Slaughter, bass player/vocalist with the Japanese all-girl band Gallhammer, Skitliv’s guitarist Ingvar Magnusson and experimentalist Andrew Liles (Nurse With Wound). Unlike Skitliv, which is a noise/doom amalgam, with Maniac’s vocals still firmly rooted in black metal, Sehnsucht is in the noise/darkwave/ambient genre, with any vestiges of black metal pared away. Housed in a 6-panel digipak.
CSR 125CD WICKED KING WICKER: God Is Busy…Save Yourself CD (CSR 125CD) 16.50
2009 release. Wicked King Wicker is pure doom. Their brand of guttural expression strips away the rock n’ roll base and leaves nothing for the listener than the caustic reality of the darkest side of life. It is heavy, barbaric and void of hope. Wicked King Wicker has taken the power of doom metal and added noise to the mix to make its point. God Is Busy… Save Yourself is their sixth album, and their first released outside of the U.S. Wicked King Wicker is unique, and their extreme doom stands alone as the heaviest, most brutal doom imaginable and it may take you places you don’t want to go.
CSR 133CD MERZBOW & Z’EV: Spiral Right/Spiral Left CD (CSR 133CD) 16.50
In the planning (and many faxes, emails and discussions in person) for 20 years, finally this stunning collaborative release for Cold Spring from Japanese noise king Merzbow and legendary elemental sound artist Z’ev is here. The tracks were created in London and Tokyo, with each artist remixing the other’s original sounds. Two tracks weighing in at 22 minutes and 28 minutes, respectively! Dark ambient noise in a special textured card digisleeve.
CSR 135CD SEVERIN, STEVEN: Blood Of A Poet CD (CSR 135CD) 16.50
Acclaimed solo artist and founding member of the legendary Siouxsie & The Banshees, Steven Severin’s debut album for Cold Spring Records is titled Blood Of A Poet (Le Sang d’un Poete). This album is his entire soundtrack to Jean Cocteau’s 1930 black & white Surrealist classic and is the second in his ongoing series of “Music For Silents.” Blood Of A Poet received its premiere at the Silent Movie Theater in Hollywood in January of 2010 and his first-ever solo tour of the UK was hosted by the Picturehouse chain of cinemas. Housed in a stunning gatefold digisleeve.
CSR 136CD MZ.412: In Nomine Dei Nostri Satanas Luciferi Excelsi CD (CSR 136CD) 16.50
1995 bore witness to the resurrection of nefarious Swedish horde MZ.412 (previously manifest as Maschinenzimmer 412) — Nordvargr, Drakh, Ulvtharm and Shaitan. This ground-breaking, genre-defining album saw the inventors of “black industrial” blur the boundaries between black metal, ritual industrial, dark ambient and power noise. In Nomine… captures the darkest sides of Satanism, death and ritual sacrifice — an enduring, blasphemous statement of True Swedish black industrial. This remastered version features two previously unreleased tracks (“In Ritual Of Blood And Oath” and “Infinite Hollow”), alternate versions and all new artwork. Just under 74 minutes of music housed in a matte digipak with spot varnishing.
COMEME 012EP GORBACHEV, PHILIPP: In The Delta 12″ (COMEME 012EP) 12.00
The Delta is a symbolic and poetic place — where the flow of the river enters the ocean. The Delta gives the feeling of rhythm. The Delta is the supreme destination. The Delta refers to hanging out in the city streets. Essential in The Delta is the spirit of conscious spontaneity, collaborations with artists, jam sessions, highs and lows, night-time, stories and other basic habits from the primordial age of music. Recorded in Moscow, Nikolina Gora, Russia and in Berlin, Germany.
CYN 048EP WANDLER & MASTRA: Kassandra EP 12″ (CYN 048EP) 12.00
Swiss producers Wandler & Mastra are no strangers to the formula that most DJs seek when hunting for the bombs necessary to make a set magical. A-side “Kassandra” lifts things off the ground with a mystical groove and bass line that swells and subtly evolves into a peak time shuffler. “Scrabble” also morphs into a bouncing euphoria, this time by way of a filtered, minimal groove. “Scharlotte Dub” nods respect to the dub techno sound and pays homage to Berlin’s Chain Reaction camp.
DL 5355LP AXELROD, DAVID: The Auction LP (DL 5355LP) 11.50
Gatefold exact repro of David Axelrod’s slavery-themed 1972 album for Decca. Features guitarist David T. Walker, bassist James Hughart and co-production by Cannonball Adderley. A little of everything from Axelrod, from the chorus on “Be Proud, My Race!” to the conga break on “Leading Citizen” — perfect bathroom-break music while you’re watching Roots on Netflix.
MEDI 049EP OLD APPARATUS: Zebulon 10″ (MEDI 049EP) 13.00
“Mala’s DEEP MEDi Musik label release the second single by (at this point in time) unknown artist(s)(?) Old Apparatus. 180 gram vinyl 10″ with printed sleeve.”
DSR 089EP CONFORCE: Dystopian Elements EP 12″ (DSR 089EP) 12.50
Conforce presents the Dystopian Elements EP. “Luminous” is a tantalizing deep house number whose tempo looks to the future. “Desolate Ground” is sparse and spare, yes, but warm and enveloping. “Lonely Run” again mines a cerebral vein, but one with a muted acid bassline and a heightened sense of edginess. “Vacuum” is the most dancefloor, with tight hi-hat rotations and a muffled, muted bassline. Overall, it’s subtle, expansive and dub-wise stuff that oozes with genuine class and real restraint.
DIAL 060EP JOST/LAWRENCE, CARSTEN: A Greater Administration Of Lower Interests 12″ (DIAL 060EP) 12.50
Here are two double A-sided anthems presented by Dial Records founders Carsten Jost and Lawrence. There wasn’t much of a summer in northern Europe this year — hard rain all the time, temperatures under the t-shirt limit — still, the festival season was a deep success. These pieces were tested at the Nachtdigital Festival in Olganitz near Leipzig and Smallville in Hamburg and are the result of thousands of happy faces dancing the night away.
DKR 065EP KUSH DAN I: Jah Law Of Love 7″ (DKR 065EP) 5.50
“Legendary and rare roots reggae tunes from 1982. Michael ‘Kush Dan I’ Gardine produced himself doing the awesome ‘Jah Law of Love’ at Tuff Gong to great effect, featuring fantastic instrumentation. Originally released only in tiny quantity on 45 in JA, it’s back now, and featuring the same brilliant label art, faithfully reproduced in Jamaica from the original films.”
DKR 066EP REGGAE GEORGE: Girl You’re Too Young 7″ (DKR 066EP) 5.50
“Kush also produced some tunes with Reggae George, most notably the well known ‘Three Wicked Men.’ This killer tune, ‘Girl You’re Too Young,’ is a killer slice of heavy lovers. Only ever dubiously released in Canada on a now very rare 12-inch, it’s also back again, shedding some light on the under-appreciated artist and producer both.”
DKR 067EP WILD EYES: Wickedness 7″ (DKR 067EP) 5.50
“Straight from Maxfield Avenue, 1989, Castro Brown’s New Name Muzik outfit produced some of the best of the first wave of digital roots. Here are a couple of their finest outings. ‘Wickedness’ by Wild Eyes is one of the most sought-after one-away tunes of the era.”
DISS 001CD ANTONA, MARC: Rules Of Madness CD (DISS 001CD) 17.00
Producing and releasing his explorative and unique electronic music on labels such as Mobilee, Highgrade, Freak N’Chic or Micro-Fibres for years, it was in 2010 that Marc Antona felt the time was right to embark on the entirely independent project, Dissonant. Over the year that followed, not only did Marc put out three highly-praised EPs on his label, he also built and nurtured its concept to what is now the home of his first full-length album Rules Of Madness. Exposing the hidden grooves within the beats and kicks, Rules Of Madness features ten tracks of organic music full of hidden melodies and underlying emotional ambience while keeping the pumping vibe experienced in his DJ live sessions. Through his first album on Dissonant, Marc shows his own creative vision of what he wants to be sexy underground music. Rules Of Madness opens with “Guru,” the album’s sense of shy mystery and intrigue revealed with muffled demeanor and secretive rhythm. Just afterwards, “All Against The Law” introduces the next main thread: analog field recordings that celebrate the fascinating and often-unheard soundtrack of everyday life. These recordings, coupled with the poetic sampled vocals on “Illegal” and the humorous and charming “Hammock Spider Story,” serve to create a beautiful and honest thread to Marc’s tracks. Marc Antona’s Iberian influence is laid bare throughout: the ten tracks coming from his studio on the white island of which he fondly says has “so much contrast between the peaceful nature and the amazing clubbing scene, with so much energy that ideas are plentiful when it’s time to make music.” Woven with exactly that contrast, tracks like “Prohibition Circus” and “Crush To Pulp” play with raw, organic hand claps, groovy feelings and the sprinkling bells of ambience. What makes them so compelling, though, is the atmosphere that they ricochet within; crunching machinery combines with bounding bass and beats to fuel the dancefloor. Throughout his journey and discoveries as a musician, Marc’s passion for “creating musical trips, taking people into his world and making them enjoy the changes of moods from happiness to melancholy, from energy-pumping moments to relaxing, deep waves” has developed and is now clearly on point with an album that fully delivers.
DU 063EP ELON: Colombian EP 12″ (DU 063EP) 12.00
Dumb-Unit returns with an energetic four-tracker from Elon. A long-time label-mate, Elon strips it all back to create a bumping and infectious, naked groove. No decor here, only pure syncopated and pushing rhythms to notch it up a tad. The energetic pacers of Elon are complemented by a deeper excursion; a superb Exercise One remix that takes the original and works it into a pulsing, main floor late-night jam.
ECHO 053EP RESOE: The Black Void Of Space EP 00/2 12″ (ECHO 053EP) 12.00
This is the second 12″ from Resoe’s debut album The Black Void Of Space (ECHO 009CD). “Nachhall” is an atmospheric track, but still aimed for the floor. The metallic chords and lush strings build up slowly through the track, which ends as a pure techno monster like the old school sound of Detroit. “Dubcuttin'” is Resoe’s dubstep track, with a more techno kind of edge. Don Williams’ remix is a Detroit-inspired track, with hard, stabby chords and filtered efx.
E#105R HUNTING RITUALS: Brooding Forest LP (E#105R) 16.50
Hunting Rituals is the moniker of Scott Johnson (also Scott Cloud, Thoughts On Air) which was inspired from many impromptu collaborations with other weirdo musicians within the city limits of Hamilton, Ontario, Canada. Brooding Forest was the first recording to feature a second member, a fellow collaborator Jeremiah Buchan from Bottom Feeder who was also a main influence on the overall ritual sound process. This recording fuses Scott’s focus of feral improv with Jeremy’s premeditated landscapes of organic creep sound. Brooding Forest was recorded in Sonic Unyon’s basement, originally released as a cassette on Myiasis Tapes. This is the true underground shadow music of Ontario improv/drone/outsider accidentalia. Startling and hypnotic. Limited pressing.
E#110B MV CARBON: Dislodged Perihelion LP (E#110B) 16.50
MV Carbon is a Brooklyn-based musician/artist with a completely unconventional and wildly conceptual approach to music-making and performance. She uses fragmented field recordings, cello, guitar, analog synthesizers, samplers, drum machines, tape manipulations, and photosensitive oscillators to create eerie and weirdly unsettling compositions. Carbon has collaborated with a who’s-who of avant-garde contemporanea: Aki Onda, Tony Conrad, Evan Parker, John Wiese, C Spencer Yeh, Twig Harper, Bill Nace, John Edwards, Culver (Skullflower), Okkyung Lee, Smegma and a host of others. She has performed internationally for years in galleries, rock clubs, museums, attics, basements, gardens, etc. With her band Metalux she has released music on some of the most interesting labels of the last ten years: 5RC, Load, Hanson, Veglia, No Fun, and Nihilist. Her work with the band Bride Of No No has two releases out on Atavistic. Her solo cassette tape, The Shaft, was released on Period Tapes in July 2011. Carbon is also a painter and installation artist whose artwork has been exhibited at a number of U.S. galleries. Dislodged Perihelion utilizes vintage drum machines and synths, guitar loops, tape machines, voice, and cello. The lyrics abstractly reveal particular scenarios, images, moods, and impressions where the listener feels and experiences sensations from disruption to enchantment. Edition of 300 LPs with silkscreen covers printed by Rel Records.
E#21G HORSEBLADDER: Not, I’ll Not LP (E#21G) 16.50
Not I’ll Not is the debut LP from Horsebladder aka Elaine Kahn, a poet & musician currently living in Northampton, Massachusetts. Kahn uses minimalist loops & incantation to create primitive pop songs for the second body. Vocals range from ethereal to ragged, music is a corporeal daydream of night sweats & sad sex, laced with preconscious allusions to Dome, Two Daughters & Catullus. Previous releases on Yod Tapes & Night People. This recording will spook you into a third-floor poet mind devising schematics for basement loveletter. The sounds of a heart beating through raw chambers of reverb and rhythm. Engrossing, exquisite and holistically haunting. 300 copies.
EMEGO 123CD MCGUIRE, MARK: Get Lost CD (EMEGO 123CD) 15.50
And yet another killer album from the ever-productive Mark McGuire (Emeralds). It just keeps getting better, as he delivers another fine set of tunes in his perfected style. A few more electronic elements than usual and even some voices, but still the unique blend of feel-good riffs, electric and acoustic loops and melodies that just stick in the head. This album is chockablock with short hits and one long jam of blissed-out McGuire ambience. Awesome. Electric and acoustic guitar, vocals, and guitar-synthesizer recorded digitally between June 2010 and July 2011 in Westlake, Ohio and Portland, Oregon. Mixed at Hardbodies, July 2011 by Mark McGuire. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. Photography and art by Mark McGuire, 2011.
EMEGO 127CD ANGEL: 26000 CD (EMEGO 127CD) 15.50
Angel is Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) who play time-transcending freeform sound with the weightlessness and gravity of electromagnetic signals, together since 1999. These five tracks describe the last period of a 26,000 years-long cycle that leads to a new situation on this planet. 26000 was recorded between 2008 and 2010 at Construction Site Studios in Berlin and Ilpo’s cottage in Karttula, Finland and features guest appearances by Hildur Gudnadottir, BJ Nilsen and Oren Ambarchi. The repertoire of the instruments is very wide: glass bowls, metal objects, pieces of wood, grass, birds, dragonflies, lake echo, smoking box and regular electronic equipment as well as acoustic instruments. Hildur plays cello & the hallodrone (a kind of cello that feeds itself back). Oren plays percussion & guitar. Benny did field recordings and processing. All mixed by Angel at Dirk’s newly-built studio called Zone and mastered by Rashad Becker in Berlin. It’s all good in the tummy, bwoys, because the Black Sabbath parts were totally AC/DC. “Nothing is wider than empty things.” –Francis Bacon “Time is the accident of accidents.” –Epi Kuros
EMEGO 128CD ORCUTT, BILL: How The Thing Sings CD (EMEGO 128CD) 15.50
Yet another essential, cracking new set of songs from Bill Orcutt, showcasing a further development of his unique, visceral acoustic style. The language that Orcutt uses looks familiar at first glance, but cuts deeper and it’s a myriad of twisted audio that’s both full-on and drenched in melancholy, usually in the same gasping breath. While a lot of it is the classic face-melting style, some quieter segments counter balance on the title track as well the epic closer “A Line From Ol’Man River” and “Heaven Is Closed To Me Now.” Recorded Spring 2011 in the Living Room, San Francisco.
EF 038EP STRATEGY: The Fixer 12″ (EF 038EP) 15.50
Strategy returns with two excellent, alternative house tracks. “The Fixer” is unique mixture of dubby house and a kind of Italo disco sound. If you like the music of Caribou’s Daphni or Four Tet, you will like this song. The B-side, “Another Rain,” is Krautrock-oriented house meets Thomas Fehlmann — it’s for Four Tet, Prins Thomas or Lo Soul fans.
FACESXLDS 001EP PANTS & TOM NOBLE, JAMES: Selected Sound Remixes Pt. 1 12″ (FACESXLDS 001EP) 12.50
Nice pairing of producers to rework two cool old Klaus Weiss tracks. B-Boys delight!
FDR 017CD LATE GREAT FITZCARRALDOS, THE: The Late Great Fitzcarraldos CD (FDR 017CD) 17.00
The sound of The Late Great Fitzcarraldos is like sand between your toes. Bittersweet love songs paying homage to Otis Redding, Brian Eno, John Cale and Luther Vandross. This is sophisticated, melodic luxury music for a generation that has the history of music up their sleeve, but really just wants to meditate. The Late Great Fitzcarraldos is a Danish trio consisting of Tobias Buch-Andersen (vocals and keyboards), Jacob Funch (guitar and vocals, also known from I Got You On Tape), and Jakob Millung (bass and vocals, also in the band Choir Of Young Believers). The Late Great Fitzcarraldos are a volatile gas, which appears to have found temporary peace in a house built by Roy Orbison, Phil Spector and Motown’s Berry Gordy only to be blown up with love in slow motion by Brian Eno and some of the other colorful producers from the ’80s. The trio who records and lives in the U.S. and Denmark write elegant, luscious songs that make you dream away to a country where there are cocktails coming out of the taps, wall-to-wall carpeting is woven of marijuana, and a Caribbean sun washed in pastel colors 24-7. The eponymous debut album is a headstrong, eccentric oasis where edges are turned into curves. But the ideas, whether a harmonica on a long voyage, a comatose saxophone section or the recurring stiff-legged rhythm box, keeps the listener alert. And then Tobias Buch, a brilliant soul singer, in the midst of all this.
FRM 001EP CHAMPION: Lighter EP 12″ (FRM 001EP) 11.00
Hotly tipped by Fact Magazine as one to watch, Champion — the 20 year old producer from London’s funky scene — has very quickly gone from relative obscurity to getting played on repeat by massive DJs like Kode 9, Benji B, Bok Bok, Roska and Oneman. “Lighter” has been a club anthem for nearly two years without seeing a release, so there can be no better way to launch his own Formula Records imprint than with this much-wanted cut.
4TH 002EP READ, GERRY: Untitled/Legs 12″ (4TH 002EP) 11.00
Fourth Wave returns for its second poem from the dark abyss of change, this time from the mysterious 18 year-old, Gerry Read. Multi-instrumentalist Gerry chops through layers and layers of samples with his own playing to create landscapes of rolling, deep, Detroit-flecked house music.
FREUDE 052EP JUNO6: Jenz Lutz EP 12″ (FREUDE 052EP) 12.00
Stefan Schutz aka Juno6 belongs to the Leipzig New School, comfortably seated between deeper house and techno. On Jenz Lutz, he displays the Juno6 portfolio fully with a portion of funkiness and a sprinkle of pop — at least on one of the cuts. With clever vocals and emotional vehemence, the A-side searches for a match — seldom has that good old Jethro Tull flute enjoyed such a natural context in club music.
FRJ 010EP VA: Frijsfo Beats Volume 3 12″ (FRJ 010EP) 12.00
Frijsfo Beats present the biggest yet in their series of vinyl EPs, compiling new work from Cardopusher, Desto, Kuoyah, Geiom and Submerse, assembled with the label’s distinctive ear, tuned to wilder mutations of garage, techno soul, footwork, and dubstep.
FP 005CD VAREID, MARIUS: Telemark CD (FP 005CD) 17.00
Norwegian producer/DJ/remixer Marius Våreid’s work covers a wide range of musical styles, from Balearic disco/house, NY garage to tropical jazz. Having worked with talents like Prins Thomas, Ray Mang, DJ Yellow, Rune Lindbaek, Bugge Wesseltoft, Pete Herbert and Ajello, Marius is always seeking out new collaborators to push his music in new directions. Marius started out as a breakdancer and a piano student, listening to Herbie Hancock and the Rock Steady Crew as well as Dizzy Gillespie and Satie. But it was the Swedish radio show “SoulCorner” with radio legend Mats Nileskjär that got Marius interested in DJing and music production. Nileskjär’s shows dug deep in the history of black dance music, and always presented the newest in house, hip-hop, etc. Starting out with a Dynachord Tape Echo mixer, a Fender Rhodes Mark I and 2 turntables back in the late ’80s, Marius waited a good 20 years to release his first solo album, now ready to launch from the safe havens of Prins Thomas’ Full Pupp label.
GUESS 034CD ZAHIR, AHMAD: Hip 70’s Afghan Beats! CD (GUESS 034CD) 17.00
A major star in Afghanistan in the ’70s until his death in 1979, and a legend today, Ahmad Zahir has something impressive to offer to all Western ears open to exotic rock and pop sounds. Compiled from his vast 1970s discography, here’s a selection with some of his best tracks, an astounding set showing his unique, distinct psychedelic sound. Centered around his deep voice, and with the use of electric guitar (including some wah-wah), stunning, reverb-heavy drums, some sitar and tabla, organ, flutes and bass, these are incredible folk-pop tunes from another world. Remastered from the original master tapes and including extensive liner notes.
HB 004LP HUMAN QUENA ORCHESTRA, THE: A Natural History Of Failure LP (HB 004LP) 18.00
“THQO is Ryan R. Unks, formerly guitarist of legendary Pittsburgh metal outfit Creation Is Crucifixion, who has been a key player in dark experimental music for more than a decade. A Natural History of Failure was released in 2010 on CD by Utech Records, a label known for its curatorial savvy and credible catalogue. This is the first and only pressing of this milestone on vinyl, in limited quantity.”
HBWLS 023LP CROOKED NECKS: Something Must Break LP (HBWLS 023LP) 12.50
“The flagship release in the Handmade Birds White Label Series. Born from personal tragedy experienced by the band, and for that reason held close and left unprinted for years, Crooked Necks are now sharing this deeply personal set of Joy Division covers in a one time, limited pressing. These covers resonate in the true spirit of the originals, while integrating the unique style of Crooked Necks.”
HEK 013EP PANGAEA: Hex/Fatalist 12″ (HEK 013EP) 12.00
“Pangaea turns out the lights and blesses Hemlock with two of his toughest productions yet. ‘Hex’ channels the spirit of ’92 via Plastic People, picking up the most eccentric, deranged vocal along the way. ‘Eeeeeechiiiieeee’. On the flip ‘Fatalist’ is a dark-side joint of the highest order. ‘Alright. Listen. Listen. Listen.'”
HOTHAIR 004EP RED STARS OVER TOKYO: Hits Of Sunshine 12″ (HOTHAIR 004EP) 14.00
Limited vinyl (300 copies) with almost 40 minutes running time. For fans of Type Records, Digitalis, Kranky and Kompakt’s annual Pop Ambient series. A new excursion into melancholy, reshaping years of electro, ambient, lo-fi and post-whatever one grew up with. The artist states: “With Hits Of Sunshine, I wanted to make a sunny record during dark winter evenings with a more beat-oriented direction, and as usual, as with all past releases, I totally failed…”
HHYR 001CD HOWARD, TEVO: Crystal Republic/Pandora’s Box CD (HHYR 001CD) 17.00
On Tevo Howard’s first CD release, Hour House Is Your Rush marries his two EP releases for HHYR: Crystal Republic from 2010 and Pandora’s Box. Next to that, two more tracks are added, “Move” from 2009 as well as “I Won’t Lay Back,” from Rick Poppa Howard’s s/t EP of the same year. This makes a comprehensive compilation showing some of the best output from his recent catalog. Though his tracks are heavily inspired by the early days, his productions sound very crisp and “today.” The Crystal Republic tracks show his emotional and raw warehouse side, whereas on the Pandora’s Box tracks, Tevo experiments with different rhythms and textures, which results in a varied set of tracks, from classic Chicago acid house to more Italo leanings. Tevo’s music truly takes us back to the original vibe of Chicago house music, without getting too dusty.
INC 009CD VAN WISSEM, JOZEF: A Priori CD (INC 009CD) 15.50
2008 release. Liner notes by David Tibet: “Once some music dropped through my letter-box; let’s summon their sounds into our world now, and deliver their names as Roses or Stations. The picture they imagined was both clear and cryptic: the certainties of the 17th century holding tight the ugly beauty that we now see scattered around us. I loved these CDs by Jozef van Wissem, A Rose By Any Other Name and Stations Of The Cross. And then I received a new album, A Priori, and I immediately played it and heard its stark and repetitive intensity, its stately and glacial march. There is nothing quite like it that I have heard before — it is timeless, breathing deeply and exhaling showers of snow, endless circles, mirrors, spirals, the sea. When Jozef plays the lute, he pours out endless space. What can I say but let the rain come, close your eyes and watch the stars fall and rise and fall again.” “Something has been slowly happening to the perception of lutes, over the past five years or so the instrument has received a kind of popular culture pardon. Jozef van Wissem has been more of a sniper in this battle rather than a braying officer, his releases finding their mark and word spreading of his undoubted skill. A Priori is the most complete example yet of this Renaissance-tagged instrument embracing timelessness. His minimalist playing may be a taint to those who prefer whippersnappers offering rippling runs of notes, to those accustomed to listen till they became surfeited, but van Wissem plays with a tender surety. There is a Satie-like feel to the melody on ‘Aerumna,’ the sharp strings announcing the notes like sundial chimes. His use of musical palindromes, instead of tying the pieces to form, makes his music seem instead like long, gentle arcs of endless recurring melody. (8/10) –Scott McKeating, Foxy Digitalis
INCUS 001CS BAILEY, DEREK: Concert In Milwaukee Cassette (INCUS 001CS) 13.00
Cassette version. A reproduction of the original alleged cassette — featuring light-blue lettering printed on the light-grey cassette body — excluding the numbered insert.
INCUS 061CD COXHILL & ALEX WARD, LOL: Old Sights, New Sounds CD (INCUS 061CD) 19.00
Performed by Lol Coxhill, soprano saxophone, and Alex Ward, clarinet. Recorded at Incus HQ, London; October 14, 2010.
INCUS 062CD BAILEY, DEREK: Concert In Milwaukee CD (INCUS 062CD) 19.00
“This was a cassette not officially released on Incus or any other label. It was sold by Derek Bailey at concerts. For a short period in 2010 original copies were sold via the Incus website. Now released on CD, restored and transferred from the original cassette. The back story: In 1983 Derek Bailey was due to visit Japan for a concert tour and decided to take with him, for sale at the concerts, a cassette recorded live in Milwaukee. Approximately 500 cassettes were prepared and dispatched to the promoter in Japan but, in the event, the tour fell through and the cassettes were returned to England. On arriving to collect the two boxes containing the cassettes from the Post Office, Derek found that they were badly damaged and, having to pay to regain them, decided to collect only one of the parcels. The salvageable cassettes – number not known, but probably around 150 – were subsequently sold at other live dates. All were produced on a light-grey plastic cassette body with ‘Concert in Milwaukee, Derek Bailey’ plus date of concert, printed in light-blue directly on the cassette body. The cassette came with an insert with the number DBC2 (no number on cassette itself).”
JPR 019CD CROCK: Grok CD (JPR 019CD) 12.00
“Coming from the brilliant minds of Quasi’s Sam Coomes and Hella’s Spencer Seim, Crock’s debut record Grok is the end product of several years of refined collaboration, and truly a sound and vision unlike any other. Each song shifts and burns through an albums’ worth of ideas in the compact space of 4 minutes. It’s not so much a collage as it is some new kind of sonic highway where it’s always rush hour. Amid all the electronic fragments, outsider doom riffs and dozens of other sounds racing by, at the center of the songs are the signature sounds of either of the creators. Coomes’ instantly-recognizable vocal harmonies push some of the best songs from prog-freak out territory into the realm of Beatles-y pop wonder. The spazzy, sputtering drum work by Seim is not only on par with the best Hella moments, but serves as an anchor to the trails of sometimes blissful, sometimes crazed composition shooting off in all directions.”
JPR 019LP CROCK: Grok LP (JPR 019LP) 18.00
LP version on neon green-colored vinyl.
JBJ 1021EP BURR & K.J. TRIO, FRANCES: I Say No, No More/I Won’t Hurt You Anymore 7″ (JBJ 1021EP) 11.00
Raw, hard and guttural blues from obscure female Chicago singer Frances Burr, backed up by a hard-driving, pepped-up and rowdy KJ Trio — piano banging, sax honking, drums clattering everywhere. No mistake though, this is Miss Burr’s show all the way, and she’ll let you know, too! Another unique and wonderful rhythm & blues side to grace the ongoing Jukebox Jam series of club rockin’ RnB 45s!
JBJ 1022EP TIMMONS, TERRY: Got Nobody To Love/Daddy Be Good To Me 7″ (JBJ 1022EP) 11.00
Immense early ’50s rhythm and blues belter from a singer otherwise more often known for far softer material. This one opens with a rasping horn pattern, before slipping into a swinging and rolling tom-drum and hand-clap rhythm and some knockout call-and-response vocals from Terry Timmons and her back-up. The horns return sporadically to wild effect throughout, making this an effortless showcase of the art of “build it up and break it down.”
JBJ 1023EP RUCKER, ERVIN: Done Done The Slop/Baby You Were Meant For Me 7″ (JBJ 1023EP) 11.00
Totally amazing, wild and untamed R&B room-shaker all about the dance craze that made a mess of many a dance floor – the Slop! A massive spin on the notorious Pittsburgh scene of yesteryear that’s gained another well-earned airing in today’s worldwide smattering of vintage R&B clubs. On the flip is “Baby You Were Meant for Me,” a totally groovy, low-fi mid-tempo bumper with an off-kilter rhythm and sleazed-out sax solo to die for.
JM 084EP JOHNSON, JOE: Rattlesnake, Baby, Rattlesnake/Gold Digging Man 7″ (JM 084EP) 8.00
If it’s a shimmying, head-nodding and hip-twisting R&B party-starter that you’re looking for, then look no further than “Rattlesnake Baby” from Joe Johnson! Based around a ridiculously infectious groove, this is the kind of sound you can easily envision playing behind the podium dancers of the Whisky-A-Go-Go. Flip it over and “Gold Digging Man” is no slouch either — a heavy-bottomed, boogaloo-tinged stomper which betrays a strong influence of ’64, ’65-era JB. More party starters, from Jazzman.
JM 085EP CONTRERAS, TINO: El Jazz Mexicano 7″ (JM 085EP) 12.50
Our never-ending mission to reveal the under-appreciated-yet-worthy-of-attention jazz masters around the world has now taken us far away and across the sea to Mexico. Tino Contreras has produced countless recordings, played on innumerable live dates, and has performed with various jazz groups all around the world. Yet he is still relatively unknown, and probably Mexico’s best kept secret in jazz. This 4 track EP limited edition EP presents the wide-ranging musical skills of Tino as a jazz musician. Latin-esque ritual chants in “Orfeo en los Tambores,” avant-garde experimentation with a psychedelic subframe in “Orbita,” waltz-time jazz in “La Noche de los Dioses” and religiously-themed choral jazz in the song “Credo.” Hand-numbered edition of 600 copies.
LDN 023EP VIBEZIN: From The Crates EP 12″ (LDN 023EP) 11.00
Vibezin is a longtime stalwart of the London pirate underground, best known as half of United Vibez, a DJ partnership with Amen Ra. This EP showcases his sample-scattered production approach, influenced by UK garage’s magpie-like approach to fragments of great records of the past, and dubstep’s reverence for weighty sub-bass. “Hot 4 U” layers crashing drums and strange funk samples to create a significant soundscape. “Mad Sick” rolls into darker Jamaican dread territories, while “Vicious” recalls classic jungle, but with a brooding, halfstep exoskeleton.
LDN 026LP SULLY: Carrier LP (LDN 026LP) 16.50
LP version. Long before — four of five years before — the UK garage revival kicked in and “future” garage had even been dreamt up, Sully began finding a space between 2step’s swing, dubstep’s edge and breakstep’s drums, all underpinned by the rude spirit of jungle. He displayed a deft touch for heart-breaking melodies that could touch people as much as the ruff sub-bass could hit them, as evidenced on EPs like Phonebox and Jackman’s Rec for the pioneering Frijsfo Beats label. Carrier comes good on Sully’s unwritten promise to his long-hopeful fans. It’s a short but sweet opus that embraces house, 2step, UK funky, purple synths and juke, with a widescreen, epic vision and Sully’s trademark emotive vistas. In fact, so poignant was one cut, “2Hearts,” that it was rumored to have been held back for the mythical “lost” Burial’s DJ Kicks mix. The second half of Carrier sees Sully — best known for his 2step garage variants — filter his own take on Chicago footwork, combining eski strings, crunchy 808 claps and ravey piano loops at a tempo last used by jungle, while a hitherto unheard UK funky influence is also revealed on “Encona.” Collectively, the album presents a body of work infected by ruffneck pirate culture.
CDA 006CD VA: Kitsuné Maison Compilation 2 CD (CDA 006CD) 15.50
2006 release. The second volume in Kitsuné’s absolutely essential Kitsuné Maison series, focused on straight-up danceable gems. Volume 2 features Wolfmother, MSTRKRFT, Bloc Party, Boys Noize, Cazals, Azzido Da Bass, Joakim, Digitalism, Simian Mobile Disco, Christopher Just & Raphael Just, Shinichi Osawa, Fox n’Wolf, Todd Terje, Adam Sky, Popular Computer, Kaos, Brennan Green and Jenny Wilson.
CDA 007CD VA: Kitsuné Maison Compilation 3 CD (CDA 007CD) 15.50
2006 release. The third volume in Kitsuné’s absolutely essential Kitsuné Maison series, focused on straight-up danceable gems. Volume 3 features Simian Mobile Disco, The Lovely Feathers, The Whip, Fox n’ Wolf, Klaxons, Van She, Freeform Five, Boys Noize, Gossip, Soulwax, Alex Gopher, The World Domination vs. Adam Sky, Dead Disco, Metronomy, The Valentinos, Bag Raiders, Oh No! Oh My!, The Whitest Boy Alive and Digitalism.
2LP version, plus a free CD version of the album.
KOM EX069EP VOIGT & VOIGT: Speicher 69 12″ (KOM EX069EP) 12.00
Both sides of this new Speicher edition will surprise listeners with its unorthodox arrangements. “Synthesize” hypnotizes with a persistent ’80s vocal loop that moves over some kind of industrial bridge, then sways on a disco house loop into nirvana. “Idolize” sounds more like noble-trance, starting with a dark chord bass/piano riff and then climbing over a Klaus-Schulze-like sequencing ladder into the heaven of rave-bliss. A warm summer rain on the beach of Ibiza in the ’70s.
Gui Boratto is truly that success story that aspiring dance producers dream of. From his Brazilian home of São Paolo as a student of architecture and design, he quickly found himself in the position as one of the country’s primary pop/rock producers (including work for Steel Pulse). It was with his 2005 debut Kompakt release on the K2 sub-label Arquipélago that shot him into prominence and paved a strong path of singles that led to the now classic full-length Chromophobia (KOMP 056CD/KOM 152LP). The lead singles “Mr. Decay” and “Beautiful Life” remain two of the most unforgettable tracks in Kompakt history — the latter official video with well over a million views on YouTube. It was his sophomore album, the 2009 breakthrough, Take My Breath Away (KOMP 070CD/KOM 190LP) which evolved him as a dance producer further into a realm of his own right as one of Brazil’s most established musicians. His remixes for Pet Shop Boys, Massive Attack and co-producing Bomb The Bass further demonstrate this tremendous talent amongst us. Following a world-wide rollercoaster of almost 3 years continuously on the road touring, Gui Boratto found himself back in his São Paolo studio in early 2011. The results are here with III — arguably his greatest musical accomplishment to date. Kicking off with the slow drive of “Galuchat,” the sitar-ish instrumental embedded in the track sets a foundation of melancholic organic groove found throughout III. “Stems From Hell” will not disappoint the die-hard fan — his masterful approach to the maximum and minimum of sound variation is pure peak-time. “Striker” was originally intended for his second full-length, but was left on hold and fortunately completed for III. Featuring vocals from Gui Boratto himself, his contagious bass line has no limit, recalling the likes of Echo And The Bunnymen. Gui began III with “The Third” — a gorgeous play on the four/four pattern that suddenly moves from eight bars to only six. Hi-hats become almost shuffle-like in their flow. Gui Boratto said about going into producing “The Trap” that “the good thing about doing an album is the possibility of experimentalism.” He lets his instinct totally flow as a Rhodes, piano and tremolo guitar converse with one another. Beauty and sadness remarkably collide. A sure album highlight, “Destination: Education” marks the return of his wife Luciana Villanova on vocals (who also sings on “Beautiful Life”) — a 119 techno/house crooner that will be a surefire favorite on the modern dancefloor. Gui lovingly likens “Flying Practice” as a part of the three bars that grace the album cover. Classic trance chording build a variety of moods and builds. A French horn makes the transition and conclusion. “Soledad” is directly inspired by and pays homage to Astor Piazzolla’s “Soleda” and ironically, a little of Duran Duran’s “Save A Prayer.” This journey ends off with “This Is Not The End” — an indie-minded track that demonstrates how masterful Gui Boratto has evolved his signature sound into something quite monumental. Again, Luciana Villanova’s beautiful vocals captures the spirit of what Boratto brings to life.
KYE 013CD DARGE, MONIEK: Sounds Of Sacred Places CD (KYE 013CD) 16.00
“New 2011 edition of this cornerstone sound art collection, originally published in 1987 on LP by Igloo. Sounds of Sacred Places arrives in a high gloss 4-panel digipak with accompanying 16 page booklet of photos and notes. Remastered from the original tapes by Moniek Darge at the Logos Foundation, Gent. Edition of 500.””In most ethnic cultures, sacred places serve an important social function. The qualities, typical of these places, explain to western people the magic magnetism of these ‘holy grounds’. During our international Logos Duo concert tours we have had the opportunity to visit quite a few of these places. Uluru, the ‘Shadowgiving Mountain’ of the Aborigines, better known under its western name of Ayers Rock (Australia), impressed us more than any other. The presence of water and an enormous monolith in the midst of the vast desert plain is given as an explanation for its magical appeal. But to the Aborigines, each little place of the rock contains tracks of their ancestors, the ‘Dreamtime People’, who live in this mountain and speak to them in the sounds of the winds howling through the crevasses and rockholes. Uluru is also the dwelling-place of the ‘World Serpent’, the most powerful totem shared by the surrounding tribes. Sounds of Sacred Places attempts to transform the listener into a living witness of the sounds of similar places, not far away in any specific ethnic culture, but in Flanders.” –Moniek Darge, 1987
KYE 014LP MILLION YEAR SPREE: Million Year Spree LP (KYE 014LP) 16.00
“Million Year Spree is the first in an occasional series of shared LPs where two like-minded souls meet under one umbrella. Hamilton, Ontario’s Fossils have long been the reigning kings of no-fi acoustic sewage, producing an endless stream of outstandingly dire handcut confusion. Calfornia’s Darksmith came to public attention last year (2010) via their peerless Total Vacuum LP (Hanson). Wilting electronics, floppy turntableism and sun-baked cassette protocol are combined and destroyed in a claustrophobic void. With additional mixing by Graham Lambkin and mastering by Jason Lescalleet, Million Year Spree is the last word on being and nothingness. Hand-numbered edition of 400.”
LDLTD 004EP LAWRENCE/JICHAEL MACKSON: Place To Be/Fluff In The Bellybutton 12″ (LDLTD 004EP) 12.00
Here’s the fourth round in Liebe*Detail’s hand-picked re-release series. This time they combined two very special tracks from outstanding artists Lawrence and Jichael Mackson together on a strictly-limited 12″. Both tracks haven’t been available for more than 3 years on vinyl, now.
LITA 065CD HYUN, SHIN JOONG: Beautiful Rivers And Mountains CD (LITA 065CD) 15.00
Subtitled: The Psychedelic Rock Sound Of South Korea’s Shin Joong Hyun 1958-74. “Shin Joong Hyun’s tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions, but one that produced reverberating echoes of sound, some beautiful and life-giving, others restless and ungovernable. For the first time outside of Korea, Shin’s music will be readily available to music lovers the world over. Light In The Attic are thrilled to release Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea’s Shin Joong Hyun 1958-1974, a career spanning CD compilation of the diminutive guitarist, songwriter, producer, arranger, and talent developer. Inspired by jazz, soul, and traditional Korean music, Shin started his career in the mid-1950s, performing for US troops stationed locally after the Korean War armistice of 1953. While his English language skills were limited, the young player had no trouble communicating through his trusty electric guitar, but Shin was no mere 6-string slinger for hire, he was able to communicate something far beyond your average professional musician. Production work and extensive songwriting followed, not to mention a steady stream of electrifying performances. Gaining momentum by the moment, Shin developed popular success across South Korea molding proteges like singing duo the Pearl Sisters and folk-psych songbird Kim Jung Mi into top pop stars. From there it was hit after hit. The late 1960s rock explosion and an influx of imported music from The Beatles, Jimmy Smith, and The Jefferson Airplane all informed and inspired Mr. Shin to elevate his own craft. Even experimental trips via a crew of local hippies also took the music man to new heights despite Korean law forbidding such rebellion. Drug use was illegal and punishable as a serious offence. Park Chung-hee, then President of South Korea began to closely monitor Shin’s ‘subversive’ activities. After refusing to write a song in praise of the political leader, the musician was labeled unpatriotic and his career was instantly snuffed-out through a series of surveillance, torture, and institutional confinement. While this was not the end of Shin’s musical story, for an all-too-brief moment in Korean cultural history, Shin Joong Hyun and his talented accomplices laid down a trove of recordings that have slowly reverberated far from their native land. Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea’s Shin Joong Hyun 1958-1974 features Korean/English lyric translations, unseen pictures, beautiful graphic design, and extensive liner notes with Shin Joong Hyun.”
Two DJs, one tracklist. Probably for the first time in the history of dance music, a release focuses on extracting the pure sound signature of the DJ. When the tracks to choose from are limited to one playlist, the sequencing decisions and mix styles of the DJs reveal their individualities as well as the different possibilities the music allows when formed into one continuous stream. Macrospective is the first conceptual double mix offering a 1-on-1 comparison of the art of DJing with two masters of the craft. But you’ll also love it for being a comprehensive retrospective of one of the most intriguing contemporary label catalogs in electronic music. The two mixes by Macro founders Stefan Goldmann and Finn Johannsen highlight key works of the label (including poll-winners “The Maze,” “Law Of Return,” “Arcade” & “Lunatic Fringe”), bringing out the versatility and individuality of each track. Great music allows for more than a single interpretation. Who could better suggest one than the A&Rs behind Macro and the resident DJs at the label’s residency at Berlin’s legendary Berghain club? Finn Johannsen’s mix is a one-take live journey through build-ups, peaks and comedowns, but also detours, distractions and surprises. Stefan Goldmann’s alternative take is a carefully constructed “architectural” mix, locking specific turning points of the tracks to form an 80-minute dramatic composition of Macro’s essence. By the way, both DJ mixes are vinyl mixes. In an era of dull mp3s, the aesthetics of Macro’s carefully-cut record releases are the basis for this double album.
MMS 012CD MADLIB: Madlib Medicine Show No. 12 – Raw Medicine: Madlib Remixes CD (MMS 012CD) 16.00
“Raw Medicine is the latest collection of Madlib remixes, featuring a host of unsuspecting collaborators that run the gamut from thugs, street poets, star emcees and underdogs. We ain’t naming names. The show runs sixty minutes plus with features thirty plus tracks. The Madlib Medicine Show Series is a combination of Madlib’s new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta’s 4-ton stack of vinyl.”
MSS 701EP HOT CLUB MURPHY: 12 Minutes At The Hot Club Murphy 7″ (MSS 701EP) 6.00
“The best and most thoughtful/most coherent post-Homosexuals record since L.Voag, an astonishingly unheard and unsought-after surprise from the widely-ignored year of 1982. Reissued on 7” vinyl EP by Messthetics and Stewart Anderson’s (Boyracer, 555+++) Milk & Alcohol label in a numbered edition of 457 numbered copies in silk-screened sleeves. “
MPS 607LP FREEBORNE, THE: Peak Impressions LP (MPS 607LP) 11.50
Weird orchestral, mesmo-psych from Boston, originally released in 1968. Exact repro reissue. “With zero prior credentials, this young band created an album of remarkably original studio-psych in the dark, intricate eastcoast style. Dominated by keyboards and loaded with serious ambitions, Peak Impressions is somewhat similar to Mandrake Memorial’s Puzzle, but more spooky in vibe and less cohesive in structure.” –Acid Archives
MORR 107CD SOLEY: We Sink CD (MORR 107CD) 15.50
This is the first full-length release from Iceland’s Sóley Stefánsdóttir. The bespectacled multi-instrumentalist from Iceland had been around the world and back with her band, Seabear, when she finally discovered her own vocal skills. Even though Sóley sings non-stop in private, creating a musical backdrop to pretty much everything she does, it just took her a while to get used to the sound of her own voice. It’s the sound of this voice that’s at the very core of her intricate compositions, tracks that flare like a bunch of magic lanterns, taking shape, growing hazy, flaming up once again, then moving on. Sóley sans Seabear is basically a storyteller who has come up with her very own wonderland. Meet her on the street and she seems rather introverted; yet, she’s far from shy in this self-created musical sphere, a sonic realm she freely expands, stakes out, reinvents, turns upside-down. Throughout the album, Sóley spins one yarn after the next; at one point, unfortunate “Smashed Birds” have to give their feathers for a new dress, while the guitar, making a special appearance, sets the tone. Elsewhere, she focuses on the moment when a dream is exposed as such, this time over a huge sonic expanse drowned in reverb. Song after song, the former student of composition manages to combine seemingly disparate elements with stunning ease — a snap of her fingers and a click of the tongue. After Theater Island, 2010’s 6-track EP, Sóley presents an album full of rhythmic, makeshift creatures, of handclaps hidden in the undergrowth, tempting us to join in. These tracks are sometimes incredibly catchy; amazingly quirky at other times: think cardigan-folk from the northern hemisphere, think Joanna Newsom minus her harp, or the CocoRosie sisters circa 2004, but clearly better-trained and less crooked. In other words: her voice, those loops moving around like wooden toys, and finally the piano — that’s the backbone, the essence of her compositions; at least until some unexpected element appears.
MULE 083EP JUS-ED: Flight To Tokyo 12″ (MULE 083EP) 15.50
After the album Vision Dance (MULE 021CD) on Mule Electronic, Jus-Ed returns with the follow-up single, Flight To Tokyo. “Flight To Tokyo” on the A-side is dark, hypnotic house with a female vocal loop. “The Machine” on the B-side is a typical underground-quality-style deep house track.
“The Muslimgauze Preservation Society are pleased to announce another incendiary Muslimgauze remix, Fuck Israel. The source material is the International Language of Dub (Third Eye, 1995), which is a remix album of The Rootsman tracks, hence a remix of a remix, or ‘Gauzified as it were. When Jones first met The Rootsman in 1996, several Rootsman albums were passed along by way of musical introduction. Jones promptly responded with several remixes on DAT, his way of saying ‘hello’, the posthumously titled Fuck Israel being among them. Chronologically, International Language of Dub is the second Rootsman album and is part two of the multi-part The Rootsman/Muslimgauze series on TMPS. Fuck Israel is a cry of anger against the illegal occupation of Palestine and the ongoing economic, political, and social subjugation of Palestinians by the Israelis. Each track is dedicated to an Israeli authority figure directly responsible for the oppression and/or death of Palestinians. Musically the tempo and textures of Fuck Israel varies from song to song. ‘Fuck Ariel Sharon pt 1’, ‘Fuck Benjamin Netanyahu pt 1’, ‘Fuck Benjamin Netanyahu pt 2’ are comprised of upbeat, vigorous breaks with a distinct ‘grime’ feel. ‘Fuck Yitzhak Rabin’ is a breaks track that cascades along a river of bass and then plummets into a chasm of drones. Conversely, ‘Fuck Ehud Olmert’ is a beatless psychedelic vocal loop while ‘Fuck Benjamin Ben-Eliezer’ is a digression into more abstract textures. By ‘Fuck Shimon Peres’, organ melodies and Rasta vocals place Muslimgauze in distinct dub reggae territory. ‘Fuck Ehud Barak pt 1’ and ‘Fuck Ehud Barak pt 2’ are among the stand-out tracks with their echo-soaked steady horse-trot tempo while electronic ricochets shimmer and pulse throughout. Crowning track, ‘Fuck Avignor Lieberman’ could pass for a downtempo rhythm-with-flute track if it was not for the over-muscular bass lines that shake the speakers like a tectonic shift. On Fuck Israel, Muslimgauze muscles through a dubstep club, knocking-over hipster trendies in the process. Packaged with papyrus covers, hand printed in Egypt, with a 9 panel fold-open poster, CD set in a super jewel case and bonus sticker.”
MS 901HLP FULLER FOUR, THE BOBBY: I Fought The Law LP (MS 901HLP) 14.00
Exact repro reissue of El Paso, Texas’ Bobby Fuller Four’s 1966 album, featuring their widely-recognized hit on the title track. On 180 gram vinyl, manufactured by Rhino.
MBF 12083EP KAISERDISCO: Zouk EP 12″ (MBF 12083EP) 12.00
Kaiserdisco are definitely “Made in Germany,” producing modern, cutting-edge tracks with a nevertheless timeless and classic feel. “Kuala” is an ethno-natured track with a lively bass line and uplifting small melody stabs, smithereens of vocals and a superb drive. For the more traditional Kaiserdisco fan, there’s “Singa,” another powerful tool of a track. Kaiserdisco keep a beat tight and introduce a lot of rising, cool sounds, building up lots of vertical “hands-in-the air” energy.
NO19 019EP ROSS, TANNER: B Side/4 U EP 12″ (NO19 019EP) 12.00
This is Tanner Ross’ first solo release under his given name and it’s causing an enormous buzz via consistent plays from label-boss Jonny White (Art Department), Damian Lazarus, and a few close friends of the family. Adding to the two stunning originals, “B Side” and “4 U” (feat. Flo Night), and pushing things into unmissable territory is a brilliant remix of the latter from Deniz Kurtel.
NA 5085CD KASHMERE STAGE BAND: Texas Thunder Soul 1968-1974 2CD/DVD (NA 5085CD) 21.00
“Now-Again Records announces an expanded deluxe edition of its Texas Thunder Soul 1968-1974 anthology, to be released in conjunction with the Jamie Foxx-produced, award-winning documentary Thunder Soul: The True Story of Conrad Johnson and the Kashmere Stage Band. After capturing audience awards festivals like SXSW and the Los Angeles Film Festival, the word is out that Kashmere was the greatest high school band – ever. Their story is tucked in between slabs of hard ’70s funk, soul, and jazz: Conrad Johnson transformed a bunch of rough-hewn high schoolers into a band that could compete with any in the nation – professional, or otherwise. Forget high school bands, we’re talking about sixteen year old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson’s Kram label. The band’s best tracks are collected here – in an anthology now expanded into a 2CD/DVD deluxe edition. Producer Eothen ‘Egon’ Alapatt features an expanded booklet with updated liner notes and essays, more rare photos and ephemera, and a DVD which contains the B+/Flying Lotus produced Texas Jewels: The Making Of Texas Thunder Soul short, a recently unearthed 1973 documentary on the band, and a 1972 performance.”
OW LTD028EP JOSH/JULES UND JAZPER: Achtuntwintig 12″ (OW LTD028EP) 12.00
Achtuntwintig is made for the spirit of soccer. The Germany against Netherlands classic, in this juncture, is reflected by young producer & DJ Josh from Mecklenburg-West Pomerania and Jules & Jazper from The Netherlands.
OH 020CD VA: Golden Beirut: New Sounds From Lebanon CD (OH 020CD) 15.50
The 12 songs on this compilation look at the Arab world through a new pair of glasses: Beirut’s underground. The CD focuses on a young generation that is tired of war, fed up with politics, sick of religious madness and angry about Euro-American exoticism. It is keeping itself alive with electro beats, raw aggressive hip-hop or in-your-face indie rock. Together these musicians show a new picture of this war-shaken city and region and show a different Beirut. “The Israelis just bombed our city,” one musician joked in 2006, “because Beirut was suddenly cooler and hipper than Tel Aviv.” With lots of irony and black humor, Beirut’s alternative music scene often tries to neglect the fact that the city and the region is still full of problems, conflicts and contradictions. The scene does not get the same media attention the commercial pan-Arabic satellite-TV pop industry does, but is closely linked to the civil society networks that are of great importance in the ongoing revolutions in the Arab world in 2011. These artists show a new, open-minded city reminiscent in a way of the Golden Beirut of the ’60s and ’70s — only updated. In those “golden” years before the Lebanese civil war (1975-1990), Beirut used to be the hub towards the Western world. Lebanese psychedelic rock bands entertained an international crowd in hip Beiruti clubs. In only a few years, the city’s liberal reputation was shot to pieces during the civil war. Golden Beirut brings together some of the most important voices in the alternative music scenes of Beirut whose music has nothing to do with propaganda, traditionalism and commercialism: Zeid Hamdan and his projects Shift Z and Soap Kills mix minimalist electronic sounds with soft Arab singing. The indie-rock, post-punk and electro-pop bands Scrambled Eggs, The New Government and Lumi still know how to sweat on stage and create catchy songs. Hip-hop MC Lix aka Malikah, one of the best Lebanese female MCs, attacks stereotypes with full force. Katibe 5 rap about the Palestinian refugee camp they grew up in, and rapper Rayess Bek discusses life between Lebanon and France. Oud player und charismatic singer Ziad Sahhab opposes the strong connections between musicians, music and politics in Lebanon, while Praed and The Incompetents experiment with wedding music and lullabies. Last but not least, this CD features the upcoming satirical folk rock band Mashrou’ Leila. They are the first to slowly rise from underground hype to reaching wider audiences. Golden Beirut was compiled by ethnomusicologist and journalist Thomas Burkhalter, founder of the music network The photos in the booklet were shot by Tanya Traboulsi, an Austrian-Lebanese photographer living in Beirut.
POPC 106EP RAVENS/SPARKS OF RHYTHM, THE: My Baby’s Gone/Handy Man 7″ (POPC 106EP) 8.00
Two amazing vocal group harmony sides, back-to-back. Both sides smoke and simmer away gently to a swinging, minor-key accompaniment, making them perfect late-night picks for your popcorn shakedown! The Ravens’ “My Baby’s Gone” was originally cut back in 1950, making the original one of the earliest (and scarcest) 45rpms in existence. The Sparks Of Rhythm’s “Handy Man” features smooth seduction blended with a somewhat malevolent, sinister edge.
PRESTIGE 7082LP MOBLEY, HANK: Mobley’s 2nd Message LP (PRESTIGE 7082LP) 11.50
Originally released in 1956. Featuring Kenny Dorham (trumpet), Walter Bishop (piano), Doug Watkins (bass) and Arthur Taylor (drums).
RS 1107EP KLAUS: Tusk EP 12″ (RS 1107EP) 14.00
Klaus is a classically-trained young musician from London, already picking up plaudits from James Blake and Mount Kimbie. Erudite and cultivated, this debut EP sets a tone for an early evening on a heavy system or an earlier morning on the headphones. Layered drum patterns give way to distorted atmospherics permeated with that heavy, heavy bass — almost Eno-esque in its structure.
RM 001EP SOURCE, THE: What Have I Done? 12″ (RM 001EP) 14.00
The first release from the Renegade Masters camp, by activist project The Source (aka Soom T & Disrupt) is sure to become a central track in any collection, with a high dance value, sweet bass layers, and punk ascetic. With both the A and B-side borrowed from the classic C64 game soundtrack to “Target Renegade” produced by Gary Biasillo, the 8-bit is tied to a fire-powered philosophical rhythm. Remixes by An-Ten-Nae and Party Catani.
RM 014LP A-LORDS, THE: The A-Lords LP+CDR (RM 014LP) 17.00
The A-Lords unleash their debut LP. Primarily Michael Tanner (Plinth) and Nicholas Palmer (Directorsound), the band perversely straddle elaborate instrumental music and longer, gloomier pieces. The bulk of their songs were recorded in a barn at night on the Dorset/Devonshire border. Each song is an a very slow and deliberate paean to the oft maligned (and rightly so) fields of Dorset. The first batch were improvised on summer days spent in gardens, churches and a lovely old wooden summerhouse. The second set of songs made themselves known over two nights in a rusty old barn during Harvest Festival. Microphones were placed in trees outside and under the floorboards, making the tunes regretfully creak into life. The album, comprised of four tracks from their out-of-print Barl Fire EP and six new songs, arrives as a 180 gram vinyl LP with a CD-R of the whole album.
RMR 008CD OWL SERVICE, THE: The Pattern Beneath The Plough Parts 1 & 2 2CD (RMR 008CD) 17.00
New double CD set bringing together the last two Owl Service releases, The View From A Hill album and The Burn Comes Down EP. Both of the original releases are now sold out as word-of-mouth continues to spread about The Owl Service’s exquisite brand of folk-rock. This package, with all new artwork, also contains a wealth of bonus material from the band’s earlier releases.
RINSE 008EP BRACKLES: Rinse Presents: Brackles 12″ Number One 12″ (RINSE 008EP) 11.00
London-based DJ and producer Brackles makes his debut as a Rinse artist. Brackles has steadily built a name for himself as a DJ and producer to watch, going on to be a regular at London’s FWD>> club night and with his own weekly show on Rinse FM. As a producer, he’s released several highly sought-after releases and his DJ sets are renowned party-starters, effortlessly taking in funky, grime, vintage 2-step and bassline. This 12″ is a taster of his Rinse Presents full-length.
LAUNCH 040LP TEETH OF THE SEA: Your Mercury LP (LAUNCH 040LP) 20.00
LP version. Teeth Of The Sea return with Your Mercury, their colossal second LP. Balanced elegantly between electronic exploration and incendiary psychedelic freakout, these 46 minutes showcase a band whose expansive mindset has birthed a unique sound, more dynamic, adventurous and vividly atmospheric than ever before. ‘Your Mercury’ exists on a strange and beguiling astral plane, whereby the boundaries between the synth odysseys of the 70s, the guitar-noise-fuelled infernos of the ’80s, horrorscore schlock, Reich-ian repetition, and a whole plethora of other cathode-ray and speaker-stack birthed epiphanies are blurred into one futuristic and fearsomely coherent whole. Teeth Of The Sea, the most exciting psychedelic band in the UK, have spun into a brand new orbit. In the vein of: Eno, Goblin, Emeralds, Butthole Surfers, Ash Ra Tempel and Liars.
Rocket Recordings are proud to introduce the pyramidal meditationist Life Is An Illusion album by France’s Annapurna Illusion, the evil twin of Not Not Fun’s High Wolf. Life Is An Illusion is scattered with fizzing electric guitars and ambient ragas which unfurl with the might of a psychedelic blizzard, fogging the sponges of the brain and eyeballs with a wash of hallucinations where Ash Ra Temple jam for hours on end with Loop. Tropical repetitive rhythms drone and drift, guided by a swarm of breezy effects and celestial layered synths that engulf the base of the mountain in hypnotic swirls of colorful, head-spinning rituals before zipping airborne to glide in a state of tranced euphoria.
LAUNCH 044LP ONEIDA/MUGSTAR: Collisions 02 LP (LAUNCH 044LP) 20.00
New York’s Oneida and Liverpool’s Mugstar exert overdriven oscillating forces on an interstellar trip of humming ohm amps and shifting clusters where time shuttles flicker back and forth between eons. Explore the second in the Rocket Recordings odyssean Collisions series and joyride this twin engine release. The proceedings lift off with Oneida’s moiré patterned “Shahin’s Bong.” Mugstar set chase with their own odyssean endeavor, “European Nihilism,” the Aurora Borealis viewed from within. With the hum and drone of layered synths drawing the listener in, these psychedelic warlords hit you hard with a super-colossal Hawkwind-esque rock-out like a centrifugal force that twists and turns, morphing on a continual humming of valves into the artifice of repetitive noise, until at saturation point, the asymptotic curve annihilates you in the quest for the perfect ion.
VAULT 001EP AARDVARCK/DUSTER VALENTINE: Tracks From The Vault: Limited Edition – Vol. 1 12″ (VAULT 001EP) 12.50
This is a cheeky little series where Rush Hour drops never-before-released tracks and mixes from its vaults as well as tracks which are in dire need of a re-release. The series kicks off with an unreleased track by the mysterious Duster Valentine — an anthemic disco track that, with its catchy piano loop, pays homage to the golden days of New York house music. You’ll also find Aardvarck’s fun-loving-freestyle-disco-mash-up-party-jam. It was only released as a limited one-sided promo, so here’s a remastered and extended version.
SLICES 311DVD SLICES: The Electronic Music Magazine Issue 3-11 DVD (SLICES 311DVD) 0.01
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Features: Gold Panda, Mount Kimbie, Anstam, Elektro Guzzi, Stabil Elite, Junior Boys, Clara Moto. Tech Talk: Loudness/Compression. Label feature: Uncanny Valley. EB Live & Rare: Apparat Band. Videos: Rone, Portable, Chaim feat. Meital De Razon, Supaluga & Ichiro_. PAL 16:9. Running time: 148 minutes.
SKUDGE 005EP SKUDGE: Man On Wire 12″ (SKUDGE 005EP) 12.50
Anyone following Skudge’s output will know that his tracks are not mere “one-trick ponies.” The story continues to unfold on this incredibly strong 3-tracker from the moodiest-sounding machines in Stockholm.
SMALL 026EP MOOMIN: Sweet Sweet 12″ (SMALL 026EP) 12.00
Sebastian Genz aka Moomin gets ready for his debut album on Smallville Records, this time with a remix done by Oskar Offermann of White. Sweet Sweet introduces the tenderness of Moomin’s deep-diving sound. As if a whole magic night with lovely music and beautiful people could be expressed in just a few minutes, this magician of sound and texture compresses those feelings into one single track.
“Ralph Carney was a founding member of the pre-Waitresses band, Tin Huey, but is best known for his long association with singer Tom Waits, and collaboration with his nephew, Patrick Carney, on the Black Keys album, Attack & Release, Carney explains, ‘I decided to do another record of tunes I loved, sticking close to the same styles as my first album. Basically a mix of ‘honkers and screamers’ type saxophonists, mostly from the late 1940’s through the early to mid 1950’s, alongside kind of obscure Ellington small band songs– I also did a couple of Coleman Hawkins tunes from his time in Europe in the ’30s.'”
LP version.
STATT 005CD CARINA, NADINE: Magic Box CD (STATT 005CD) 17.00
This is the debut full-length album from Nadine Carina. Born in 1986, Carina grew up in a little village called Maggia, in the Italian part of Switzerland. She always showed a great passion for music; always ready to sing at her village’s parties and regularly exploring her father’s vinyl collection. She started to play piano at a very young age and was a member of the Philharmonic Band of Ticino, playing clarinet. The guitar came later, when rock bands like The Who and Genesis began to influence her musical background more and more. After moving to Geneva, she attended a music and technologies school (ETM), where she started to write her own songs inspired by songwriters like Shannon Wright, Julie Doiron and Alessi’s Ark. Learning music technology, she began to arrange her songs programming with MIDI, using effects pedals and loopers. She made two homemade EPs and her song “Like Her” played on a Swiss-Italian TV channel from a solo performance video in her father’s kitchen. In 2010 she decided to move to Liverpool, England, where she took music and sound technology courses at the Liverpool Institute of Performing Arts. Inspired by the Liverpool music scene, Nadine started getting gigs in bars and venues, performing her songs, sometimes solo, sometimes with a band. Her debut LP Magic Box is a collection of songs written over the past 2 years. Lots of “dreamed” material and technological tinkerings show the magic of this work, which hides deep and meaningful messages. Being her first album, it has this kind of proximity with the artist that you can only find on early works. You can almost listen to her taking a deep breath before pressing “record” on her little 4-track. Nadine draws you into 13 quiet, melancholic moments, sometimes minimalistic (alone with her guitar) and sometimes more adventurous (deep programmed arrangements), but always with the aim to keep you in a kind of comfortable woolly bubble. In two words, this album is spontaneous and fragile.
STAUBDIG 015CD MASCHINA, JASMINA: Alphabet Dream Noise CD (STAUBDIG 015CD) 17.00
The second full-length album from celebrated Australian musician Jasmine Guffond aka Jasmina Maschina continues her brave expedition into a musical dreamland as yet unknown. Firmly rooted in experimental electronics with an equal dedication to song, Jasmina’s folk soundscapes transport you into her beautiful world of sonic adventure, strong emotions, electronics, songs and deep love. The journey starts with fresh new sounds, abstract yet organic, floating among melodious, even catchy guitar lines and generated noise joy. After our initial take-off we hear basses warbling away at our feet and a rhythm hard to find in any conventional rock format. This pre-shadows the breath of a new world and when finally landed on this fantastic planet, we encounter a whole new life in Jasmina’s voice. It seems to come from the deep center of one of those tropical flowers one sees in late-night nature specials as her song reverberates off the petals, coming to caress our ears; fully foreign and bathed in lunar light. Jasmina is not following some fashion made up by someone else before her. Instead there is something original, something truly creative. She is one who sings to her soul, one who has found her natural voice, one who has no trouble expressing any emotion whatsoever. She inhabits her own world, her own vast universe and we are merely invited in. A culmination of sound, song and ambience.
SSC 001EP LESOTHO PROTOKOL: Lesotho Protokol 12″ (SSC 001EP) 12.50
Stillcold Records is a new label from East London, dedicated to releases existing in the physical realm. With its focus squarely on pristine sounding vinyl, Stillcold patrols the shadowy borderlands of house and techno and their many bass-weighted mutations. All this on heavy, limited vinyl pressings, cut and mastered at Dubplates & Mastering in Berlin. Stillcold’s initial offering, three tracks by Lesotho Protokol presents stylish turns of technoid kwaito house, dark funky and boogie-jit.
SOD 089LP AQUARELLE: Sung In Broken Symmetry LP (SOD 089LP) 16.00
“Describing the music of Aquarelle’s Ryan Potts is a difficult task indeed. It’s related to the hazy, heavily treated output of musicians such as Fennesz and Tim Hecker, but one would be remiss to locate it solely within the realm of electronic ambient or drone, as there are often strong organic, rhythmic and composerly elements to Potts’ work. In fact, the title of his last record, Slow Circles, might offer the best point of access into the Aquarelle aesthetic, in which compositional tropes such as cyclicality and accretion are woven together with surging, bright overtones, fragmented acoustic guitar melodies, and monumental distortion. Another point of distinction between Potts’ guitar-based compositions and that of the laptop-wielding contemporaries and forebears amongst whom one would be tempted to locate his sound is the fact that he largely eschews digital, ‘in-the-box’ processing. A self proclaimed ‘FX pedal fetishist,’ his compositions carry with them a boldness, depth and grit that is all but impossible to cultivate through DSP alone and aligns some elements of his sound with that of Scott Cortez/Lovesliescrushing and late-period Yellow Swans. Using a palette of electric and acoustic guitars, vintage and boutique effects pedals and various percussion sources, Potts crafts highly detailed, slowly evolving soundscapes which beg for repeat listens so that one might get inside their myriad layers. ‘With Verticals’ opens the record, blooming suddenly into a startlingly propulsive edifice replete with crackling, distorted guitar sounds married to quasi-Reichian percussion. Later, ‘Origin’ sizzles and hisses its way into a staggeringly detailed drone opus before opening up into a veritable vista of acoustic guitar, cymbal and cello histrionics. A cohesive and fully immersive collection, Sung in Broken Symmetry is an assured statement from a young musician who is equally comfortable navigating frailty and violence. Mastered by James Plotkin. Edition of 300.”
SR 332CD WYNNE, JOHN: Installation For 300 Speakers, Pianola And Vacuum Cleaner CD (SR 332CD) 15.50
John Wynne’s untitled installation for 300 speakers, pianola and vacuum cleaner is at once monumental, minimal and immersive. It uses sound and sculptural assemblage to explore and define architectural space and to investigate the borders between sound and music. There are three interwoven sonic elements: the ambient sound of the space in which it is installed, the notes played by the piano, and a computer-controlled soundtrack of synthetic sounds and gently-manipulated notes from the piano itself. Because none of these elements are synchronized, the composition never repeats. “Integrating composed sounds along with the sounds of the pianola, and in correspondence with the acoustical play of the space and the exterior environment, the installation is a sort of live organic composition of varying input and output. The constellation of elements at play in Wynne’s installation engage the temporal and the environmental, composing them into an unsteady musicality: the delicate unfurling of sounds as they arise from different points in the room find both support and rupture from the trains passing by outside; the bulky mass of loudspeakers, with their plastic and wood surfaces and dusty odor, command attention while attempting to integrate with the pianola’s sculptural melodies.” –Brandon LaBelle; This is an enhanced CD whose contents altogether include: an audio CD with a 45-minute recording of the installation; Bouncing Off The Walls, a split-screen video by Pete Gomes; and “An Aesthetics Of Pressure,” an essay by Brandon LaBelle.
Originally released in 1982. Exact repro, manufactured by Rhino. It’s like a jungle sometimes.
SPR 005EP RANDOMER: Obtuse 12″ (SPR 005EP) 11.00
Following his inclusion on Hessle Audio’s 116 & Rising compilation, Randomer returns to Raffertie’s Super imprint with the four track Obtuse EP. Otherworldly and tribal, the title track maneuvers menacingly with crafted aggression. A record awash with percussive mastery and originality, already picking up solid selector support from the likes of 2562, Pangaea, Pariah, Hackman, Boxcutter, Subeena and more.
SUPPLY 001EP B-TRACKS: Specialize 12″ (SUPPLY 001EP) 12.50
Killer EP of deep, bumping, soulful house and techno music — warm tearaway and analog the old-school way, kicking off Soren Jahan and John Barera’s brand-new Supply imprint in fine style. Super-limited proper dopeness.
TBLP 014LP GUELEWAR: Halleli N’dakarou 2LP (TBLP 014LP) 26.50
Teranga Beat proudly presents legendary group Guelewar from Banjul, Gambia. Amongst the most experimental, psychedelic bands out of Africa, Guelewar offer a unique sound and instrumentation, mixing traditional compositions with modern instruments such as the Mini-Moog. The Alligators was a group led by Bai Janha who was the most important musician from Gambia. The Alligators later became Guelewar when Bai began to collaborate with Laye N’Gom. Guelewar fused a blend of bougaraboo and saourouba mixed with soul and funk and were heavily influenced by traditional singer Moussa N’Gom. For a decade, Guelewar was the biggest influence in the region of Sene-Gambian music. Here, on their last recording, live in the Canari Club de Kaolack, Senegal, 1982, the 12 members guide you to another level. Housed in a lavish gatefold sleeve with full-color innersleeves, this double LP version includes liner notes and historic photographs outlining the beautiful story of this exceptional band from this distinctive West African country — Gambia.
TEXT 011EP FOUR TET: Locked/Pyramid 12″ (TEXT 011EP) 12.00
Limited stock. Limited info.
TEXT 012EP JUK JUK: Winter Turn Spring/Frozen 12″ (TEXT 012EP) 12.00
Limited 12″ release from London producer Caleb Waterman.
TLR 054LP VIRGIL CAINE: The Great Lunar Oil Strike, 1976 LP (TLR 054LP) 31.00
“First ever reissue of this hopelessly rare and obscure 1971 rural Virginia private press folk masterpiece. A true anomaly in the seemingly bottomless world of self released albums, this one charts a truly unique realm all its own. While the sound itself may draw some clear influence from classics of the day, even lifting the band name from a song by the band, the mood & vibe here is ponderously uncharted territory, seemingly birthed complete from some parallel sonic reality. Crude lo-fi metaphysical basement folk rock filtered through a deeply southern gothic/Appalachian/Americana band aesthetic and executed in the purest, most sincere, spontaneous, vibe-thick sense possible. The atmosphere trapped in these grooves is truly as strong as it gets and is sure to engulf any open-minded listener given half a chance. The near magical power of the album seems to lay in its extreme polarization; on the one hand there is a fully developed lyrical depth and intellect that’s profoundly poetic, even novelistic, yet the music & recording is shockingly raw, unhinged, completely unselfconscious, and downright weird. It’s a dusty, creaky, ebb & flow of clackity percussion, acoustic strum, shaky low-watt electric guitar licks, occasional floorboard rattling bass, and thick southern drawl. Even the recording quality has a bizarre lo-fi character of its own, with some sounds seeming to barely hit the tape at all, while others are wildly overblown, wrapping the whole deal in a gauzy tape hiss fog, with hints of garagy distortion. The album progresses with a casual but surprisingly purposeful intent, hitting an intimately mystical, visionary, dream-like arc through the entire second side of the record and ending in complete dissipation. All taken together it’s a seriously teleportive trip to a flicker in time & place that is really quite special. The scratchy textless black & white band photo cover art suites the album perfectly: striking yet vague, timeless yet ancient, simple yet mysterious. Pressed on highest quality 180gm virgin vinyl and packaged in an exact reproduction heavy old-style cover, with exact repro labels. Also includes a double-sided heavy stock insert with new liner notes from main songwriter and vocalist Roger Mannon, as well as introductory notes from band scholar and devoted fan Jack D. Fleischer. One time vinyl only pressing of 500 copies.”
TLR 055LP BACHS, THE: Out Of The Bachs LP (TLR 055LP) 34.00
“First ever correct reissue of this Chicago area 1968 private press Holy Grail. One of the most legendary & valuable garage/psychedelic LPs ever, this one has been seeing massive hype and huge price tags for decades now, all with good reason. For a ’60s private press LP it’s got a truly remarkable number of things going for it that set it apart from literally every other LP in this bag. An album of all original material that amazingly combines the best elements of garage, psychedelia, and teenage self release realness without hitting any of their many pitfalls along the way: totally crude garage production values, crackling on-the-edge energy, and wild punk-minded rave-ups — without any covers, flat sameness, or throw-away filler. Beautifully inspired mind-expanding sonic depth, confused, fantastic lyrics, relentless jangle, swirling reverb, unhinged fuzz/feedback outbursts, and constantly flowing textures – without any pretentiousness, blues jamming or self indulgence. Exquisitely personal, human, painfully lonesome, and achingly moody – without any macho posturing, stoned goofs, or bad diary poetry. Then there’s the fact that these guys came up with gorgeous unique songs, both singers have great distinct voices that are constantly playing off each other, and the band takes a wide-open approach that spans pop sensibility, acid experimentalism, and heartbreaking teen ballad moves, and combines them into a sound totally their own. Would seriously be too good to be true if it didn’t actually exist, and it barely ever did. Recorded and mixed in just 10 hours at a makeshift studio above a pharmacy, and locally pressed as an edition of only 150 copies, the few remaining original LPs are true artifacts… Which makes it totally confounding that all past reissues have sadly not even come close to capturing the crystalline, biting fidelity of the original album. We’ve fixed that once and for all with total top-notch mastering from a pristine original copy, to bring you just as close to the soul-piercing experience of spinning the real thing as possible. Pressed on highest quality 180gm virgin vinyl. Packaged in an exact reproduction heavy weight reverse tip-on cover, made just like the original, plus exact repro metallic printed labels. One time vinyl only pressing of 500 copies.”
First release on Tri Angle, now repressed on CD — originally released in August 2010 on 12″ vinyl that sold-out immediately. Balam Acab’s See Birds EP presents an optimistic yet haunting glimpse of a droning future. See Birds is the product of 19 year-old Ithaca, New York resident and solo producer, Alec Koone. “He isolates and distorts bits of source material (say, vocal loops or beat fragments) and smears them together in new arrangements. The results are remarkably seamless. Take opener ‘See Birds (Moon)’, where a scratchy drone meets heavy, blown-out beats and a chorus of layered vocals. The way he puts them together, a new natural rhythm for these sounds emerges and it becomes hard to imagine them in any other order… a heck of an impressive first step.” –Pitchfork (8.0)
12″ version. Born in Senegal, raised in Kuwait and now living in New York City, Fatima Al Qadiri is the producer and vocalist behind Ayshay. Fuelled by her fascination with the sacred songs of Islam, WARN-U is a homage and reinterpretation of the sounds that have haunted Al Qadiri since she was a child. Constructed entirely out of her own vocals, which she filtered and layered upon one another, WARN-U is Al Qadiri’s attempt to reconfigure the concept of “sacred” music as inspiring divine love and divine fear. Even in her adoption of the name Ayshay, a flippant term which means “whatever” in Arabic, Fatima Al Qadiri seeks to distance the austere values inherent in worship music from her own interpretation of the latter. Listening to the three songs Al Qadiri has created for this record, which work in sequence almost as a tone poem, conjures up a dizzying array of mixed, sometimes indefinable emotions. They sound menacing and yet strangely comforting, ancient and bizarrely futuristic. As well as Al Qadiri’s own original material, the record features an epic 12-minute long megamix by L.A.-based production duo, Nguzunguzu. In keeping with the tone poem vibe of the original songs, the label agreed that the remix element of the record should mirror this, and so as opposed to commissioning a bunch of different remixers to put their spin on the material, they decided to have one act create one giant reinterpretation of all the songs featured on WARN-U, something which they referred to throughout the creative process as a remix suite, of sorts. When she’s not producing music as Ayshay, Fatima Al Qadiri is responsible for the “Global.Wav” column on the brilliant online NYC culture magazine DIS, using her column to draw attention to the kind of obscure pop music that generally goes unnoticed in the Western world. Late last year, she gained some online attention with the “Muslim Trance” mix she made exclusively for DIS. The mix was made up of original Ayshay material which in contrast to the original a cappellas of WARN-U, reinterpreted Islamic anthems by sampling sacred Shi’ite and Sunni vocals with original music.
LP version. 1964 was a pretty special year, especially for groovy jazz in Britain. Not only did it see the release of Moonscape by the Michael Garrick Trio (JBH 022CD) but also the birth of these fine and exceptionally rare recordings. Modern, jazzy, exotic and progressive, early British jazz rarely sounded so good or beautiful. In 1964 the modern British jazz scene was growing, progressing and bursting out in creative musical rashes. Following the release of Moonscape (the UK’s rarest British jazz LP), Michael Garrick teamed up with horn legend Shake Keane to cut an EP of modern ideas in a quartet setting called A Case Of Jazz. It was issued the same year in a run of just 99 copies. At the same time, flugelhorn maestro Shake Keane was working with several arrangers and set-ups, one of the results being a peculiar (and possibly unreleased) acetate of 4 cues: two recorded with The Hastings Girls Choir, two in a small but lively and slightly Latin combo. Coming directly from Michael Garrick’s own archive, these exceptionally rare eight cues from 1964 have now been brought together for this unusual and exciting release. Opening with two cues with Keane and the Hastings Girls Choir, the music is ethereal and strangely exotic. Moving then through a fine British bossa nova and into the quartet recordings, we find the music pleasing, progressive (for 1964), creative and exciting. Also of note is the mighty fine “Sun Maiden,” which has the kind of classic piano riff and repetitive regal rhythm so sought-after by many jazz collectors. These tracks and complete album are worthy additions to the growing archive of the classic modern British period jazz, and feature two major artists flourishing early in their careers. Personnel (last four cues only): Shake Keane (flugelhorn), Michael Garrick (piano), Coleridge Goode (bass) and Bobby Orr (drums).
UP 007LP LYNCH, JULIAN: Terra LP (UP 007LP) 18.00
LP version. “Julian Lynch grew up in Ridgewood, NJ, where, as a youth, he learned to play clarinet and guitar. In high school, he performed in bands alongside future members of Real Estate, Titus Andronicus, and Family Portrait. During a year spent studying in Scotland, Julian collaborated with Gary Caruth of Sad City. While working for Smithsonian Folkways Recordings in Washington, D.C., he played drums with the band Hairizona. Julian moved to Madison, WI, in Fall 2008 to begin a Master’s program in Ethnomusicology. In Madison, he recorded and released three CD-R’s under his given name: Born2Run, Birthday and Garden is Adventure. In 2009 and 2010, Olde English Spelling Bee released two LPs by Julian Lynch, Orange You Glad and Mare, respectively. Julian continues to live and record in Madison, where he is currently enrolled in a joint PhD program in Ethnomusicology and Anthropology.” Includes a download code and double-sided insert.
D 001DF-EP COPELAND, INGA: Inga Copeland 12″ (D 001DF-EP) 12.50
Very limited repress. Hype Williams member Inga Copeland takes it solo on this lush 4 track EP. As “poppy” as it is “trippy” — you’ll love it.
PD 14683EP BROWN & MARVA WHITNEY, JAMES: You’re Welcome, Stop On By/Baby, Don’t You Know 7″ (PD 14683EP) 7.00
Reissue of this James Brown production: Vicki Anderson’s duet with Bobby Byrd, “You’re Welcome, Stop On By” b/w “Baby, Don’t You Know.”
VAMPI 080CD VA: Gozalo! – Bugalú Tropical Vol. 1 CD (VAMPI 080CD) 12.00
2007 release. After a very long time researching the archives of the most important record labels of Peru, we present volume one of Gozalo! (“enjoy it!”) a collection of this country´s best artists during the ’60s and ’70s. Peru, surely not a heavyweight champion of well-known music, at least in Europe or North America, was the home to so many exciting bands and artists. Names like Charlie Palomares, Mario Allison, Lucho Macedo, Al Valdez, Ñico Estrada, Los Hiton’s and many more, who were experimenting with “foreign” sounds and rhythms such as jazz, pop, boogaloo and soul, and giving them their very own unique Peruvian flavor. Complete with very detailed and explanatory liner notes and cover art by Pablo Iglesias (from the mandatory Latin-art book Cocinando!).
VIDAB 014EP SVENSSON, TOMAS: Lavagen 12″ (VIDAB 014EP) 12.00
Vidab presents the debut solo release from Tomas Svensson. Some may know him as a half of Berlin duo SubbRoomAssociation, or as the former live drummer of Schulz & Söhne. The Sweden native delivers two tracks that perfectly fit the mood of his home country with its huge forests, clear lakes, and wide landscapes. Swedish techno with a Detroit soul.
VOD 084LP LAIBACH: Gesamtkunstwerk – Dokument 81-86 5LP BOX/DVD (VOD 084LP) 185.00
“This ultra-deluxe leather-bound box set comes in a cross-like holder for the five vinyl discs and also includes a DVD with two outstanding live performances from 1982 and 1984 plus a large poster, ten postcards, a metal enamel-badge as well as an extensive 36-page booklet illustrated with archive photos of Laibach’s hometown, Trbovlje. The box focuses on Laibach’s early years as a provocative performance music and multimedia group and includes early studio and unreleased recordings in combination with many legendary live-documents from the 1981-1986 period, all previously unreleased on vinyl. LP1 contains unpublished and rare, early ’80s studio-recordings plus 1982 live recordings from former Yugoslavia from Belgrade (Serbia) and Zagreb (Croatia). LP2 contains two performances from Ljubljana (Slovenia) in 1982 and 1984. Side A from the Novi-Rock-Festival 1982 and Side B from December 1984 at Malci Belic Hall. LP3 contains two Berlin (Germany) performances from 1983 and 1985: the live Berlin Metropol 1983 tape known as Vstanjenje V Berlin released by Galerie Skuc and the Berlin Atonal performance on February, 17 1985. LP4 contains two performances from Amsterdam (Netherlands) in 1985, which were previously released on the Staalplaat Tape Ein Schauspieler. LP5 contains the concert in the village of Hum near Nova Gorica (Slovenia) in 1986 which was the first (semi)-legal concert in Slovenia after their performance ban in 1983. The DVD includes two more former Yugoslav live performances from 1982 and 1984.”
VOD 091LP TAZARTES, GHEDALIA: Works 1977-79 4LP BOX/10″ (VOD 091LP) 138.00
“4LP-box with 10″ Tazartes’ Transports, Tazartes, Diaspora, Une Eclipse Totale De Soleil, and Quelque Part Quelqu’un. The French artist and autodidact Ghedalia Tazartes who is born in Paris in 1947 is a true nomad spending more than 30 years within musical practice and experimentation. Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others, freely connecting the sounds, the rhythms, his voice, his voices. The extra-European music opens the ear to Ghedalia’s intra-European exotism. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification, diametrical to the purists of synthetic culture and technocrates of noise. He wanders through music from chant to rhythm, from one voice to another. Utilizing magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. This box concentrates on his early works from 1977-1979 and his four officially released vinyl-LP’s plus a 10″ of an unreleased work from 1978. All the material is superbly remastered for vinyl by Anders Peterson of, pushing the overall quality and dimension in sound to an amazing new level and experience.”
VOD 092LP GRIM: Works 1983-89 3LP BOX (VOD 092LP) 90.00
“3LP-box includes Vital 1983-86 LP, Amaterasu 7″, Message 12″, Folk Music LP, and various contributions. GRIM is an absolutely amazing, almost schizophrenic and obscure power-electronics and noise-one-man project of Jun Konagaya. Jun’s sound changes its mood and atmosphere in seconds. From extreme harsh and hard power electronic noise-walls to ingenious folk-songs and tunes as you know it from Charles Manson. In the very early ’80s Jun formed White Hospital together with Tomosada Kuwabara. They released one album called Holocaust in 1984 and split. At that time Jun had already released the Vital tape with his project GRIM. Kuwuhara moved on to form Vasilisk while Jun continued as GRIM releasing one LP, 12″ and 7″ as well as contributing to several compilations during the ’80s.”
VOD 093LP VA: Club Moral 1981-1986 5LP BOX/DVD (VOD 093LP) 138.00
“Compilation of early Club Moral, DDV, Etat Brut & The Parts-tracks from 1981-1986. Club Moral was founded by Anne-Mie Van Kerckhoven (AMVK) and Danny Devos (DDV) in Antwerp on January 1st, 1981. The framework to this incredible box-set is mainly based on selected tracks by DDV from 4 Sept and A Sound Atlas of Venerology, Club Moral’s Mit neuen Waffen, with additional compilation tracks and live recordings by Club Moral. Furthermore Etat Brut’s complete Geometrie d’un Assasinat and a selection of tracks by The Parts (DDV, AMVK and Erik Vloeberghs) are included. Some of the tracks included in this box-set have never been released before. From 1981 until 1993 Club Moral acted as a venue and until today as a music performance band. They have become known for their controversial performances and imagery because they focused on the presentation of art and live events of an extreme nature. Acts that have performed at Club Moral have included Non (Boyd Rice), Coup de Grace (Michael Moynihan), Slave State, Gerechtigkeits Liga, – Delta t, John Duncan, Angst, AR/TE, ProduKtion, Jack Stevenson, ConDom and many more. This box-release should give an audio- and visual overview and insight into the work of and at Club Moral and their two protagonists, DDV and AMVK. It will take you beyond the highly sought after vinyl-release of To All Who Are Interested from 1989 and will focus on the very early stage of Club Moral’s work including acclaimed pieces of close friends and collaborators.”
BS 2763HLP GRAHAM CENTRAL STATION: Graham Central Station LP (BS 2763HLP) 14.00
“This promising 1973 album represents bass wizard Larry Graham’s first post-Sly and the Family Stone work. Much like his previous band, Graham Central Station was a multiracial unit that blended soul grooves and pop hooks to create an exuberant hybrid. However, Graham Central Station gives Graham’s bass work a more upfront role in the sound and adds further layers of rhythms with drum machines and rhythmic-sounding keyboards like the clavinet.” –All Music Guide. 180 gram exact repro reissue, manufactured by Rhino.
BS 2876HLP GRAHAM CENTRAL STATION: Ain’t No ‘Bout-A-Doubt It LP (BS 2876HLP) 14.00
Producer Larry Graham’s (Sly & The Family Stone) funk band Graham Central Station’s third album, originally released in 1975. The classic opening track “The Jam” was sampled by Notorious B.I.G., Method Man, Beastie Boys and Prince. 180 gram exact repro reissue, manufactured by Rhino.
WARP 215CD PLAID: Scintilli CD (WARP 215CD) 17.50
“Plaid’s music involves emotive riffs that sit proudly over complex syncopated rhythms. The songs have melodic narratives and only rarely is the human voice used to spell these out. Synthetic layers are heaped on, producing euphoric highs at times and uncomfortable dark spaces at others. In the years since their last release, Plaid’s time has been spent composing for film and stage as well as touring new and classic works, including performances at Warp Records’ 20th anniversary, which lead to developing ideas for their latest album project, Scintilli.”
WARP 215LP PLAID: Scintilli 2LP (WARP 215LP) 22.50
2LP version.
WHITEBOX 012EP STRANGER SON: Inside Many Summers EP 12″ (WHITEBOX 012EP) 11.00
Super limited 12″ from Manchester’s disco-rock finest Stranger Son. For fans of Liquid Liquid, P.I.L., LCD Soundsystem and the ’70s soundtracks of Bernard Herrmann. Featuring Warp Records’ Lonelady on guitar and members of the Manchester cosmic space-rock collective GNOD.
YT 046CD BULLION: You Drive Me To Plastic CD (YT 046CD) 15.50
“This is Bullion’s first release for Young Turks. At nine songs, 21 minutes total, You Drive Me To Plastic is neither an EP nor an album, nor a beat-tape, nor a mixtape, and yet manages to touch on all of these notions at once. If these are supposed to be “beats,” they are devoid of the played-out signifiers — no looped breaks, no wobbly basslines, no squiggly 8-bit chirps — but the language of composition is entirely rooted in the hip-hop tradition. What is remarkable about this record is the ease with which Bullion draws disparate elements together, fusing them into a harmonious ensemble. Exotic percussion, jangling guitar lines and library grooves are married with hard-edged ’80s retro-funk, plodding nu-wave synthesizers and Krautrock drones, and though these all make for unlikely bedfellows, here they tessellate perfectly as if made to match. The detailed intricacy and speed at which this record unfolds can feel jarring at first but rewards with repeat listens. Bullion rejects any kind of rhythmic convention, opting for awkward, faster tempos, odd time signatures, Afro-beat patterns, and beatless, dreamy interludes. It is the faintly glowing ghosts of yesteryear that unite all the songs on this record. The voices whisper, chant and float through the music, part acid-flashback, part new age hymn, their words twisted beyond all comprehension, yet clearly communicating a heady, intoxicating dreaminess. As the deep, dubby swirls of ‘Lol Express’ fade into the angular ooohs and ahhhs of ‘Too Right,’ followed by the Gregorian chants of ‘Spirit Mighty,’ it seems like this producer is having far too much fun pushing the boundaries of what he does to reign himself in. Perhaps a recent tour in Africa has paid dividends on informing the Bill Laswell meets hi-life atmosphere throughout. There is definitely a global outlook, or ‘world music’ feel to this work. The Italo funk of ‘Pressure To Dance,’ the most instantly accessible track, will find as much favor in the record boxes of Mancuso disciples and bearded Balearic warriors as it will on the dancefloors of Dalston’s numerous basement clubs. Equally, the blunted hip-hop head-nod crew will most definitely find something to pack their bowl to here. Overall, this is a mature and sophisticated record that will delight crate diggers of all ages, especially those searching for something with one foot in the past and one foot in the sound of tomorrow. A work of beguiling beauty, and an endearingly quirky listen, You Drive Me To Plastic is arguably his finest and most original work to date. If he can find it in himself to deliver a full length of this quality, then the future is golden.” –Mr. Beatnick
YT 063EP SBTRKT/OBJEKT: Wildfire 12″ (YT 063EP) 12.00
Split release (Sbjekt #01) from SBTRKT and Objekt. Where SBTRKT squeezes, Objekt expands; where SBTRKT threads vocal harmony, Objekt implements a programmed lyricism akin to Kenny Larkin or LFO; where SBTRKT builds a tight vehicle to share a wholly electronic vision with a new audience, Objekt breaks it down.
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