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100% SILK

MALVOEAUX: Broken Anthem 12″ (SILK 015EP) 12.00
Malvoeaux is “the Parisian filter-house style project of Innergaze’s Jason Letkiewicz.”

50 004LP

ANSTAM: Dispel Dances LP (50 004LP) 17.00
Gatefold LP version. This is the debut album from the two Anstam brothers. Their music has been charted by Radiohead’s Thom Yorke, amongst many others. FACT Mag once wrote: “We don’t know a lot about Anstam. No one does. That’s part of the appeal.” What 50 Weapons can reveal is the fact that Anstam used to be a duo of two brothers from Germany. They were responsible for a now-legendary trilogy of 12″ releases circa 2007-2009 — Brom, Aeto and Cree — that assimilated the hardest, most dystopian flavors of dubstep, grime and junglism into a disciplined, techno-savvy framework that betrays their Berlin provenance. And then — two long years passed without incident. In 2011, Anstam came back to life. First, with a contribution to a split 10″ with Phon.o on the B-side and later, with a new solo 12″ named Baldwin/Carmichael. The first 3 new Anstam tracks in a long time caused yet another stir in the electronic music community. A highly-praised, diverse, moody and dark podcast for FACT Mag in May 2011 showed their influences and favorites. Anstam played festivals such as Mutek and Melt, amongst others, and just finished a Radiohead remix of “Separator.” 50 Weapons is extremely proud to finally present their debut album Dispel Dances, which is once again a showcase of outstanding talent. Dark, vibrant atmospheres, lurking synths and the most crushingly dynamic, dead-on-it beats you will hear all year.


ALVARIUS B.: Blood Operatives Of The Barium Sunset CD (ABD 032CD) 15.00
Originally released in 2005 as a limited edition vinyl LP — the first Alvarius B. (Alan Bishop/Sun City Girls) full-length release in 7 years. Blood Operatives Of The Barium Sunset is a collection of songs seemingly based on actual, but unnamed, shady characters of the global underworld past and present, according to the brief statement on the insert. Regardless of intent, this is cryptic folk music of the highest order, with several tracks employing folk/rock/psych orchestrations featuring the talents of Eyvind Kang, Tim Young, Richard Bishop, Andrew McGinnis and Randall Dunn. Hailed as a masterpiece by a fair number of the few who’ve actually heard it, Blood Operatives… sounds as fresh, challenging, and separated from everything else today, as it did six years ago upon initial release. Twisted Americana folklore breeding with baroque Italian cinematic pop, dark ballads, and vagrant story lines, these 11 unique tracks compile the most “produced” Alvarius B. record to date. CD tri-fold digipak comes with a booklet of song lyrics.


AGF: Beatnadel CD (AGF 016CD) 15.50
AGF aka Antye Greie releases her seventh solo record. Beatnadel (trans. “Beat Needle”) is a piercing sonic outburst of razor-edged beats and pilot vocal art. AGF is a rare combination of composer/producer and vocalist. This is digital songwriting with beat structures and penetrating sound sculptures to inspire the mind. The tracks have been constructed out of large, self-designed sample banks, voice, bass, synthesized sounds and discerning effect treatments. The music is sequenced to a large extent and holds an aggressive undertone compared to her recent works. AGF has cut out original tracks with surprising narrative and breathtaking precision in editing and sculpturing the sound. Deconstructed poetry, aggressive beat patterns, tender songwriting, drone parts, full-frequency spectrum. “I want to built a new tradition, an aural tradition, transmitted via the ears.” –Karlheinz Stockhausen, London 1971. “He says, the one who is not afraid is anyway cheerful and does not need to sing” –Janosch in Kleiner Hase, Großer Held. “It’s not a question of time, it’s that people today lack a certain frame of mind. Time is no excuse, your time should be spent on self-improvement, there’s no better way to spend your time.” –Ai Wei Wei in his blog. Having worked with great composers of our time such as Vladislav Delay, Eliane Radigue and Craig Armstrong and produced records for Ellen Allien with Gudrun Gut and many others, AGF once again concentrates on voice and post-club crossover. After finishing a stage play soundtrack to Orlando (AGF 014CD) with classical composer Craig Armstrong, and releasing a conceptual poetry work Gedichterbe (AGF 015CD) about the German heritage of language, Beatnadel is a very personal form of expression with no compromise. “Lingu-tik” features the voice of Prof. Noam Chomsky. Otherwise, the work is composed, recorded, mixed, mastered and executed by AGF. Artwork and calligraphy also by AGF.


PICASTRO + NADJA: Fool, Redeemer CD (ALIEN 091CD) 15.00
“Fool, Redeemer is a semi-collaborative split release between Canadian acts Picastro and Nadja. Having toured together and shared a stage many times over the course of the last half-decade, the two bands thought it was time to finally release something together. Nominally a split album, with side A featuring tracks by Picastro and side B a sidelong track by Nadja, members of both groups contributed to each other’s songs. And a certain mutual influence seeped into the compositions, Picastro’s dark-folk appearing at the beginning of Nadja’s track ‘Venom’ and Nadja’s trademark drone/dirge tendencies lending a heavier, noisier edge to Picastro’s songs.”


DUCHESS SAYS: In a Fung Day T! CD (ALIEN 093CD) 15.00
“Since 2001, Duchess Says have been spreading the gospel of the influential and mysterious Church of Budgerigars. Their learned mix of hypnotic rock and saturated keys, concocted by Phil C., Ismael and Simon Says, is delivered by A-C, a sermon laden with the teachings of the novice Mere-Perruche. The congregation has prayed the three Ts; now it’s time to reiterate. In a Fung Day T! is their second offering. Adrian Popovich and Joseph Donovan of the Mountain City studio have succeeded in recording a dynamic, dancing alienation. Hypnotizing keys to give order to the sectors; a palpable tension in the main district; refrains hammered ad infinitum — an infinity of ten psalms. In a Fung Day T! treats the listener to short blitzes of energy, nearly reaching the climax of noise rockers Lightning Bolt, interspersed with what will become new fan favorites. One of the more outstanding jams, ‘S.O.H?’, is a nice and loose danceable number that recalls the early ’80s new wave sound. The record closes with the longest track of the album, a slumbering dark sexy number that recalls the blood red curtain vibes of a David Lynch soundtrack. Duchess Says’ penchant for blending aggressive music with dance music works well and makes them comparable to other famous Canadian exports such as Death From Above, Fucked Up and even Crystal Castles at times. This is magnified by the undeniable intensity and sheer originality of high priestess/vocalist Annie Claude. Anyone who has witnessed the band live knows the pure theatrical mayhem that ensues, with onstage antics approaching those of Jesus Lizard’s David Yow.”


DUCHESS SAYS: In a Fung Day T! LP (ALIEN 093LP) 23.00
Gatefold LP version with free download code.


DAPHNI: Ahora 12″ (AMSO 005EP) 14.00
Daphni is the alias of Dan Snaith aka Caribou, a man who has conquered the hearts of music lovers around the world with his album Swim. Here is a dancefloor-centric release from Dan following his seismic reworkings of Radiohead and Virgo Four. “Ahora” is a slinky, trippy, Eastern-tinged piece, with a tweaked-out synth riff that blows apart the uneasy equilibrium. On the remix tip are Margot, Border Community’s super-gifted Italian duo, who deliver an even more wonky take on the original.


MURPLE: Io Sono Murple LP (AMS 044LP) 34.00
“Another band that deserved much more consideration than they got, Murple released a single beautiful album in 1974 on the German Basf label, one of very few Italian releases on this label, that didn’t care to promote the group at all and issued the record long after its recording. It’s a shame, because Io sono Murple is a very well-regarded album, well presented in a fantasy cover and with lyric insert, and very well played by this experienced four-piece from Rome. The album contains a long suite divided on the two sides, based on the story of a penguin, and even if the lyrics are somehow naive, the music is very good, with classical inspirations especially in the keyboard playing and nice guitar parts. Vinyl reissue with the same gatefold cover and insert as the original from 1974. The first 300 copies are pressed in green vinyl.”


VA: Bambara Mystic Soul CD (AACD 070CD) 22.00
Subtitled: The Raw Sound Of Burkina Faso 1974-1979. For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso’s sound was organized and nurtured during the country’s time as part of a vast patchwork making up French colonial West Africa. The rise of a post-independence urban middle class willing to invest in the Burkinabe arts spawned a cadre of singers, bands, orchestras and, most importantly, competitive record labels who all played their part in ushering in a golden age of music in their landlocked nation during the 1970s — a decade marred by political instability in the country and an era of artistic enlightenment, empowering the whole of Africa. The Sahelian climate fortunately bore no influence on the Burkinabé sound, which is cosmopolitan as it was raw. West Africa was and continues to remain deeply interconnected. In search of better gigs, well-to-do producers and sufficient recording equipment, Burkinabe musicians ventured across the surrounding region, returning home with a wealth of knowledge of their neighbors’ distinctive styles. The raw sound of Burkina Faso combined Afro-funk, traditional Islamic rhythms and subtle Afro-Latin sounds brought over by visiting Cuban ensembles. Mandingue melodies and guitar techniques from Mali and Guinea, however, were by far the most defining traits of a potent African mix that distinguished the Voltaic style between 1974 and 1979. Beginning with L’Harmonie Voltaique and Super Volta (both featured on this compilation), the pioneering orchestras from the capital Ouagadougou, several groups followed suit. Regional orchestras outside of the capital proudly boasted the contemporary sound through ensembles such as Echo Del Africa National and Volta Jazz, and exported much needed skilled musicians back to the capital. Record labels across Burkina Faso sprung up to capture the newly-born mystical and soulful sound taking over the country. Volta Discobel and Club Voltaique Du Disque (CVD) emerged in 1974 and competed for the modern music of their people. Despite its humble beginnings as a record shop, CVD came to dominate the industry. Both labels worked with the heavyweights of the time, such as the majestic Amadou Ballaké, a national icon who is featured extensively on this compilation. By the mid-’70s, Ouagadougou had become a hotbed for African music, filled with touring bands, gifted instrumentalists and hypnotic vocalists. Bamogo Jean Claube, the founder of Afro-Soul System, went from being a “musician’s tailor” to a celebrated singer. Ballaké himself jumped from job to job before being recognized for his graceful voice. While it might be Analog Africa’s venture into possibly the most obscure of African sounds thus far, the sounds of the golden age of Burkinabé music deserve to be heard and the varying styles that came to define the era are completely covered on this 16-track release.

AD 101EP

SAMOYED: Spit 10″ (AD 101EP) 11.00
This is the debut release proper from Samoyed, producer of mood-drenched, grainy lo-fi drones and tough dancefloor disturbances. Three original tracks and a remix from Lukid, fusing textural beatlessness with stripped-back house and techno, while also incorporating the artist’s own vocals, in a style he calls “Melty.” Support already from Rustie (one of these tracks featured in his FACT mix), Hudson Mohawke and Floating Points.

SD 8281HLP

MCDANIELS, EUGENE: Headless Heroes Of The Apocalypse LP (SD 8281HLP) 14.00
After Atlantic released Headless Heroes Of The Apocalypse in 1971, a paranoid Nixon administration demanded that further recordings by Eugene McDaniels not be released — and Atlantic complied. A fiercely political funk album, featuring outstanding performances from Alphonse Mouzon (drums), Harry Whitaker (piano) and Gary King (bass), among others, Headless Heroes Of The Apocalypse went on to be heavily sampled by Tribe Called Quest, De La Soul and Beastie Boys. 180 gram reissue, manufactured by Rhino.

AX 044CD

MILLS, JEFF: Fantastic Voyage 2CD (AX 044CD) 26.00
“The soundtrack was initially made for the cinemix event at Cite de la Musique in Paris in May 2011. Composed and produced by Jeff Mills for Axis Records. Recorded at The Spider Formation – Chicago. Inspired by the motion picture Fantastic Voyage (1966) and Osamu Tezuka.”


MATTIN: Exquisite Corpse LP (AZD 008LP) 16.00
“If you’ve been following his work (and even if you haven’t, you big bugbear) you know that Mattin brings a conceptual musician’s ear to his rock ‘n’ roll but he keeps it out of the museum and on the ‘streetz,’ ‘cos that’s where the riots went down, and this places him at a helluva impasse: the European dialectical impulse has no choice but to hurtle head-on into a game of chicken with the American-historical rock narrative (not the name of a band, though it should be) or to get in bed with it and allow their legs to intertwine in an awkward genital embrace. So it was that in the winter of ’08, the bellicose Basque recruited globetrotting bass pervert Margarida Garcia, Kevin Failure of Pink Reason (guitar and piano), and erstwhile Chinese Restaurant ‘Lucky’ Lloyd Frackkbonner (drums) for an exquisitely corpsical seance conducted on Manhattan’s Lower East Side, where Lautreamont shakes hands with the Language Poets and hunkers down for a burger and a smoke with Ivan Julian and Dougie Bowne (engineers and Vietnam vets both). Together they perform an ontological autopsy on the body of rock & roll form, then hogtie the improviser’s process with a rope made of crisis (remember the bailout?) — the Surrealist parlor game subjected here to crushing technology and a stopwatch plus liquor and god-knows-what else. The Rules: ten songs, each exactly three minutes in duration, recorded in strict ass-backwards fashion: first the vocals, then Kevin’s guitars, etc., then Margarida’s bowed and throbbing bass, then the drums. No second takes. No two musicians were allowed in the studio at the same time and none of them could hear a playback so their only guide — their score, if you will — was Mattin’s lyrics, which themselves are a living corpse that slices itself open to display its guts, which look like these ten songs or a mangled womb. So we hear it for the first time and guess what? It sounds like a Top-40 station playing nothing but side B of No New York. No shit. Every song is a hit.”

BD 190CD

ROOTS MANUVA: 4everevolution CD (BD 190CD) 15.50
Rodney Smith aka Roots Manuva’s studio album, 4everevolution, released via Big Dada/Banana Klan, “is just a few seconds under an hour long, consists of seventeen tracks and covers every style from wonky reggae through pop-funk, street spitting, straight up hip hop, sung ballads and epic death-disco. It deepens much of what Mr Manuva has already achieved over a glorious decade of innovation, but also throws in enough new ideas and adventures to last most creative artists a lifetime. We think it’s his very best work since Run Come Save Me.”

BD 190LP

ROOTS MANUVA: 4everevolution 2LP (BD 190LP) 20.50
2LP version with free download code.

LT 1032LP

GREEN, GRANT: Nigeria LP (LT 1032LP) 11.50
Originally released in 1962. Guitarist Grant Green performs with Sonny Clark (piano), Sam Jones (bass) and Art Blakey (drums).


BOYS NOIZE: Sessions Pt. 1 12″ (BNR 067EP) 12.00
Only available on special limited edition vinyl, individually stamped and marked — a mere 500 copies. This will be a strictly physical release. Boys Noize is back with a true ghetto release and the first part of his Boys Noize “live” sessions. “Buuurg” sounds like Hoovering worms, getting lost in the shuffle. “Pur” is a tempo-pounder, somehow minimal, but still showing Boys Noize at his most explicitly techno side.


NEGROT, AEREA: Arabxilla LP+CD (BPC 240LP) 21.00
LP version, including a free CD of the album. The debut album from the Venezuelan Aérea Negrot is one of those records that speaks with such intensity that her deepest emotions are instantly laid bare to the listener. This heartfelt account in music and words relays her unique outlook and life story to the world without a hint of inhibition. Sometime in 2004, having passed through Caracas, Porto, The Hague and London, Aérea Negrot arrived in Berlin and sensed she had finally found the place she had been looking for ever since her childhood. Aérea first settled for a while in London, studied at the Centre of Contemporary Music and began producing her first songs. After moving to Berlin, she set her mind on gaining the attention of the public with avant-garde dance performances. She earned a living in her spare time as a sales assistant at a furniture store on Savignyplatz. She finally appeared on the musical radar in 2010 with the release of her first official EP All I Wanna Do on BPitch Control. But instead of continuing to concentrate on her solo career, she started making a name for herself as a singer and dancer with the band Hercules & Love Affair, based around the American producer Andy Butler. After recording the album Blue Songs with the band, she set off on a world tour. Now, following her recent second BPitch Control EP Right Body Wrong Time and a remix EP featuring re-interpretations from Hercules & Love Affair, Seth Troxler and Ricardo Villalobos (who was so captivated when he heard the song “Miss You” in Tobias Freund’s studio that he produced two epic remixes the very next night) — the moment has arrived for Arabxilla. The album is filled with extraordinary avant-pop songs leading a merry dance around the genres of techno, house and electronica. Adding to the musical language, Aérea Negrot tells stories of her adventure-filled gypsy life in a varied patchwork of German, English and Spanish. Her vocal style follows her mood, sometimes classical opera, sometimes a sassy spoken-word style, sometimes simply speaking as the words come to her. There is a constant spirit of experimentation, but the magic of the initial, visceral feeling never goes missing. It was this instantly-recognizable magic that also inspired Tobias Freund, co-producer of the album, the first time he heard the tracks. There is very little about the songs, all of which Aérea Negrot composed at home on her computer, that Tobias has changed. A new bass line here and there, a few fresh drum sounds and a little analog boost were all that was needed to complete this musical bag of tricks, which will find its place in music history somewhere alongside Klaus Nomi, Yma Sumac, Marika Papagika and Maria Callas.

BL 754188LP

CHI-LITES, THE: A Letter To Myself LP (BL 754188LP) 11.50
Exact repro of Chicago soul outfit The Chi-Lites’ 1973 album. Tracks include “Too Late To Turn Back Now,” “Just Two Teenage Kids (Still In Love),” “Sally,” “Someone Else’s Arms,” “We Need Order,” “Love Comes In All Sizes,” “My Heart Just Keeps On Breakin'” and “You Smiled The Same Old Way.”

BB 084CD

PYROLATOR: Neuland CD (BB 084CD) 17.00
Pyrolator (Kurt Dahlke) is back, after a hiatus of 24 years! And he delivers pure electronic club music gold. If the name Pyrolator is new to you, here, he explains everything: “I have been a solo performer for a long while already, but the pieces I play are not entirely suited to the medium of LP or CD. They are either created as multi-channel sound or are heavily dependent on visuals. Nevertheless, I have always had a secret love of more club-oriented music. Since the mid-’90s, I have often produced or remixed projects like Antonelli Electr., Repeat Orchestra, Kreidler or Rocket In Dub. I had a lot of fun in the process, so I began to introduce elements like these into my live repertoire. They always went down really well, which gave me the idea of releasing something along those lines.” On the title: “First and foremost, it continues the ‘land’ series of my solo albums (1979’s Inland, 1981’s Ausland, 1984’s Wunderland, 1987’s Traumland). Neuland was always pencilled in as the title for my fifth solo album.” On constructing the album: “Basically in the same way as all of the other Pyrolator albums. I only played a really small portion of the music on the keyboard. I first used ‘Brontologik,’ a kind of flexible sequencer, on Ausland. In those days, it still counted as hardware. Today, it’s software, something I have developed continuously over the years. I am currently using the ‘Monome’ as an input device. I program a kind of matrix of rhythms, chords and melodies. I like to work with loops, refining them bit by bit, piecing them together. Music created through programming — composition, one might say — is simply nothing like the music I would come up with on a keyboard.” On live performance: “For me, it is important that I have the flexibility to intervene in the music, hence I work with two special controllers. The ‘Lightning II,’ on the one hand, enables me to translate the various musical parameters by means of two rods and movements in the air. This allows me to control everything I need in the computer — pitch, filters, length of the pieces etc. The other controller, the ‘Manta,’ reacts sensitively to any contact and thus gives rise to the most delicate of melodies, as well as facilitating other control functions.”

CCT 3025CD

DUBMATIX: Clash Of The Titans: The System Shakedown Remixes CD (CCT 3025CD) 15.50
Dubmatix aka Jesse King presents his 2011 full-length with a massive line-up of featured singers & dub remix artists. Dubmatix, based in Canada, is one of the most known, active artists in dub music these days. The album is a stunning 79-minute remix version of the 2010 album System Shakedown. Singers include The Mighty Diamonds, Kulcha Ites, Jay Douglas, Ammoye, Brother Culture, The Ragga Twins, U-Brown, Dennis Alcapone and Tippa Irie. Remix credits include Zion Train, Mungo’s Hi-Fi, G. Corp, Victor Rice, Dubivisionist, Aldubb, Subatomic Sound, Jason “DJ Shine” Spanu, Nate Wize, Webcam Hi-Fi, TVS, Brace, Eccodek and Vibronics.

CCT 3025LP

DUBMATIX: Clash Of The Titans: The System Shakedown Remixes 2LP (CCT 3025LP) 20.00
2LP version with insert. Dubmatix aka Jesse King presents his 2011 full-length with a massive line-up of featured singers & dub remix artists. Dubmatix, based in Canada, is one of the most known, active artists in dub music these days. The album is a stunning 79-minute remix version of the 2010 album System Shakedown. Singers include The Mighty Diamonds, Kulcha Ites, Jay Douglas, Ammoye, Brother Culture, The Ragga Twins, U-Brown, Dennis Alcapone and Tippa Irie. Remix credits include Zion Train, Mungo’s Hi-Fi, G. Corp, Victor Rice, Dubivisionist, Aldubb, Subatomic Sound, Jason “DJ Shine” Spanu, Nate Wize, Webcam Hi-Fi, TVS, Brace, Eccodek and Vibronics.

CL 652LP

CHRISTIAN, CHARLIE: With The Benny Goodman Sextet And Orchestra LP (CL 652LP) 14.00
“This is the story of Charlie Christian, who played guitar with the Benny Goodman Sextet and Orchestra from the fall of 1939 to the spring of 1941. He brought with him a new concept of jazz which, fused with the music of Lester Young and a few others, became the foundation of what was called bop in the forties, and opened the way to the whole field of ‘modern jazz’ in the fifties…”


WAREIKA: Per Aspera Ad Astra CD (CNS 010CD) 17.00
Subtitled: A Journey Of Essential Wareika Interpretations. “Per Aspera Ad Astra” means “through hardships to the stars,” and that is precisely Wareika’s motto. You could say that the trio from Hamburg is the hardest-working bunch in the music business. In 2010, they released two albums back-to-back, Formation (TART 001CD) on Tartelet Records and Harmonie Park (PERL 081LP) on Perlon Records. The enormous output by the trio is reminiscent of jazz musicians of the ’60s. Wareika have released several singles and have done some astonishing remix work within the past three years. Therefore, their collection of ten remixes, or better, reworked and interpreted songs, will give you a fine impression of how Wareika have elaborated their unique sound. To involve Alex Flitsch of Connaisseur Recordings was self-evident for the band. They started out on his label, made several remixes for it, and contributed tracks to the Grand Cru compilation. This also made it a matter of course to feature the exclusive remix of Connaisseur-act Kollektiv Turmstrasse’s “Tristesse” on this album. In order to give it even more of a proper album feel, Wareika have delivered an intro and outro, making this collection sound more balanced and harmonious. Please enjoy this almost 80 minute-long journey to the stars with Wareika. Also features remixes of artists such as Aufgang, Gus Gus, Daniel Nitsch, Mathias Kaden, Alex Flatner & Lopazz, Patrick Chardronnet, Kasper Björke & His Friendly Ghost, Soukie & Windisch and Manolo.


VIS-A-VIS: Obi Agye Me Dofo LP (CRU 702LP) 17.00
“The hard touring West African stalwarts Vis-A-Vis helped propel K. Frimpong to fame as one of Ghana’s most popular stars of the 1970s. On Frimpong’s records they were usually known as the Cubano Fiestas, but Vis-A-Vis recorded a number of albums under their own name. Led by vocalist Isaac ‘Superstar’ Yeboah and featuring top players like Sammy Cropper on guitar, Slim Manu on bass and Gybson ‘Shaolin Kung-Fu’ Papra on drums, Vis-A-Vis were both a popular live act and in-demand studio musicians, becoming the de facto house band at Ghanaian independent label Ofo Brothers Records. Continental Records is proud to announce the release of the group’s rare and essential 1977 LP Obi Agye Me Dofo. Briefly issued as an LP in the US in 1980, this is the first proper vinyl reissue of the album in its original Ghanaian form. The title track is very much in the mold of Frimpong’s big hits and the eight minute Kankyema shows how Vis-A-Vis could lock into a propelling funk groove with Superstar Yeboah’s soulful vocals riding on top. The three tracks on side 2 show Vis-A-Vis as masters of a spiraling, hypnotic Highlife. Original copies of this LP are scarce and in great demand. Along with the Frimpong albums it is one of the most sought after West African records from the golden age. This reissue has been handled with the utmost respect — every detail has been given strict attention and care. The remastered LP has never sounded more direct, vibrant and timeless. Each LP comes with a free HQ MP3 download of the entire album and is packaged in a resealable dust bag.”


VA: World’s Funkiest Covers CD (COS 003CD) 15.00
“Carefully selected by Deano Sounds, World’s Funkiest Covers features some of the funkiest covers from around the world and throughout time. The album includes a wide range of styles including deep funk, Latin soul, hard salsa, soul, afro beat, and cumbia. From the Ebony Rhythm Band’s deep funk cover of ‘Light My Fire’ to the soulful version of ‘Purple Haze’ by Johnny Jones and the King Casuals, the unforgettable tracks keep on coming. There’s also plenty of hard pounding salsa with Ray Barretto’s cover of ‘Pastime Paradise,’ Mongo Santamaria’s cover of ‘Cloud Nine’ and Williamsburg Salsa Orchestra’s cover of Spoon’s ‘I Turn My Camera On.’ More recent artists include Mighty Mo and the Winchester 7 and Nostalgia 77 covering ‘The Message’ and ‘Seven Nation Army’, respectively. This Cultures of Soul collection features unique versions of classics songs not easily found in the marketplace today. Each infectious song will leave listeners helplessly grooving to the beats, letting go on the dance floor and ultimately begging for more.”

CRS 8008LP

MAYFIELD, CURTIS: Curtis/Live! 2LP (CRS 8008LP) 21.00
Gatefold exact repro reissue, manufactured by Rhino. “Curtis/Live! is, simply, one of the greatest concert albums ever cut on a soul artist, and one of the legendary live albums of all time. Cut in January of 1971 during four nights at The Bitter End (then Greenwich Village’s leading music venue) in New York, the resulting double LP transcended any expectations in both its programming and execution — Mayfield performed numbers off of the Curtis album (‘[Don’t Worry] If There’s a Hell Below We’re All Going to Go’), as well as exciting and urgent new versions of songs originally performed by the Impressions (‘We’re a Winner,’ ‘People Get Ready,’ ‘Gypsy Woman’), plus a very moving R&B version of ‘We’ve Only Just Begun.'” –All Music Guide


EL REGO: El Rego CD (DAP 023CD) 15.50
“El Rego is a true legend of African soul music. Here for the first time on album are 12 of his greatest recordings from the late ’60s and early ’70s hand-picked by Daptone Records. Afro-soul collector/DJ Frank Gossner had spent years combing West Africa tracking down 45’s by Theophile Do Rego (aka El Rego) before finally meeting him face to face in his home in Benin. From that relationship came this album, which we present to you here in a 20-page hardcover bookcase CD featuring El Rego’s own story of his life and music along with pictures from his personal collection and artwork from his original 45’s. The music has been remastered with great care, and the vinyl contains an exclusive BONUS 45′ (while supplies last) of ‘Se Na Min’, one of his most sought after Afro-Funk tracks, backed with ‘E Ma Non Tin Me’, a beautiful and somewhat more traditional song about two blind men who agree to go together and leap to their deaths into a river. The music of El Rego varies astoundingly in style and rhythm: traditional rhythms of Benin played with modern instruments, John Lee Hooker-esque blues, Fela Kuti inspired afro-beat, afro-cuban claves, and straight-up James Brown style funk. However, there is a common musical thread that runs throughout. The music has a raw soulfulness and a unique avor that can be attributed beyond the sound of Benin, to the sound of El Rego himself. There is a timelessness to the recordings that ties all of the traditions that inspire them directly to the grooves that were dominating the radios and jukeboxes of the early ’70s. The record is teeming with breaking drums and twanging guitars, twisting basslines and undulating percussion.”


EL REGO: El Rego LP + 7″ (DAP 023LP) 16.50
LP version, with an exclusive bonus 45 and an mp3 download coupon.


YEH, C. SPENCER: Songs 2002 Cassette (DESTIJL 094CS) 7.00
“Double A sided cassette reissue of a severely limited one-sided LP, and what might be C Spencer Yeh’s most trying, challenging and rewarding foray into a world previously unknown to him, and us: his world of song. Songs 2002 contain what are perhaps subtle homages to early Eno and primo era Bowie vis a vis the studio treatments of the raw sounds with which we’re more familiar in his previous work. Yeh’s songs work within two generalized veins: ala Eno’s early attempts to communicate liquidly within a ‘rigid’ language and structure as pop/rock, and similar to Keiji Haino’s sense of mythos and personal pulse. Recorded over 10 yrs ago, ultimately, these songs can stand aside the most difficult of outsider aesthetics. There is nothing really new here, aside from what is essentially editing and narration. Might just be me, but I think he’s found love, both in what inspires him, and a new found expression.”


“Thelma is best described as a place existing in between–a lake within a haze. Against its concave mirror, the sonic territory of Benoit Honore Pioulard–documented across three acclaimed LPs by Chicago’s Kranky label–assumes the qualities of this place and all its ephemera, warm breezes, burbling shimmers and avian circlers. During his excursions to Thelma, Pioulard rested beneath the willow and wandered in the meadow, listening, absorbing, and recording. Glimpses are contained herein, where the solace and beauty of this mysterious place resonate in travelers who care to listen.” On clear vinyl.


LILES, ANDREW: The Flesh Creeping Gonzoid & Other Imaginary Creatures 6CD BOX (DPROM 086CD) 34.50
Subtitled: Volumes One To Six. The Flesh Creeping Gonzoid is a 6CD set that comes in a box adorned with lurid, glossy artwork, complete with individual wallets and a full-color booklet. All discs are over an hour in length and feature ALL of Andrew Liles’ compilation appearances, rare and out-of -print recordings, many studio-outtakes, alternative versions and hours of unreleased recordings. Limited to 500 copies. Andrew’s music in his own right is never predictable, always invigorating, sometimes infuriating, usually challenging, but never boring… and very much complements the material he works on with Current 93 and Nurse With Wound.


VOID: Sessions 1981-1983 CD (DIS 171CD) 11.00
“While organizing the Dischord archive, we came across the 4-track of Void’s first recording session. This was done with Steve Carr at Hit and Run Studios in November ’81 and never released (though there has been at least one bootleg made from a cassette of the original mix). The master tape was nowhere to be found, so the tape was remixed by Ian MacKaye and Don Zientara at Inner Ear earlier this year. It was like digging through a treasure chest! Hearing embryonic versions of what would become Void classics as well as songs that didn’t make the cut made it clear just how driven this band was to capture their own sound. Sessions 1981-1983 features the entire Hit and Run session along with the first Inner Ear Demo (including the Flex Your Head cuts and the songs that ended up on the Condensed Flesh 7″), two out-takes from their second Inner Ear session, and a couple of live recordings including one that I think must be the last song they ever played.”


VOID: Sessions 1981-1983 LP (DIS 171LP) 13.00
LP version, with mp3 download code.


ANTONA, MARC: Rules Of Madness – Part 4 12″ (DISS 007EP) 12.00
Marc Antona releases now the fourth and final Rules Of Madness vinyl — a perfect place for two uncommon, creative tracks that reveal the very wide range Dissonant can bring to your ears. “Last Taboo” portrays the delicate, coy and ambient side of Rules Of Madness (DISS 001CD), yet keeps the rhythm shaking. “The Hammock Spider Story” is a track that weaves and builds in a percussive and freaky manner.


VA: Opika Pende: Africa At 78 RPM 4CD/BOOK (DTD 022CD) 55.00
Opika Pende: Africa At 78 RPM is a 4CD collection featuring 100 tracks taken from rare 78rpm recordings of African music (1909 to mid-1960s), none of which have ever been issued on CD until now. Pan-African in scope and wildly diverse, Opika Pende is a testament to the deep riches found in early recorded music across the continent. 112-page softcover book with 4 CDs in a separate portfolio — all housed in a deluxe cloth slipcase. Jonathan Ward is a Los Angeles-based collector, researcher, and writer. In 2007, he began the well-known web site Excavated Shellac, which features a wide range of scarce, international 78rpm records from across the globe with extensive commentary. In 2010, Jonathan released his first LP in a series for Dust-to-Digital’s vinyl imprint Parlortone. Titled Excavated Shellac: Strings (PT 2001LP), it contains 14 exemplary performances on string instruments from across the globe, all from his collection of 78s.


BLACK HOLE MIAMI: Pure Hell Cassette (E#105S) 8.00
“Over the top trio of Rat Bastard (To Live & Shave in LA), Ulrich Krieger (Zeitkratzer) and Chris Grier (Scarcity of Tanks, etc.). 50 copies.”


STEGM: On Tight White Sheets 2xCassette (E#105T) 11.50
“2Xcassette in white vinyl case. Killer harsh noise project of Canada power electronics master Ryan Bloomer. 100 copies.”


STILLBIRTH: Before Things Got Worse Cassette (E#109D-CS) 8.00
“Focused noise drama from Luke Moldof (Razors & Medicine). 100 copies.”


CALDERA LAKES: Arranged Cassette (E#110C) 8.00
“Beautiful dream noise from Eva Aguila (Kevin Shields) and Brittany Gould. 100 copies.”


PEAH, LEAH: Leah Peah Cassette (E#1D) 8.00
“Solo cassette of harsh noise love from member of Head Molt. 100 copies.”


BODY/HEAD: Fractured Orgasm Cassette (E#22E) 8.00
“Kim Gordon + Bill Nace. 150 copies.”


STRANGE BREW: Live Weird, Die Weird Cassette (E#8C) 8.00
“Solo noise action from Ann Arbor, Michigan legend Michelle Birawer. 100 copies.”


WEIRD HABIT: Weird Habit Cassette (E#8D) 8.00
“Amazing new solo venture from Sarah Bernat of 16 Bitch Pile-Up. 100 copies.”


MOROI, MAKOTO: Obscure Tape Music of Japan Vol. 13: Kusabira CD (OPA 013CD) 25.50
One of the pioneers of Japanese electronic music, Makoto Moroi, composed “Kusabira” for Kyogen (traditional comedy theater) with electronic sound in 1964. “Kusabira” means “mushroom.” A strolling Buddhist monk, Yamabushi, tried to exterminate many mushrooms that grew in the garden of a man’s home. However, his magic did not take effect on them but also the Mushrooms began to increase. The man and Yamabushi were driven out of the home by a large Mushroom, finally. In this work, Moroi used abstract electronic sounds, like on his earliest works, and he modulated Kyogen lines into concrete sound — so noisy and strange in all of Moroi’s electronic works. The second piece is “Sinfonia – Shin – For S.M.” (1972). This is Moroi’s most important work using Japanese traditional instruments. The origin of this work was based on Arving Toffler’s 1970 book Future Shock, and it was composed as spacephonic music by a 4-channel recording system. This is committed work by the young genius player Susumu Miyashita, who plays various kinds of koto, gongs, percussion and Indian flute bansuries. The sharpness of the performance is so wonderful, and also some transformed human voices are inserted in the middle part of this work. Both of these two works together contrast “comedy” with “tragedy.” This work was released on LP in 1973 (Victor). This is the first time “Kusabira” has appeared on disc, and this is the first CD reissue of “Sinfonia-Shin-For S.M.” Cardboard paper gatefold sleeve in its original design. Newly-written liner notes in Japanese by the artist, translated into English. Limited edition of 500 copies.


YUASA, JOJI: Obscure Tape Music of Japan Vol. 14: Background Sound… CD (OPA 014CD) 25.50
…In Textile Pavillion Of EXPO ’70. At the EXPO ’70 in Osaka, many avant-garde artists contributed architectural, space, environmental design and sound works. In the Textile Pavillion (“Sen-i Kan” in Japanese), Japanese composer Joji Yuasa and filmmaker Toshio Matsumoto presented a remarkable experimental event, “Space Projection ‘Ako'” for multi-channel tape music and image projection. Also included in the presentation at the Pavillion was background sound for several spaces and objects, composed by Joji Yuasa, mainly. This original master tape was provided by Yoshimasa Matsumoto, the sound operator at the Pavillion, who was also a sound engineer for ’60s film and television which included “Ultra Q,” “Ultraman” and others. For the first track, “Music For ‘Pattern-Slide ‘Mon’yoh’,” abstract textile images were projected on the walls of a corridor (“Mon’yoh” means graphical patterns). This concrete sound was composed specially for this space. “Music For ‘Colourful World'” (by unknown mixer) was played and recorded by three electric guitar players. “White World” involved the same interior space as “Colourful World,” except it was painted white, in contrast to “Colourful World.” Music for this room was made out of sound material from “Projection Esemplastic” and “Icon For White Noise,” both important electronic works from Yuasa’s early years. “Voices Of Dolls” featured a group of tall, gentleman-like dolls set in a lobby space, accompanied by meaningless text in Japanese, English and Portuguese coming out of them. The Japanese version is a part of Yuasa’s concrete work, “Voices Coming.” An English version (by Joseph Love) and a Portuguese version (by Joaquim M. Benoetez) were recorded for this project. For “Voice Of ‘Raven’ Objects” (by unknown mixer) the artist Masunobu Yoshimura created ravens and arranged them here and there on the Pavillion. The accompanying sound was made from modulated Noh chant and lines from a story coming out of the mouths of the ravens. “Background Sound Of Central Dome” was taken from events such as “Space Projection ‘Ako'” that took place in the dome space of the Pavillion. This background sound was prepared from marimba modulated by a square wave. Premiere recordings on disc, housed in a cardboard paper gatefold sleeve in an original design. Includes newly-written liner notes in Japanese & English. Limited edition of 500 copies.


TONE, YASUNAO: MP3 Deviations #6+7 CD (EMEGO 125CD) 15.50
“The MP3 Deviation album contains pieces that are results of the collaborative research by a team of the New Aesthetics in Computer Music (NACM) and myself, led by Tony Myatt at Music Research Center at the University of York in UK in 2009. My idea was to develop new software based on the disruption of the MP3. Primarily I thought the MP3 as a reproducing device could have created a very new sound by intervention between its main elements, the compression encoder and decoder. It turned out that result was not satisfactory. However, we found that if the sound file had been corrupted in the MP3, the corruptions generated 21 error messages, which could be utilized to assign various 21 lengths of samples automatically. Combining with different playback speeds, it could produce unpredictable and unknowable sound. That is a main pillar of the software. We, also, added some other elements such as flipping stereo channels and phase inversing alternately with a certain length of frequency ranges, which resulted in different timbres and pitches. I performed several times at the MRC and I was certain that this software would be a perfect tool for performances. I have tentatively performed the piece in public in Kyoto, May 2009 and in New York, in May 2010. I also performed it successfully with totally different sound sources when I was invited for The Morning Line in Vienna in June 2011.” –Yasunao Tone; Executive producer, Peter Rehberg. Cover design, Tina Frank. Digital mastering, Russell Haswell.


Editions Mego is happy to announce the release of Kanal GENDYN, a vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full-length release by the artists following their highly-acclaimed albums, Blackest Ever Black and UPIC Warp Tracks. In the late ’90s/early 2000s, it became common for bands, or solo artists to perform live — often alternative — soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell and Florian Hecker chose to create a real-time soundtrack to an un-scored film, Kanal Video (1992, 60 min.) by the Swiss artist duo Peter Fischli & David Weiss. Core to Kanal GENDYN is Haswell & Hecker’s ongoing research on the legacies of polymath Iannis Xenakis (1922-2001) and in particular, his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates “sound out of nothing.” In an interview with Peter Hoffmann, the artists recall: “This video, which consists of an hour-long ‘ride’ through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects — struck us both as an ideal piece to be projected in a ‘nightclub’ or music venue with a GENDYN only performance. We found twisted relations with such an hour-long ‘tunnel vision.’ Once with the seemingly endless amount of computer-generated video projections used as visuals accompanying raves and techno parties during the 1990’s — and also to the accounts of visual hallucinations induced by mescaline as described by Heinrich Klüver in the 1920s — with the so-called ‘form constants’ — where he mentions amongst others, ‘tunnel-like’ patterns. The particularities of GENDYN, with its ever-changing and meandering waveforms appeared to us as an ideal counterpart.” Kanal GENDYN was performed on the occasion of the event “Musterraum 9. Dual Presentation — Peter Fischli & David Weiss — Russell Haswell & Florian Hecker” at Musterraum, Munich, 1/30/2004. Originally constructed as an experimental building, “Musterraum” — German for “sample” or “reference room” — was a freestanding cube with a base area of 10×12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne. Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12/B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, Kanal Video (1992, 60 min.) screened on three facing walls. Kanal GENDYN is released as a stereo vinyl LP + 4.0 DTS 24 Bit/48 KHz DVD (audio-only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30×30 cm 170 gram paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich. It’s also worth noting that, with a running time of over an hour, this is one of the longest single LP releases you will come across. Cut by Rashad “The Master” Becker at Dubplates & Mastering, Berlin, September 2011.

EN 001LP

LP version. Komba is the brilliant and much-anticipated second album by worldwide renowned artist, Buraka Som Sistema. Preceded by the single “(We Stay) Up All Night,” Komba is an eruptive journey into a brand-new musical world. It is an exploration of the borders between life and death combined with Buraka’s fierce dance music approach. This album is set to push the group back to the forefront of electronic music with their unique, raw take on the global ghetto revolution. With the jaw-dropping single “Hangover (Bababa),” Komba has the group, once again, re-shaping the world’s musical frontiers. Featuring Afrikan Boys, Sara Tavares & Terry Lynn, Blaya & Roses Gabor, Stereotyp, Mixhell and Bomba Estereo.

BA 17025LP

PIKE QUARTET, THE DAVE: Pike’s Peak LP (BA 17025LP) 12.00
Originally released in 1961, this session from vibraphonist Dave Pike features Bill Evans (piano), Herbie Lewis (bass) and Walter Perkins (drums). Includes the Miles Davis-inspired “Why Not.”


Exact repro of this late ’60s southern soul group (previously known as gospel singers The Kingpins). Fragile, tender songs that will make you cry when you contemplate the cold reality that — despite your amazing record collection — you’ve never known what it means to “fall in love.”


BOGNER, URSULA: Sonne = Blackbox LP (FAITICHE 005LP) 17.00
LP version. Subtitled: Voice And Tape Music. The world first learned of unknown housewife/mother/pharmacist/electronic experimentalist Ursula Bogner’s work in 2008. Since then, her identity has been surrounded by rumors, her graphic work has been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, among others).


HAPPY JAWBONE FAMILY BAND: OK Midnight, You Win CD (FTR 063CD) 13.50
The second LP (fifth album) by this Vermont/Colorado quintet finds them traipsing ever deeper into the kind of mythic American territory we usually associate with bands who view our landscape from far outside its windows. Think of Australia’s Triffids or New Zealand’s Renderers and cross their brilliant Southern Hemisphere inventions with truths only wrenchable from the heart of the beast. There’s a genuine ruralist hoot factor here so smooth that it hits like a ton of silk, but there’s enough killbilly undertow to keep everyone standing nervously around that jug of magic moonshine.


HAPPY JAWBONE FAMILY BAND: OK Midnight, You Win LP (FTR 063LP) 16.50
LP version.


WILSON, GARY: Forgotten Lovers LP (FTR 065LP) 16.50
First vinyl issue of this collection of rare and unreleased material by one of the most iconoclastic musicians produced by the 1970s. Gary Wilson’s 1977 LP, You Think You Really Know Me, is a classic of alternate-universe lounge-wave, and has been cited as choice by everyone from The Residents to Beck Hansen. Forgotten Lovers includes unreleased studio tracks from the same period, subsequent singles tracks, as well as samples of Wilson’s pre-You Think You Really Know Me records (a single and an album) which were more in a porn-soundtrack/jazz-funk vein. Gary has reanimated his career in the last decade, and we raise our hats to him for doing so, but this early stuff is really the donkey’s eyelids. A classic bizzaro-world blend of various “real people” elements and explosive new wave dynamics. As rich as butter, you’ll want to spread this music on your torso to promote tanning.


VA: Intelligent Ambient Music 01 CD (FNT 005CD) 17.00
After a few warm-up digital releases, Mille Plateaux are proud to present their new label, Force Intel. Why another sub-label? Well, Force Intel is not a sub-label, it’s rather a sister of Mille Plateaux. They discovered that there’s a lot of great music out there that is simply not experimental enough for Mille Plateaux. Force Intel will take care of this sound that is usually called “IDM.” Do you know a better ambient music compilation?!? Intelligent Ambient Music 01 is a fine example that there is more to ambient music than 10+ minute drone atmospheres: the 15 tracks are surprisingly melodic, surprisingly rhythmic, often surprisingly short and most of all: surprisingly multi-variant. The sounds cover old school FSOL ’90s style, analog synths and small-sounding tracks. Only the wall-of-sound-ambient-dub style comes without any rhythmical elements (ie. is near-drone style). Most tracks each have their own character that is too untypically ambient to be categorized. Anyway, IAM will hook to your ears, unlike most other ambient albums. Artists include: Plaster, Sabi, D-Fried, Pleq, Loom, Moornyc, Phluidbox, Ametsub, Antendex, Acheloo, a.farOne, Khalija, Marow, Dead J, Soutien Gorge, Nicolaus and Wyatt Keusch.


FORMAT:B: Restless CD (FMK 001CD) 17.00
It has been three years since Steam Circuit (HIGH 054CD, 2008) first glimpsed the light of day and gave us hits like “Edding 850” which shot to the top of the Beatport charts. The two Berliners have been very busy and founded their own label, Formatik Records, about two years ago, amongst many other things. They have already released hits like “Gospel” and various tracks by new and promising artists and also famed producer Sébastien Léger. Their success sent them out on a major world tour: Australia, Asia and into virtually every corner of Europe. They also tapped into the South American market in a big way. They also regularly host a Formatik label night in the world-renowned Berlin club, Watergate. On their last album, Franz and Jakob were to be found covered in soot and coal, firing up the engines of the dance locomotive — now they’ve gone greener and swapped over to wind power and are fishing the Restless oceans of the world. Tirelessly, the two sailors work on the deck disregarding the cold and the weather, pulling in the nets filled with floundering hits. This time, they’ve spiced up the bait with the amazing voice of Fran on “Liquid,” who turns into a working class siren and manages to rock the boat properly. Keeping with the maritime theme, the boys have used a harmonica on “Socks & Sandals” and a piano on “Piano Man.” Classic Format:B can be found on “Atomizer” and “Oversexed” — high bass beats to thrill the four quarter beat fans — and “Biker Meth” is going to keep you dancing till noon (at least).


SULLY: Toffee Apple 10″ (FRJ 009EP) 11.00
This single from UK bass badman Sully finds the versatile producer taking purple synths and twisting them into dizzying contortions. A rude drop roots the track firmly in UK soundsystem culture while a tough stepper’s beat drives it forward. Locating a space between 2step’s swing, dubstep’s edge and breakstep’s drums, Sully’s productions perfected styles and vibes four or five years before the “future garage” movement. “Toffee Apple” is the perfect sweetener. Super-limited pressing with artwork etching on the flipside.

GET 51276CD

BLACK ROCK & RON: Stop The World CD (GET 51276CD) 15.00
“Hailing from Hollis Queens (and well influenced by their neighbors, RUN-DMC), Lord Black, the Ruler Master Rock, and Ron Scratch released their first single Hard Rap on Next Plateau in 1986 under the name the Vicious Four. Released during the emergence of the ‘new school’ where samplers and drum machines such as the Lynn Drum and the SP-12 hit the market, producers and hip-hop artists were better able to create a less expensive and more complex structure to tracks that wasn’t previously available without having connections or a backing band. The era of loop heavy samples and drum breaks were upon us. Get On Down in conjunction with Sony Music presents this dusty gem repackaged with an extended booklet featuring vintage never seen-promo photography, the first interview with all 3 members in over 20 years, a reprint of vintage HHC magazine cover story feature and Testimonial quotes from likes of Russell Simmons, Tragedy Khadafi and Uncle Ralph McDaniels.”

GET 51288CD

P-FUNK ALL-STARS: Urban Dancefloor Guerillas CD (GET 51288CD) 15.00
“In terms of pure collective talent, Urban Dancefloor Guerillas, the 1983 debut recording of the P-Funk All-Stars, ranks amongst the most impressive album rosters ever assembled. True to their name, the All-Stars were comprised mainly of alumni from George Clinton’s two legendary groups, Parliament and Funkadelic, including Bootsy Collins, Garry Shider, Eddie Hazel and Walter ‘June’ Morrison. Along with them, Clinton recruited the likes of Sly Stone, Bobby Womack, Maceo Parker and Fred Wesley for this sprawling, ambitious excursion into post-70s funk. ‘Copy Cat’ serves as a worthy counterpart to ‘Atomic Dog,’ with the familiar thick, drooping bass and layered orchestration, but Clinton and his crew also explore different musical territory, as heard on the subterranean groove of ‘Hydraulic Pump’ and funky doo-wop sway of ‘One of Those Summers.’ Despite the large collection of musicians, the album plays with a cohesiveness and contagious energy indicative of a group that’s been together for years, and can be considered a true classic of the genre. In continuing their ongoing series of high quality reissues, Get On Down is proud to present the definitive reissue of P-Funk All-Stars debut Urban Dancefloor Guerillas, with a new audio transfer from the original master tapes and packaged in a six-panel digipak. Also includes two bonus tracks, ‘Pumpin’ It Up (Special Club Mix)’ and an extended version of ‘Generator Pop’ previously only found on the original 12″ single.”

GET 54043LP

GENIUS/GZA: Liquid Swords 2LP (GET 54043LP) 24.00
“According to legend, when the Wu-Tang Clan formed like Voltron on their debut album in 1993, GZA happened to be the head–an appropriate place for a man also called ‘The Genius.’ Yet at the time few could have predicted that his 1995 masterpiece Liquid Swords would be considered ‘one of the most substantial lyrical journeys in hip-hop history’ (Chicago Tribune). At the peak of his powers as a producer, Wu-Tang mastermind RZA crafted the album’s distinctive soundtrack at his basement studio in Staten Island; a haunting landscape of dusty samples, sharp snares and menacing urban gloom, with frequent interludes of dialogue from the classic Samurai flick Shogun Assassin. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences–from chess to kung-fu films to mob flicks and Eastern philosophy–into sharply delivered rhymes. The album features appearances by the entire Wu-Tang Clan, and includes the auspicious debut of Killah Priest on ‘B.I.B.L.E.’ Acknowledged as one of the ‘100 Best Rap Albums’ (The Source) and ‘Top 100 Records of the 1990s’ (, Get On Down is proud to present Liquid Swords as it was intended to be experienced, on double vinyl with audio remastered from the original source tapes and the original iconic cover artwork from DC Comics artist Denys Cowan.” Includes poster insert.

GET 56002LP

RUSSELL, ARTHUR: 24-24 Music 4LP BOX (GET 56002LP) 68.00
“Though classically trained Arthur Russell’s major contributions to the music world is in the dance genre. Despite the fact that his pioneering work in the late ’70s and on through the ’80s was only quietly acknowledged at the time, his long term impact is best described as formidable. Russell’s innovative; left field dance records flew way ahead of what people were used to hearing at the time, due in part, to his involvement in New York’s downtown avant-garde music scene. He scored several hits at clubs like the Paradise Garage (Larry Levan was a huge supporter) and his biggest tunes, ‘Go Bang!’ and ‘Is It All Over My Face?’ are worldwide hits and still played to this day. Sleeping Bag Records and Get On Down are proud to present his seminal work, the full length 24–>24 Music expanded to a deluxe 4LP box set. In addition to the music found on the original issue of the album this collection includes rare 12″ remixes and edits including the highly coveted ‘Go Bang! (Walter Gibbons Mix)’ and the infamous’ rare ‘You Can’t Hold Me Down (Test Pressing Version).’ Records 3 and 4 round out the rest of his audio credits with Sleeping Bag and features his alias’ and collaborations; Bonzo Goes To Washington, Felix, Sounds Of JHS 126 Brooklyn and Indian Ocean. The four LPs are housed inside beautiful one of a kind, hand pulled screen printed sleeves that tuck into the extra durable, matching screen printed box. The audio is accompanied by an oversized, 20 page booklet featuring unreleased photos by Janette Beckman, words courtesy of Russell biographer Tim Lawrence, and testimonials by some of the greats in the field, vintage artwork and other ephemera. Sadly, we lost Arthur in 1992, but his art lives on and his influence is still felt in the world of dance music and beyond.”


FAREWELL POETRY: Hoping For The Invisible To Ignite CD/DVD (GZH 035CD) 21.00
FareWell Poetry is a collective of Parisian musicians and an Anglo-Saxon poet and filmmaker. From indie to modern classical to drone and shoegaze, spoken word and experimental film, FareWell Poetry represents the pooled influences of its core members and passionate collaborators. The band’s richly-arranged songs seek out subtle and luminous climaxes, the hypnotically simple melodies falling away like scaffolding to reveal a complex structure narrated by a haunted voice drumming out a dark poetry, echoes from a deep well. Performing in festivals, movie theaters, concert halls, churches and collaborating with a wide range of guests such as Bérangère Maximin, Gaspar Claus, David Moore, David Fenech, this ambitious project combines incandescent and powerful drama, orchestrated minimalism, experimental film, dark sensuality and luminous poetry. Hoping For The Invisible To Ignite was recorded and mixed between Paris, Normandy (FR) and Saint-Margaret of Antioch Church in Leeds (UK). These four haunting, orchestral pieces were performed in the studio live, and re-recorded using a “wall of sound” process, adding the natural reverb of the church to the raw tracks. The DVD includes the Super 8/16mm black&white film As True As Troilus by Jayne Amara Ross and a bonus live performance shot by Alain Grodard and Rod Maurice during the “Festival des Nouveaux Arts Sacres” at Saint-Eustache Church in Paris. Somewhere between a sleep-starved Man Ray, the visual performances of Throbbing Gristle or The Velvet Underground, FareWell Poetry exudes a creativity inspired by a state of trance and seeks new boundaries to push back, new doors to open. European PAL format, region free; 40 minutes, stereo.


HALLE & ESPEN ERIKSEN, GUNNAR: Meditations On Christmas CD (GRCD 4345CD) 17.00
The experienced young duo of Gunnar Halle (trumpet) and Espen Eriksen (piano) present familiar Christmas carols in reflective new settings on Meditations On Christmas. Sensitive ensemble-playing and lyrical calm runs like a golden thread throughout the disc. The strength and the message of these Christmas songs is so powerful, that they shine no matter what sort of light is cast upon them. The music is incredibly beautiful, but challenging to the listener, too, in improvisations and new arrangements. The duo performed a long series of overwhelmingly well-received concerts before they made the recording at Oslo’s legendary Rainbow Studio in May of 2010. Gunnar Halle is most certainly a name to remember for the future. He was born in 1973 in Bærum, near Oslo, and studied in Copenhagen, where he established himself as one of the most sought-after young trumpeters of his generation. Since 2001, he has pursued his musical career full-time, collaborating mostly with Danish, Swedish and Finnish musicians, touring the world and contributing on over 60 recordings. Espen Eriksen was born in Haugesund in 1974. He is best known today as leader of the Espen Eriksen Trio.

HFN 008-7

DARKNESS FALLS: The Void 7″ (HFN 008-7) 8.00
Taken from their forthcoming debut album, the spellbinding Alive In Us (HFN 009CD/LP), Darkness Falls announces their next single, the melancholic and mysterious The Void. Featuring the heartwarming tones of lead singer Josephine Philip, who co-writes with band partner Ina Lindgreen, the whole album was produced by leading Danish composer and recording artist Anders Trentemøller. Trentemøller’s touching “Piano Version” accompanies the original, drawing on the heartstrings as he does so well, with great sensitivity to the original.


VIODRE: Interpol Alchemi CD (HOS 161CD) 14.00
“One of the top ten noise albums of all time.”


BEAULIEAU, EMIL: Moonlight In Vermont CD (HOS 250CD) 14.00
Much needed reissue of this legendary release, which had passed around the most elite noise dude circles for years on CD-R before being slated for an aborted Hanson release. It eventually became Emil Beaulieau’s debut on Ecstatic Peace as a now very out-of-print LP released in 2006. “The true sound of love by America’s greatest living noise artist.”


AHLZAGAILZEHGUH: Memory & Hearing CD (HOS 327CD) 14.00
“Masterpiece of difficult collage noise requiring repeated listening.”


EILERTSEN, MATS: SkyDive CD (HUBRO 2507CD) 17.00
SkyDive is the sixth album from bass player, composer and band-leader Mats Eilertsen, released under his own name. His quartet has been expanded and grown into a quintet since the release of the highly-praised 2009 album Radio Yonder (HUBRO 2501CD). The members of the original quartet are still present: saxophonist Tore Brunborg, who also plays together with Eilertsen in Tord Gustavsen’s band, the exciting guitarist Thomas T. Dahl, and the creative Finnish drummer Olavi Louhivuori, who is known from the Ilmiliekki Quartet and Tomasz Stanko’s band. The new member of the team is the extraordinarily sophisticated Finnish pianist Alexi Tuomarila. Like Louhivuori, Tuomarila plays in Tomasz Stanko’s band. He released the album Constellation together with Eilertsen and Louhivuori in 2006. Mats has found the perfect quintet to play his melodious, intricate and organic music. Intense beauty and fluid virtuosity. In this band, the members are all equals and are all superlative players. The album was recorded at the legendary Rainbow Studio by Jan Erik Kongshaug, and was produced by Eilertsen himself. The material also has a broader scope this time, ranging from the robust to the ethereal and esoteric, from the hymn-like “Parachute Psalm” to the energetic riffs of “The Old Oak.” All the material was composed by Eilertsen. As always, his music is melodic, dynamic and richly lyrical.


JESU: Jesu 2LP (HDH 079LP) 26.50
Deluxe double LP reissue of this classic Broadrick project — his last great record before he started taking too many nature walks, got in touch with his feelings and descended into repulsive emo-pussy stage. Die-cut cover. “Few albums represent an individual and genre defining milestone as does the self titled debut from Justin Broadrick’s Jesu. Combining the considerable sonic weight of Godflesh with brittle melancholy melodies in hypnotic long-form structures, it provided ample evidence of Broadrick’s myriad capabilities as a song writer and ceaselessly creative musical innovator. While the eight tracks that comprise the album truly sound like no one else, they also hinted at previously unexplored areas of tenderness and subtlety. Though Jesu went on to mine those more harmonious aspects of its sound on subsequent releases to great effect, none rivaled the debut in its perfectly crafted mixture of beauty, heaviness, hope and despair. Much has happened since the arrival of this album, both for Broadrick as well as the musical world(s) he inhabits, but nothing has diminished the gleaming radiance of this darkened gem.”


PRURIENT: Time’s Arrow CD (HDH 231CD) 11.00
“For many artists who have careers that span more than an album or two, there are often various lines visible in their work – a line from origin to current form, lines between different paradigms of sound, lines across which fans of different manifestations of the artist will not cross. Prurient in 2011 is drawing just such lines, and Time’s Arrow proves this point explicitly. Here we bear witness to Dominick Fernow’s long running project once again evolving, unfolding, permutating. Taking a bold step away from the sounds which drew attention his way in the formative years, he is clearly moving towards something new, something still taking form in the present moment. Unsettling perhaps for followers of Prurient’s former incarnations, but extremely important for the longevity and vitality of a determinedly restless and inventive musician as Fernow has consistently proved himself to be.”


PRURIENT: Time’s Arrow LP (HDH 231LP) 20.50
LP version, with download code.


KING MIDAS SOUND: Goodbye Girl 12″ (HDB 054EP) 11.00
“This new single features two of the most upfront tracks from King Midas Sound’s album project Without You, featuring re-voiced and re-versioned mutations of their debut album Waiting For You. Side A is a mix of ‘Goodbye Girl’ by Kuedo aka former Vex’d producer Jamie Teasdale, who drags the original’s domestic melodrama through a fatigued waltz of droning synths and stumbling drums. Side AA carries a radical new take on ‘Earth A Kill Ya’ by Mala from Digital Mystikz.”

MERC 5310374LP

JOHN, ELTON: Goodbye Yellow Brick Road 2LP (MERC 5310374LP) 32.00
2008 gatefold reissue. No one has been able to adequately substantiate the legend that Elton John owns a remote island in the South Atlantic where humans are hunted for sport, but among those who’ve tried, 1973’s Goodbye Yellow Brick Road is the place to start. Look to the cryptic lyrics of songs like “Love Lies Bleeding,” “Bennie And The Jets,” “Saturday Night’s Alright For Fighting” and “Candle In The Wind” for evidence of that mysterious shoreline’s existence.


DANAVA: Hemisphere Of Shadows LP (KEM 130LP) 16.50
“One of the early signings that helped put Kemado Records on the map, Danava now return with the long-awaited Hemisphere of Shadows, their first new album in three years. From their initial appearance on Kemado’s famed Invaders comp, Danava turned heads with a bombastic ’70s sound that melded blazing psych-metal with glam-rock flair. Upon the release of the band’s self-titled debut EP in 2006, Pitchfork hailed Danava as true leaders, calling them ‘the sole working owners of this sound, an almost glam-rock, Hawkwind thing’ and Guitar World lauded their ‘chaotic psych-metal brew.'” Hand-numbered limited edition of 1000 copies.


TRUE WIDOW: I.N.O. EP LP (KEM 133LP) 16.50
“Dallas trio True Widow follow up their critically acclaimed double album As High As the Highest Heavens and From the Center to the Circumference of the Earth with the five track EP I.N.O. The title track ‘I.N.O.’ was one of the first songs they recorded as a band, helping them discover the direction that they’ve been going in ever since. The other songs included on the EP all stem from the As High As… sessions, a project that breaths more into the melancholy, meditative approach to songwriting and soundscape that True Widow is most admired for.” Hand-numbered limited edition of 500 copies.


GOSPEL MUSIC: How To Get To Heaven From Jacksonville, FL LP (KRS 557LP) 16.50
“The last time we heard from Gospel Music (Owen Holmes, bassist of Black Kids) on 2010’s duettes EP, Owen Holmes was collaborating with members of the Magnetic Fields, Camera Obscura and other likeminded artists, creating a sound critics compared to Jonathan Richman, Silver Jews and the Vaselines. On How To Get To Heaven From Jacksonville, FL, he further develops his homespun lo-fi, layering toy piano, organ and banjo over jangly guitars, bouncy basslines and minimalist drums. His playful, conversational baritone sits squarely between that of David Berman and Lou Reed, while lots of syrupy female vocals, this time from his Jacksonville friend Madeline Long, provide the perfect foil.” Includes free mp3 download.


MIRI: Okkar CD (KRCD 018CD) 15.50
Miri is a band of four guys from the remote east fjords of Iceland. They have been making their strange instrumental post-rock dance music since 2006. With countless shows under their belts, they have gained a reputation as an energetic and playful live band, infamous for their epic, mid-song speeches about life, synchronized dance moves, happiness and peace. Okkar is Miri’s first full-length release. Okkar can be described as an instrumental alternative rock album (one song has some vocals). It treads lightly on the verge of being a post-rock album, but without the dramatic gloom often attached to such music. Okkar was recorded, produced and mixed by Curver (Ghostigital). Amongst the guests on this album are a whole brass quartet, Örvar Þóreyjarson Smárason (múm, FM Belfast) who sings and plays the harmonica and Ólafur Björn Ólafsson (Benni Hemm Hemm, Stórsveit Nix Nolte) on xylophone and marimba.


VA: Kitsuné Love CD (CDA 001CD) 15.50
2002 release. Kitsuné Love is the lovechild of the Kitsuné clothing label. Enlisting contributions from 11 of Europe’s most hyper-creative and diverse talents, the result is Kitsuné Love, a compilation about love, exclusively commissioned for and conceived by the Kitsuné label. Eleven original, diverse, all-new or previously-unreleased tracks, Kitsuné Love features tracks from such established names as Gonzales (covering Daft Punk’s “Too Long”; capturing on CD this longtime Gonzales live show favorite), Fantastic Plastic Machine (with an alternate dub mix of “Why Not?” featured on the Austin Powers soundtrack), Shakedown, Playgroup, and 2-step garage forefather Todd Edwards. Kitsuné Love also includes appearances from Daft Punk collaborator Alan Braxe & Fred Falke, Emest Saint Laurent, DJ Gregory (of Africanism fame) and Dimitri From Paris co-producer Dominique Torti. This compilation rounds out with two French producers who are tipped as “ones-to-watch” on the French music scene, Lacquer and Romuald.


VA: Kitsuné X CD (CDA 004CD) 15.50
2005 release. Kitsuné X, the third Kitsuné compilation. X as in the sexual chromosome X. X as in X-rays, X as algebra’s unknown quantity. Thirteen tracks, (among which one is hidden) — all of them unreleased and exclusive. After Kitsuné Love and Kitsuné Midnight, Kitsuné release their new compilation, Kitsuné X, featuring artists: Popular Computer, Joakim, The Mogs, Post No Bills, Chikinki, Tiefschwarz, Volga Select, Simian Mobile Disco, DJ Assault, Fannypack, Captain Comatose vs. Stereo Total, Manhead, Hot Chip and Dieter Schmidt.


AUTOKRATZ: Down & Out In Paris & London CD (CDA 015CD) 15.50
2008 release. This is English duo Autokratz’s debut mini-album for Kitsuné, including some tracks off of their highly-touted EPs. Fantastic digital house.


“Christina Vantzou is an artist, musician, and composer. She was born in Kansas City, studied at the Maryland Institute College of Art in Baltimore (1997-2001) and moved to Brussels in 2003 where she currently resides. Christina is known for her work with The Dead Texan (kranky) as well as in a variety of creative mediums including video, drawing, and animation. After various collaborations and a short tenure as a touring member of Sparklehorse in the summer of 2007, Christina began composing the music for this album. She worked in isolation over a three year period using synthesizers, samples, and her voice. Then, a long distance collaboration with Minna Choi, director of Magik*Magik Orchestra transformed the sprawling 45 minute single track into a score for a 7 piece orchestra, resulting in a two day recording session with Magik*Magik at TIny Telephone studios in San Francisco. The album was finally mixed in Brussels with production assistance from Adam Bryanbaum Wiltzie (Stars of the Lid). While these works certainly orbit in the same musical galaxy as those of Stars of the Lid and The Dead Texan, Vantzou’s compositions are more grounded and concerned with the terrestrial as opposed to the extra-terrestrial symphonies of the former, and are full symphonic movements as opposed to the shorter pop structures of the latter. These works also draw parallels to a number of late 20th century composers who concentrated on layering the string sections of orchestras while steering clear of bombastic brass and percussion elements. What becomes immediately apparent upon listening is that Christina Vantzou is a powerful new voice in contemporary neo-classical composition.”

KU 017LP

MUHAMMAD, IDRIS: Power Of Soul LP (KU 017LP) 11.50
“This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss.” –All Music Guide


VA: Groove Club Vol. 1: La Confiserie Magique 2LP (LION 109LP) 22.00
Gatefold 2LP version.


VA: Groove Club Vol. 1: La Confiserie Magique CD (LION 641CD) 16.00
“Fabrice, 17 years old, is a minet, or to say it better, a mod from one of the posh neighborhoods, the 16th district in Paris and such ‘golden ghettoes’ as Auteuil, Neuilly and Passy. Fab’ likes to have his ‘ronron at the Drugstore’, as Dutronc sang it (an untranslatable wordplay on ronron, ‘cat food’, and a minet – ‘a kitten’ – purring). Fabrice attends Henri IV prestigious high-school; his father, a businessman who made a fortune selling plastic flowers, and his mother, a former model from Jacques Fath, are never home, a cozy home indeed! With his Weston shoes, a slim-fitting suit by Renoma and his haircut modeled on those of Anglo-Saxons musicians appearing on French EPs, Fabrice dreams of Carnaby Street and the Sunset Strip. He is not alone: there’s his sister Stephanie, 16, who wears a fringe, a mock Courreges dress, a pink Shetland pullover and white boots. Stephanie reads Salut Les Copains and Mademoiselle Age Tendre, which both fuel her passion for Francoise Hardy, Zouzou, Twiggy and the Beatles. The Groove Club is happy to present twenty-two records that we dug out as a tribute to Fabrice’s kinky faves. We imagine those magic years 1966-71 (with two inclusions from 1976 & 77) to have been as you can hear it here — truly decadent pop-psych, as beautiful as the cathedral of Evry, whether it’s the arch-hippie Lolita taking us beyond the limits of pop music, singing songs which make one dream of Anicee Alvina riding her bicycle in a red dress, or whether it’s sunny and stunning, or brooding and tinged with sadness. And we sense that, paradoxical as it may seem, although we have imagined a parallel cosmos to the Grande Heures of pop culture, we are not far from the truth. Popisme fantastique!”


VA: Luv.Three 12″ (LUV 003EP) 12.00
Third release from this mysterious imprint, focusing on the warm and soulful vibes between house, techno and downbeat. Some well-known producers show their soft skills with their own productions or edits/re-works.


CANTU, D’MARC: How Are We Doing?/A Second Earth 10″ (MOSDEEP 008EP) 12.50
Next up in the 10” series on M>O>S Deep, another heavy 2-tracker from D’Marc Cantu. The opening track is a fierce, Chicago-styled banger, kicking off with an extremely solid and frantic bass line while D’Marc’s low-pitched voice asks us “How Are We Doing?” The track slowly evolves into a deep and atmospheric masterpiece. “A Second Earth” is a laid-back and emotional retro-futuristic techno track overflowing with sadness and melancholy, echoing the sounds of the artificial-intelligence era.


VA: Mad Decent Volume 1 CD (MAD 107CD) 15.00
“Mad Decent is proud to announce its very own Mad Decent Vol. 1 compilation, featuring eighteen tracks hand selected by label head Diplo from his favorite overlooked remixes of past releases plus a variety of new music from the label’s next crop of artists. The compilation presents a selection of Mad Decent artists who’ve helped shape the label’s unique personality since its inception. Featuring blistering remixes of classics such as Bosco Delrey’s ‘Wild One’ (Reset! Remix) and Maluca’s ‘El Tigeraso’ (Sticky K Remix) to unreleased gems like Boy 8-bit ‘House on the Hill’ and Dillon Francis’s ‘Beautician 2.0’, to in your face bangers like Rusko’s ‘Everyday’ (Netsky Remix). Mad Decent Vol. 1 is as much a showcase of the label’s biggest names and tracks as it is an illustration of its incessant efforts to bring new genres and cultures to light.”


Mainakustik presents Paride Saraceni, from Italy, who’s living in London right now. He delivered two melodic techno biggies for the floors. The title track is a warm, melodic tune, perfect for the late hours. “Dreaming Tomorrow” is more danceable and floor-oriented. Remixes come from Legowelt, whose version sounds like a space journey, and Daniel Mehlhart. On orange vinyl.


PREVOST, EDWIN: The First Concert Book (MR COPULA5) 32.00
Subtitled: An Adaptive Appraisal of a Meta Music. “Percussionist Eddie Prevost co-founded in the 1960s the seminal improvising music ensemble AMM. In this book he presents a very personal philosophy of music informed by his long working practice and inspired by the London weekly improvisation workshop he first convened in 1999. Perhaps controversially, this view is mediated through the developing critical discourse of adaptionism; a perspective grounded in Darwinian conceptions of human nature. Music herein is examined for its cognitive and generative qualities to see how our evolved biological and emergent cultural legacy reflects our needs and dreams. This survey visits ethnomusicology, folk music, jazz, contemporary music and ‘world music’ as well as focusing upon various forms of improvisation – observing their effect upon human relations and aspirations. However, there are also analytical and ultimately positive suggestions towards future ‘metamusical’ practices. These mirror and potentially meet the aspirations of a growing community who wish to engage with the world – with all its history and chance conditionals – by applying a free-will in making music that is creative and collegiate.” Soft back cover; 234 pages.


HOME BLITZ: A.T.K./Last Cycle 7″ (MEX 089EP) 5.00
“It’s okay there aren’t any two Home Blitz releases which sound alike. Sure, bandleader Daniel DiMaggio is involved in all of them — that’s his voice, a British scouser trapped in a latent New Jersey teenager’s body — and they’re all pretty much as lo-fi as you can get without the tape disintegrating, but it’s his approach to songwriting that changes things up on each new record. Here we have two new ones, songs about nostalgia for experiences not had (A.T.K., which shifts from Incredible Kidda Band style energy to Pavement-esque slacker downbeats in just over two minutes), and experiences in interstate travel and estimation of one’s worth (‘Last Cycle,’ doing a completely different trick in something more like three). Both songs bristle with the sort of nervous energy that powered groups like the Feelies and Game Theory, two distinct touchpoints in Home Blitz’s sloppy, floppy sound, and when they power through it in the live setting (with guitarist Theresa Smith, bassist Jason Sigal and teenage drummer Henry Hynes in tow), they become the greatest band on the East Coast for that moment.” Numbered, limited edition of 300 copies.


SCOTT, SIMON: Bunny CD (MIA 017CD) 15.50
This is UK multi-instrumentalist Simon Scott’s second album for Miasmah. He might still be best known for his tenure as the backbone of influential shoegazers Slowdive, but after his debut solo effort Navigare in 2009, he showed that there was far more to his oeuvre. With an ease and fluidity that eschews the usual trappings of the genre, he injected Slowdive’s freeflowing bliss into the kind of blackened soundscapes the Miasmah label has made its calling card and gave the sound a rich, multi-layered quality that was effortlessly enticing. Bunny sees him take on a plethora of themes and ideas, distilling them into a coherent, well-defined narrative. The overall premise of the record is apparent from the very beginning, and might surprise some with its inspired take on the blackened jazz and smokey Americana heard in Paris, Texas or Mulholland Dr.. It would do Scott a disservice to simply label the music as Lynchian however; his success is to treat the layers of instrumentation (drums, guitars, cello, synthesizers) with a masterful fluidity, allowing the influences to melt into a delicate and delectable whole. Occasionally Scott acknowledges his shoegazing past, nudging the sound towards the blurred haze of his former band, but even these moments are cavernous enough for us to imagine them oozing from a Midwestern jukebox in an abandoned suburban diner. Bunny is an ambitious and daring journey for an artist who refuses to stay still; and it might just be the best road trip you’ve never taken.


LAWLESS, THE: Habit Forming CD (MPORG 001CD) 17.00
Habit Forming is the first release from the new Mille Plateaux Organic label. It further expands the range of Mille Plateaux’s sounds by (electro)acoustic, avant-pop, indie-esque or, simply put, non-electronic productions. Do you know the feeling when a tune sounds totally familiar to you, even though you have never heard it before? It happened to Mille Plateaux Organic when they first heard the Habit Forming demo snippets — betting their little fingers it must have been sampled from some ’60s/’70s B-movie soundtracks that Quentin Tarantino for some reason did not happen to exploit yet. So, they really couldn’t believe it when the artist, Ross McLean, told them these were his genuine recordings, and Mille Plateaux Organic instantly knew they had found something very special. Over a period of more than 2 years, he not only composed and produced the entire album all by himself, he also played almost all of the instruments: bass, guitar, drums, piano, keyboards, accordion, flutes, glockenspiel, percussion and backing vocals. Habit Forming instantly gets you with its mysterious, charming and warm atmosphere. The catchy melodies are rather breathed than sung by Fifi Dewey, wordless and in unison with the instruments, which sometimes creates an exotic feel. The extremely rich orchestration makes you discover more little details every time, and recording the instruments with a lot of “room” or “air” makes the sound even more lively and organic. All in all, you can’t help thinking this MUST be a soundtrack… maybe to the next Tarantino movie?

MS 008LP

“You may think you know something about legendary poet, painter, singer and sculptor Malcolm Mooney and perhaps you do. But until you hear this LP, you are missing what may be the best part of the story to date. Worshipers of the Can’s Monster Movie and other recordings from the Mooney years (1968-1970) are legion and we at Milvia Son count ourselves amongst those fans. So we were intrigued when we heard that the Tenth Planet’s orbit was once again merging with that of the earth, with the objective this time around to perform only classic Mooney-era Can material. Our toes lifted in our boots when we learned that this incarnation of the Tenth Planet featured the dueling guitars of Stephen Clarke (Arkansaw Man) and Len Paterson (Flowtilla), bassist Peter Conheim (Negativland) and drummer Marc Weinstein (MX-80). And when we eventually heard the music, well, our boots were blown off. We greeted the dawn of another silvery day in the history of West Coast head music: guitar-woven tapestries of molten metal, lubricious rhythms and Malcolm’s inimitable vocals lifting everything up into that special sector. The bad politics were erased from our minds. The album includes eight choice tracks culled from two Bay Area shows circa 2010, excellently recorded by Bernice Nippelhalter and pressed onto glorious blue spattered vinyl. Full color sleeves featuring Mal’s artwork on the front and back, plus a lyric sheet inside so you can read along with the music (not recommended while dancing). 400 vinyl-only copies for the world, priced for all the music lovers whose dough has not yet hardened.”


ELAN: Fuzzy Numbers 12″ (MONKEY 016EP) 14.50
With the mighty Fuzzy Numbers EP, eLan’s vinyl trilogy comes to an end (which also included MONKEY 012EP and 016EP). Exactly like its two predecessors, the third and last EP is again limited to 555 copies and comes as a special color vinyl pressing. As if all that wouldn’t be enough, there are also two impressive remixes by Modeselektor and Anstam on the flipside.


“The Maledictus Sound are to instrumental rock what Frankenstein was to science, a laboratory monster, a strange creature assembled from a mishmash of diverse musical sounds. Psychedelic pop, romantic ballads, musical tongue-and-cheek, horror movie screamadelia and mega twisted ’60s vibe, eclectic, epileptic. The doctor, here, is Jean-Pierre Massiera, the musical mastermind who gave birth to that monster.” Gatefold sleeve.


VA: Freak Out Total Volume 33 LP (MGLP 015LP) 19.00
Subtitled: Quebec France 1967-1973 Psyche-Jello. “Propelled by forces running at speed 33, the Freak Out Total compilation series is back with a new volume. Once again it offers an eclectic mix of ’60s and ’70s jello-psych-bubble-trashy-pop-hard-soft-rock, giving new life to sometimes neglected (Guy Rheaume), forgotten (Moss Doss Phobosmoss), rejected (Pierre Mercier), or acclaimed (Les Classels, Francois Guy) French and Quebecois artists. Complied by Satan Belanger, unlikely guru of the underground, the Freak Out Total compilations should bring the listener to a constant state of near-nirvana or levitation, thanks to its fine selection of hypnotic jerks and frenetically demented dances.” Limited edition of 500 copies, on 180 gram vinyl. Aritsts: Francois Guy, Lucille Bastien, Evolutions Phase 1, Les Classels, Madeleine Chartrand, Guy Rheaume, Yves Doesnias, Genese, Moss Doss Phobosmoss, Les Extremes, Pierre Mercier, Paul Baillargeon, Simon and Richard.


KOSS/HENRIKSSON/MULLAERT: The Möllan Sessions 2CD (MULE 022CD) 20.00
Sebastian Mullaert and Marcus Henriksson aka Minilogue and Kuniyuki Takahashi aka Koss present a very special joint collaboration. Kuniyuki’s friend Toshiya Kawasaki founded in Tokyo his label Mule Musiq only because he wanted to release Kuniyuki’s music in order to spread the message that he is one of the most heartfelt contemporary electronic soul musicians in Japan. That was in 2005, and since then, Mule Musiq has given birth to many different partner labels, and built up a multicolored artist family that also consists of the Swedish duo Minilogue. Minilogue member Sebastian Mullaert feels particularly at home in this warm-hearted clan and has released all his solo works so far in the Far East. The two Swedish boys traveled to Tokyo to meet label head honcho Toshiya and perform and share their creative output with him and Japan. Here they met a lot of Toshiya’s friends and among them was also Kuniyuki. Some months later in November 2010, Kuniyuki traveled to Europe for a small tour and the Minilogue guys decided to invite their new buddy to their cozy hometown Malmø to share some more music and creative output with the producer and DJ from Sapporo, Hokkaido, Japan. Again, it wasn’t just an ordinary tourist trip to Scandinavia. This time, they spent five long days and nights together, tightening their friendship in a studio where they jammed without any plan in mind. The result of these sorcerous moments now sees the light of the day with a mostly slow, heartfelt album called The Möllan Sessions — a record that is made for people who like to fill the room between the notes with their own imagination. Between the sounds of a Rhodes, a Roland TR-808, a Roland SH-101, a Moog Voyager, a Nord lead keyboard, drums, congas, laptops, and lots of other music sources, Minilogue and Koss left enough space for the listeners’ individual emotions. Their epic arrangements are practically meditative and everything is enriched with finely-textured stillness, introspection, and calm repose. In-between every now and then, a sweet melody pops up and sometimes a cautious bassline emerges in a pool of free-spirited ideas. This is an album you get drawn into the more you listen — a symphony of machines and instruments, a blend of contrasting textures — organic and synthetic, icy and warm, that are hard to pigeonhole due to their true uniqueness.


KAB: Trust 12″ (MULE 084EP) 15.50
This is the second release by Sweden’s KAB on Mule Electronic, whose psychedelic pure techno house is supported by Minilogue at all times. “Trust” on A1 is his trademark hypnotic dance track. If you like the production of Minilogue or Mathew Johnson or Stefan Goldmann, you will love this track. Includes a remix by Sebastian Mullaert. Don’t miss the floating slow house track “Social Events” on A2.

MR 5205LP

HOOKER, JOHN LEE: Sittin’ Here Thinkin’ LP (MR 5205LP) 11.50
Exact repro, originally released in 1979. “On this session, Hooker is accompanied by a particularly responsive rhythm section. These recordings which date from the late 1950s feature the artist accompanied by a second guitarist (who also shares much of the lead work), and by bass and drums. Some of the most interesting moments on these recordings occur precisely because of the interaction with the accompanists as they shift their rhythmic and harmonic lines in their attempts to closely follow Hooker’s unorthodox, but totally fluid form.” –Tom Pomposello


HE & SHE: Videt 12″ (MGF 018EP) 12.50
He & She is a project from Alexander Pavlenko and Nastia Beauty, who, by now, should be known to music lovers and festival visitors the world over. “Videt” features a deep groove and light chords. Kollektiv Turmstrasse create a remix that definitely reveals new aspects.


BLACK SABBATH: Sabotage LP (NEL 6018HLP) 14.00
180 gram exact repro of Black Sabbath’s sixth album, originally released in 1975. Songs like “Symptom Of The Universe,” “Hole In The Sky” and “Megalomania” were so heavy that Ozzy Osbourne got into a motor cycle accident almost immediately upon this record’s release.

ZEN 12297EP

MR. SCRUFF: Feel It! 12″ (ZEN 12297EP) 10.00
“The scruffalicious Sexpot of the Stockpot returns with another rum punch of housy, funky deepness in which the filthy, the furious and those in need of a brew will swim like little fishes in search of Our Lord. Feel It! has a rhythm designed by Long John Silver’s wooden leg, a bit of ghostly moaning from Hammer Horror’s lost disco classic, ‘Across The Moor To Studio 54,’ some of the finest one-handed keyboard playing ever left unquantised, plus choppy, soulful vox for those moments when only waving your outstretched index finger and thumb right in front of your nose will do.”


KID KOALA: Space Cadet BOOK/CD (ZEN 174BK) 31.00
“Kid Koala is back with his second graphic novel, Space Cadet. Painstakingly drawn entirely on etchboards for a stunning effect in black and white, the book is accompanied by a ‘still picture score’ on CD — 15 original tracks, each underscoring a key scene in the book, composed and performed by Kid Koala on piano and turntable. This charming story of an adventurous space cadet and her guardian robot unfolds through a series of flashbacks and flash-forwards to reveal a unique bond between the characters. As it explores the relationship between technology and isolation, Space Cadet celebrates the idea of connectivity through family and the cycles that build generations.”


FRIEDMAN & JAKI LIEBEZEIT, BURNT: Secret Rhythms(Plus) 12″ (NON 032EP) 12.00
This is the first vinyl edition of Friedman & Liebezeit’s Secret Rhythms remix series, entitled Secret Rhythms+. Sam Shackleton remixed or actually recomposed the track “255-7” from the recent album Secret Rhythms 4 (NON 030CD). Rashad Becker, known as the Nonplace label’s permanent mastering engineer has mixed “The Sticks,” originally released on Secret Rhythms 2 (NON 019CD) released in 2005.

NA 5083CD

EAST OF UNDERGROUND: Hell Below 3CD BOX (NA 5083CD) 29.00
“United States Army soldiers made the music contained in this three album box-set during the politically turbulent early ’70s, towards the end of the Vietnam War. East of Underground, the Black Seeds and the Sound Trek were bands comprised of soldiers stationed in bases across Western Germany. While little is known about the bands, the players, and the milieu they came from – other than what can be pieced together from a handful of photos and documents found in a box in the New York Public Library, and the vague recollections of some of those involved – we at Now-Again Records have worked diligently with the United States Army and researchers the country over to present this important document – and some damn good soul and funk music. Only one former band member has come forward during the assembly of this anthology, which has lead us to question: where did these talented performers land after their winning performances in Army-sponsored Battle of the Bands contests afforded them (musical) tours across European Army bases? Perhaps some are still around somewhere: perhaps some are still involved in music; perhaps some were killed in action; perhaps some passed on after returning to the States. We’ve assembled vestiges – a show band contest entry form, a list of names, a couple of photographs, a playlist – to embellish this sonic time capsule, a capsule that functions as a snapshot of American culture during this politically charged era. Each of the two double-billed albums contained in this box-set is presented as an exact reproduction of the original United States Army issue. The extensive, full-color booklet features essays, annotation and a collection of Army ephemera from the creation of these albums. Also included is a full-color, exact reproduction of East Of Underground’s 1971 tour poster.”


THELEM: Lucid Dream 12″ (ORTS 002EP) 11.00
Orientis Records is setting out to introduce new deeper and emotive dimensions to dubstep and other bass music. Hampshire-based producer Thelem is already becoming well-established in the scene, known for striving to bring dubstep back to its deeper, darker minimal roots. He founded Orientis to revive those sometimes forgotten sounds of the not-so-distant past with a new twist, and his latest creations on this EP recall the vintage styles of producers like Loefah, Distance, and DMZ, yet are up-to-date with Thelem’s own spin.


ANALOG ROLAND ORCHESTRA, THE: 1984 & 1997 7″ (ORN 019EP) 14.00
Ornaments presents The Analog Roland Orchestra. Back to his roots of Air-inspired organic sounds, and back to the time the feeling was born in the moments of Premiers Symptômes and Moon Safari. This 7″ is the artist’s deep bow to his heroes, unified with wanderlust and homesickness. The opener and end title on your next traveller’s tape.


The Planetary Assault Systems project has been active for some 15 years now, channeling an exploratory theme into cutting-edge, non-conformist techno for the clubs but also for listening at home. His previous album for Ostgut Ton, Temporary Suspension (OSTGUT 009CD/004LP), re-instated that classic P.A.S sound and found the dexterous artist touring even more with this tougher, purist techno aesthetic. And yet again, Slater maintains his prolific output with the announcement of The Messenger. In his own words, it’s a project that stays very true and honest to the Planetary Assault Systems goal: a journey of discovery, to create new sounds which are not otherwise present in club music at this time. From the album’s beautiful introductory track “Railer (Further Exploration),” which floats through the bubbling ether before leading into the mysterious depths of “Beauty In The Fear,” it is clear that Slater’s role as sound explorer and adventurer has been dutifully fulfilled. With a sense of timing that can only be expected from such an experienced DJ and musician, we are led through a series of stand-out tracks, where no one feels less pure, yet each has their own voice. Indeed, there’s a strong club element present here — Slater play-tested all the tracks and employed a careful editing process to make sure they all fit the description. Highly playable works of club-intended sound art, early heavy moments like “Bell Blocker” or the playful “Wriss” give way to even more severe messages as “Kray Squid” pulses onto the radar with magnetic energy. The drum barrage of “Rip The Cut” speaks directly to the dancefloor, perhaps the most rhythmically-intense moment of the album, which is not to be put lightly as the rolling, filtering tones of “Cold Bolster” and “Black Tea” urge us further into perfectly frenetic moments.


PORTABLE: Into Infinity CD (PERL 088CD) 17.00
On the fifth album by Alan Abrahams aka Portable, he teams up with Efdemin, Johannes Schön and Süd Electronic label-mate Lakuti, to lead us Into Infinity. During the last 15 years, Alan has lived and composed in South Africa, England, Portugal and Germany. He has released records on Background, Context, Karat, Musik Krause, ~scape, Spectral, his very own Süd Electronics label and Yore.


MIDNIGHT MAGIC: Drop Me A Line 12″ (PERMVAC 085EP) 12.00
Midnight Magic is back to spread their fairy dust one more time with their second single, Drop Me A Line. Once again, it has all the ingredients you love so much — an infectious bassline, whirly keyboards, uplifting horns and captivating vocals by. The original is backed up by a massive remix package from Holy Ghost!, Steffi and Mano Le Tough. Get your magic on.

ASH 3049CD

TAJ MAHAL TRAVELLERS: August 1974 2CD (ASH 3049CD) 23.00
Originally issued as a double LP with each of the 4 tracks being roughly the same length as the side of a record, August 1974 presents the Taj Mahal Travellers at their most sophisticated. Although their stunning cosmic music was always improvised, the band, formed in 1969 by “six meta-music creators and one electronic engineer” played regularly throughout Japan and eventually found their way to Europe where they met up with avant-garde musicians such as Don Cherry. 1974 would be the band’s last official release as they went their separate ways the following year with all but Takehisa Kosugi, leaving music behind them. Each track is distinct from the others, with several beginning with clearly-defined structure before departing into the realms of the abstract, with violin, harmonica, bass, tuba, trumpet and mandolin dueting in a subliminal and obscure manner. “Voices” both subhuman and supernatural, resonate with a universal inner voice. Digitally remastered, numbered limited edition. Includes LP insert.

A14 PC

“Art edition including an LP with the recordings at the Istituto della Calcografia Nazionale in Rome of two world premiere compositions by Philip Corner and Daniele Lombardi. Issued in 80 signed and numbered copies and including excerpts form the original scores. Philip Corner Tenebres: Lesson&Light (Studies in Shadow and Light), learning from the dark the grand lesson of music. The darkest sound in music is the tone-cluster. Approximation of the even denser aggregates existent already in nature: roar of waterfall and bubbling of cascade; boom of thunder; rustle of grasses and leale; winds; and swish of the sea. At least as close as our tuning can get. The smallest steps on our keyboard condense into compact masses of sound. One could truly say that this black hole of a fatal musical attraction will resolve all dissonances into themselves, even more completely. In full accord with those presences in the outer world we so lovingly (or not) like to call Noise! Daniele Lombardi’s Le Son des Tenebres, for prepared and amplified piano with live electronics. The piece starts with a simple and quite short sound cluster which develops through micro-variations into an increasing complexity. In the very dense central part the sound materials lose their context after which a process of simplification gradually brings us back to the initial sound cluster.”


“Day 13. The green hell of the jungle stretches around us at all sides. I feel like I am being driven mad by the constant suffocation of its hot and terrible embrace. Everywhere, awful vegetable life fights for supremacy. The nights are more terrible for the noise and darkness.Day 14.Two of our bearers have fled taking most of our dwindling supplies with them. At least there is water to be found in the streams and lagoons but it is filthy and brown and if imbibed unboiled gives one terrible stomach cramps and diarrhea. The scotch and tobacco are gone and we chew coca leaves for the small comfort they afford.Day 15.Jenkins went mad last night. He is nowhere to be seen now. We hear occasional cries from the North which can only be him.Day 16.We found the ruins of an abandoned village today. There were what appear to be drums, much like those found in the Congo, hanging from trees surrounding the village. We saw piles of banana skins amongst the abandoned grass huts. In the very middle of the settlement we found a large flat round rock with a pile of hair, a good three feet high, on it. After a good deal of debate Filbert and I decided that the hair was of human origin.Day 17.We are restricting our diet to a small handful of cashew nuts each morning as we rise. We found several more hair mounds in the felled grounds surrounding the village. These seem darker and more like animal hair than the mound we discovered yesterday.Double LP masterpiece in full colour gatefold sleeve, issued in an edition of 280 copies.”


GOL ORCHESTRA & TELINGA ENSEMBLE: Improvisations January 1997 2LP (PLANAM TELOG) 48.00
“An improvised music acid trip for instruments, voice and electronics by the GOL Orchestra and the now defunct Telinga Ensemble navigating on the darkest waters of psychedelia. Five long tracks recorded 14 years ago in an icy flat in Pigalle, Paris with Ravi Shardja (bass guitar), Olivier Maurel (cello, objects), Emmanuel Quentin (guitar, prepared guitar), Cathy Mai (drums, vocals), Frederic Rebotier (percussions, flutes, objects), Samon Takahashi (real-time mix, electronics). Listening to this record will fulfill the most adventurous and twisted ears engaging the freedom of the bodies and the mystery of not-yet-registred dances. Edition limited to 240 copies with sensational full color gatefold sleeve and breath-taking inside cover painting by Jean-Marcel Busson.”


FLATNER & LOPAZZ, ALEX: This 12″ (PFR 123EP) 12.50
“This” may sound like a curious title, yet the addictive low-slung, electronic funk within will have you chanting “I just wanna love you baby…” in no time. The mysterious future-disco-funk magic of “Hapbee” keeps the party stomping as a whole host of vintage gear flavors this cosmic beatdown. “It’s” offers a simmering slice of modern funk characterized by tonal synth play, percussive splashes and echoed vocal madness.


HALPER, JONATHAN: Puce Moment 7″ (PUCK 001EP) 9.00
“Two gorgeous psychedelic folk rock songs on a 45 RPM 7″ make up the soundtrack to Kenneth Anger’s six-minute short film entitled Puce Moment. Unbelievably beautiful music by the mysterious Jonathan Halper who is not known to have published any other music. Recorded in Essex in 1968. Puce Moment is a short six minute film by Kenneth Anger, made in 1949. The film opens with a camera watching 1920’s style flapper gowns being taken off a dress rack. The dresses are removed and danced off the rack to music. The original soundtrack was Verdi opera music; in the late 1960s, Anger re-released the film with a new psychedelic folk-rock soundtrack performed by Jonathan Halper. The songs included in this 1968 version are ‘Leaving My Old Life Behind’ and ‘I’m a Hermit’. These are the only two songs known to have been written, recorded and/or released by Jonathan Halper. Halper allegedly met Kenneth Anger in the late 60s in Samyeling. After meeting Anger, he quit everything and everyone in his life and moved to a Monastery in Scotland.”

R-N 096CD

On the occasion of the 400th anniversary of the city of Mannheim, Alva Noto (Carsten Nicolai) and Ryuichi Sakamoto were invited to develop an audio-visual performance together with Ensemble Modern. The concept of the arising piece named “Utp_” is derived from the rasterized structure of Mannheim (built as an ideal city in the 17th century), also making reference to the musical history of the city. The result of the collaboration, like the other projects by Alva Noto and Ryuichi Sakamoto, Vrioon (2002, R-N 050CD), Insen (2005, R-N 065CD), Revep (2005, R-N 072CD) and Summvs (2011, R-N 132CD), is a synergetic mixture of electronic and natural sounds that is expanded by the potential of the classical instruments of Ensemble Modern. Utp_, the title of the new composition, is deduced from the term “utopia” and hence describes an approach that leaves space for further extensive associations. This is a re-release of the album as audio CD-only. Utp_ was previously released as a more expensive 2 disc set with a DVD & CD together.

LSP 4735LP

HIGHWAY ROBBERY: For Love Or Money LP (LSP 4735LP) 11.50
Sole album from this ’70s hard rock trio.. “For Love Or Money was recorded at a furious pace, played as hard as bleeding hands could allow and always at insane volumes, often causing engineer Richie Schmitt to run screaming from the control room. Beginning the proceedings with the incendiary ‘Ain’t Gonna Take No More’, Schmitt soon found himself unable to bring the soundboard under control as what began as a kind of Uncle Tommin’ Janis-meets-Garner slide blues erupted into a cacophonous jackhammer more akin to Led Zeppelin 2 played by Sir Lord Baltimore.” –Head Heritage


JUNGLE: Jungle CD (RLR 096CD) 21.00
“Here’s a real surprise, the first legitimate re-Issue of this mega rare Californian psychedelic monster. Two bonus tracks, acoustic demos for what was going to be the second album!!! Turns out that Jungle where old faves of ours, three members of legendary California garage punkers the Knight Riders (of ‘I’ fame) went on to play in Jungle. If you know the music of Jungle and ever wondered why the album has powerful, emotional soulful vocals which may only can be compared to Love in moments it is because the Knight Riders were one of the few racially integrated garage bands and singer Butch went on to be one of the two lead singers in Jungle. The album is with the exception of two songs rather dark, which can be traced back some of the personal autobiographical hardships endured by the members. The way the Jungle album was made, almost got a major label deal and yet didn’t is a story that could fill books. You will get photos and story and finally some faces to this, until now unsolved riddle of American private press psychedelic records! This is one of the best and most sought after psychedelic gems ever recorded, with amazing and fluid heavy fuzz guitars, superb organ, drums and fantastic songwriting. Recorded in New York in 1969 while the band was living in a farm in Vermont. The original was pressed in a run of fifty demo copies only! No names or hints are given on the original LP but after over a decade of excruciating search, Miguel Rodriguez, the man behind finding Darius, Garrett Lund, Stonewall and many more, finally found the band members! So here is your chance to listen to one of the great mystical albums of the psychedelic private press collectors’ realm at the fraction of the cost of the original, in amazing sound. This gem comes with unseen pictures and full band history, released in full collaboration with the surviving band members.”


FRA LIPPO LIPPI: Fra Lippo Lippi 4CD BOX (RACD 105CD) 34.00
All of Fra Lippo Lippi’s six studio albums had been out-of-print for up to 22 years when Rune Grammofon re-released In Silence and Small Mercies as The Early Years (RACD 101) back in 2003. Songs was released as a limited edition CD in 2005, but Light And Shade, The Colour Album and Dreams have all been unavailable since the mid-’90s. This 4CD box collects the four last studio albums, Songs (1985), Light And Shade (1987), The Colour Album (1989) and Dreams (1992), in a limited edition of 1,000 copies. The 6LP box collects the above 4 albums as well as the first two studio albums, In Silence (1981) and Small Mercies (1983). None of these albums have been available on vinyl since they were new releases and Dreams has never been on vinyl. It comes in a limited edition of 300 numbered copies only. Both box sets come with personal liner notes from Rune Kristoffersen on each album. Both box sets also come with stunning design by internationally-acclaimed designer Magnus Voll Mathiassen and has already been presented in UK design magazine, Grafik. After having released their two first albums In Silence and Small Mercies on the Norwegian indie label Uniton, Fra Lippo Lippi decided to finance and release their next album, Songs, themselves. If the development from the Joy Division-influenced In Silence to the piano-based Small Mercies was a big step, the same can be said about the further development leading up to Songs, the most obvious aspect being a stronger focus on more structured songs. Although the acoustic piano was a key part of Small Mercies, it was even more evident on Songs, especially as the original recording of Songs was completely without guitars (which were added on the international Virgin release). This gave the album a very personal and unique sound in the middle of a period that championed drum machines and the newly-developed digital synths and sequencers.

RCD 2114CD

Ha! is the fourth Humcrush album, this time with the most welcome addition of singer Sidsel Endresen. Having toured together for a couple of years, they finally recorded some shows in 2010. This album was beautifully recorded in concert at the Willisau Jazzfestival and is a great example of the duo’s seamless interaction as well as Endresen’s ability to improvise, listen, react, adapt and surprise, fully showing that we are dealing with one of the world´s leading vocal improvisers, coming from years of experience out of solo work and collaborations with musicians like Bugge Wesseltoft, Helge Sten, Christian Wallumrød, Rolf Wallin, Jan Bang, Håkon Kornstad and Stian Westerhus. Sidsel Endresen worked as a singer and co-writer in the Jon Eberson Group from 1981-1987, releasing five albums and winning two Norwegian Grammys. In 1990 and 1994, she recorded two solo albums for ECM. The ’90s also saw a very fruitful collaboration with Bugge Wesseltoft, resulting in three albums and two more Grammys. Since 2000, she has done solo projects, written film music and collaborated further with Norwegian and international artists. She has toured all over the world, written music for several theater and dance perfomances and has been festival composer for the jazz festivals in Bergen and Molde. And these are only some of her credentials. Thomas Strønen has studied music and composition. He is a regular member of several bands, most notably Food, Maria Kannegaard Trio, Meadow and Parish, the quartet led by the great pianist Bobo Stenson. Ståle Storløkken is a founding member of Supersilent, Elephant9, Terje Rypdal’s Skywards and Bol. He is probably the most versatile and adventurous electric keyboard player operating on the Norwegian scene at the moment.

RH 116EP

VA: Rush Hour Presents – Amsterdam All Stars (Album Sampler) 12″ (RH 116EP) 12.50
Highly limited sampler. First up are Juju & Jordash. Also present is Young Marco, whose track is an exclusive vinyl EP release that is not available on the full-length Amsterdam All Stars (RH 116CD/LP) LP format. The Amsterdam All Stars release captures the current spirit of house music from Amsterdam.


APPARAT: Duplex CD (STRIKE 041CD) 15.50
2011 repress. “From Schallstrom and Mexican beer, Berlin based Apparat emerges with a full-length that has hit the jackpot (minus the bling), partakes in the recent fornication between acoustics and electronics and reaches deep into conveying new and evocative sound scapes. This new long player’s screw-music will penetrate deep into your ears and hunt out the pain. Duplex is a collection of new material, poetically absorbing you in every way, steering a symphonic cakewalk blitz through your emotions, and successfully/intentionally bypasses the mundane and empty laptop sounds of the giant electronic music sweat-shop. It’s full of shock-and-awe, not unlike when you first took that hit of acid and listened to trance-techno (ok, maybe we’re going a little too far but hell, we’re excited about this album). Listen to the songs on headphones after a long day. Listen intently and you’ll hear the recipe a la Duplex: Mexican digi-mosquitoes, droning Catholic organs, heart-wrenching distorted horns, and finally Apparat’s renown, shuffled thump beats.”


APPARAT: Silizium EP CD (STRIKE 053CD) 15.50
2011 repress. Originally recorded for a Peel Session at the BBC in 2004, Silizium EP is a full-length release from Berlin-based Apparat. “A balance between things that you know people will like and things that you think people will like” is what John Peel had to say on his homepage about Apparat’s music programming concept. John Peel passed away a few months later from a heart attack while vacationing in Peru. Apparat (Sascha Ring) could only find a more fitting farewell mood with the rerecording of his session: a sonic dedication to a huge mentor from Shitkatapult and their people. Apparat is known as a fluctuating mood-maker by way of his computer companion, swinging the composer’s stick with emotion and conducting pieces of lonely melancholic beauty with godly discretion. New strings are thanks to the violin and cello of Kathrin Pfänder and Lisa Stepf aka Complexácord, whose soul-drenched expression lets your mind sway, as they harmonize with dreamlike perfection. It reminds one once again of the experimental modus operandi combining classical instruments with electronic music. Singer Raz Ohara and clarinet/sax player Hormel Eastwood find their chosen virtuous and emotional space on this promising cloud. What remains are warm dark drops of elegiac pop that pour down the back of your heart. Also includes remixes from Bus, Telefon Tel Aviv, and Rechenzentrum.


APPARAT: Walls CD (STRIKE 084CD) 15.50
2011 repress. Walls is the fifth full-length album for Apparat, aka Berlin’s Sascha Ring, who had one hell of a year 2006. His collaboration with Ellen Allien, the critically-acclaimed album Orchestra of Bubbles, forged electrifying new connections between techno, electro and pop music. Somewhere in between all the laud and acclaim and touring, he managed to record his first solo studio album since 2003’s Duplex. Despite its title, Walls isn’t about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming. What might be most striking about Walls is the way it creates a kind of single, sustained mood — this is an album for listening to all in one go, front to back. This is one of those road-trip records, one of those coming-down records, one of those bedding-down records. The record veers from the chamber minimalism of “Not A Number,” with its cello and vibraphones, to the bluesy rock of “Hailin’ From The Edge.” “Fractales Pt. 1” offers a sound that longtime Apparat listeners might recognize as most typical, while “Bassis” is, in its purest sense, a pop song, as ephemeral as clouds and as solid as the ground you’re standing on — a fitting contradiction for a record that draws equally from software and acoustic instrumentation. Important guests and collaborators on this record include Telefon Tel Aviv’s Josh Eustis, who did the album’s final mixdown in Chicago, as well as the talented Raz Ohara, who contributes his smoky vocals. Walls houses a magic box: a compact hour of music that promises to give back many times as much in pleasure. Apparat has melded his genius as a sound designer with his growing songwriting talents to craft 14 songs brimming with ideas, energy, texture, light, color. They are hummable, embraceable, swimmable, possibly edible.


AIRBIRD: City Vs. Mountains 12″ (SFT 003EP) 11.00
“Airbird is the solo project from Joel Ford, bassist of Tigercity and one half of Ford & Lopatin. After a split-cassette release with Megafortress on The Curatorial Club, Ford releases Airbird’s first single, City Vs. Mountains on his own label Software. In lead track ‘City Vs. Mountains,’ cicadas buzz as Airbird exits Babylon on his boogie road trip quest back to nature. Ford notorious for funk, packs a whole arsenal of West Coast style groove for the trip. The track is definitely a road dogger with lots of beats and bass plus a remarkable clarity in the vocals that distinguishes him from the contemporary murk pack. After a night of heavy driving, ‘Rotating Cloud’ marks the day’s return with sparse, delicate high register melodies and pulses which gradually give way to a midi locked safari of wildlife house. And yes the zookeeper is a Al Carlson, Software’s engineer & mix guy you thought — but he also packs a gnarly Alphabet City avant RIPPP when he wants to, and on multiple saxes. Airbird arrives!” Hand-numbered limited edition of 500 copies.


HARMONIZER: World Complete 12″ (SFT 005EP) 15.00
“Harmonizer, or as lovingly referred to as HARMO around these parts is the Vermont duo of Toby Aronson and Greg Davis, whose previous effort, their self-titled debut on Aronson’s own stellar NNA Tapes label was the definitive 5th world statement, and solidified them as sensais in the koan of new drone worship shared by the likes of fellow melodic noisers Caboladies and OPN. In fact Greg Davis (Kranky, Carpark) is zone veteran shredder whose explorations into pastoral electronics have been well documented throughout his mythical Autumn Records catalog. World Complete, Harmonizer’s followup to S/T, is a brain boggler through the storied terrain that Jon Hassell once charted, vectorized through sub bass, magic eye loops and some fusion gomf moves that are decidedly more On The Corner than Aka-Darbari-Java…but do you need to be convinced? The band named themselves after the most dramatic stompbox of the late 20th century. Band burns, this EP burns. Sayonara.” Hand-numbered limited edition of 500 copies.


PAPIRO, MARCO: Avventure Lontane LP (SFL 005LP) 27.00
2006 release. “Defying categorization, the first Papiro LP titled Avventure Londane moves into the sonic territories of New Electronics, while at the same clearly differentiating itself from these genres by its restless and disturbing mood. The music on this fascinating album has a melodic, upbeat character, harking back to analogue synthesizer days, which was extremely popular in Germany in the late ’70s and early ’80s. Papiro’s music might remind the works of Cluster or Asmus Tietchens’ Hematic Sunset, or even Bruce Haack, but is so original to stand on its own. Papiro plays VCS3, MS-10, Jupiter 4, String Melody, YS-100, DSR-2000, Rhythm Ace, Electronic Organ, Guitar, Shehnai and Piano. Avventure lontane means ‘Adventures that happened far away’ or ‘Long gone adventures.’ Both interpretations refer to the experience Papiro had almost every night as a child, when his imaginary friends popped in and took him away to whatever places they came from. Those memories helped him find a structure and surely have influenced the whole mood. Every track is built around one particular episode. Most of it took place in the dark, so please switch off the light while listening to this record. Papiro is a graphic designer, violin player, record collector and electronic music maker with a particular affinity for machines from the early days, such as the VCS3 Synthesizer. Early concerts under his own name sometimes consisted of a single chord, held for 30 minutes at high volume. In the studio, meanwhile, he enjoyed endless modular patching and the virtues of overdubbing, which resulted in the album Avventure Lontane. This rare LP is presented in a fantastic fluorescent sleeve, so all hail to the groovy glow-in-the-dark cover, which fits the music like a dream.”


Volker Bertelmann (Hauschka) and Hildur Guðnadóttir (Lost In Hildurness) hardly need an introduction — their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even — Pan Tone is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle – Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold. Bertelmann and Guðnadóttir decided to create a set of compositions which are based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir’s sinking darkness, and as the two styles collide, we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched, you might wonder why it has taken them this long to collaborate. All that’s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion, there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.


AVATISM: Thought Patterns 12″ (SOUVENIR 039EP) 12.00
Thomas Feriero aka Avatism brings his Thought Patterns to Souvenir. Meet “The Slug” — a rather melancholic mix of dusty dub chords, crisp claps and foggy, degraded vocals. “Thought Patterns” begins innocently enough; a faint chord in the distance, a shaker here and there; then the bass hits. Leads slowly rise, atmosphere builds around the penetrating beat, and pianos sound off with perceived chaos. The “Clockwork (C/W) Remix” of “The Slug” pushes out an extra dose of dub.


VA: Oliver Koletzki Presents 6 Years Stil vor Talent Part 2 12″ (SVT 067EP) 12.00
Part 2 of Stil vor Talent’s 6 year anniversary celebration features five new tracks focusing on different facets of a contemporary tech house sound. Kellerkind’s “Läncer Is A Dancer” is a rhythmic tour through jazz and soul influences. “Rudeboy” by Mick Rubin dazzles with laid-back yet jumpy piano stabs while Florian Meindl cheekily showcases his take on disco. On “My Way,” Ryan Dupree makes full use of a successful tech house formula with a wide range of horns and pianos.

SR 324CD

NETTLE: El Resplandor: The Shining In Dubai CD (SR 324CD) 15.50
Nettle is a band project led by DJ Rupture. For this album, Nettle imagined a remake of Stanley Kubrick’s The Shining set in a luxury hotel in Dubai, U.A.E. El Resplandor: The Shining In Dubai is their soundtrack for that nonexistent film. Cello, violin, guembri, guitar, and voice combine with digital processing to create a complex sound-world whose acoustic and electronic elements are in intimate dialog. Produced and arranged by Rupture, El Resplandor offers vivid, haunting pieces that draw on the band’s various backgrounds in North African folksong, experimental electronics, contemporary classical, and free improvisation. The album features photographs by acclaimed Emirati artist Lamya Gargash, who was the U.A.E.’s featured artist for the 2009 Venice Biennale, and liner notes by architecture writer Geoff Manaugh (BLDGBLOG). Nettle began as DJ Rupture’s duo with Moroccan violinist Abdelhak Rahal and has since evolved into a five-piece. They have performed at Spain’s Sónar festival, Rome’s Maxxi Museum of 21st Century Art, and at Morocco’s Cinematheque de Tanger, and have toured the UK and Belgium with Nass El Ghiwane. Nettle’s work foregrounds issues of friction, translation, and displacement as necessary counter-narratives to the standard paradigms of “cross-cultural exchange” and metaphors of mixing or hybridity.

SF 061CD

GROUP INERANE: Guitars From Agadez Vol. 3 (Music Of Niger) CD (SF 061CD) 15.00
CD reissue of the instantly sold-out Volume 3 of the now-legendary Guitars From Agadez series. Group Inerane’s sophomore LP is the latest missive from the now-sound of Niger’s Tuareg guitar scene. Led by guitar hero Bibi Ahmed, this new incarnation introduces another legend on second guitar, one Koudede Maman. Koudede is considered to be a cornerstone of the second wave of the Tuareg guitar lineage, while Tinariwen and Abdulla Oumbadougo are the godfathers of the scene and Group Inerane and Bombino are the third and most current incarnation of the Tuareg’s voice for hope and equality. Koudede’s addition to Group Inerane’s line-up arises from unfortunate circumstances — Adi Mohammed, Inerane’s original second guitarist, was shot dead in the endlessly festering rebellion battles. This new line-up is testament that the music of the Tuareg will not be stopped. The sound represented on this album is the apex of the trance stun guitar style that this scene has perfected. This is rock music as played with Saharan modes. There is a propulsive entropy to these songs that is infectious and narcotic! Two guitars, bass and drums chug along on a hypnotic choogle that rivals both the Magic Band’s early ’70s marathon workouts and The Velvet Underground’s drone on tracks like “Sister Ray.” This is music made from revolution and its message of hope and validation of equality of the Tuareg way of life is unstoppable. Recorded by Hisham Mayet on location in Niger’s capital Niamey in 2010 as travel to Agadez was forbidden by the military Junta that had just overthrown then President Mamadou Tandja. This limited edition digi-pack CD comes in a beautiful full-color LP-style gatefold jacket with photos of the musicians and liner notes by Hisham Mayet.


PORTER, ROLY: Aftertime CD (SUB 002CD) 16.50
Continuing the re-emergence of Bristol’s Subtext label, former Vex’d artist Roly Porter presents his debut solo album Aftertime, which fuses his background in bleeding edge British sound system music with experimental compositional strategies and a forensic attention to detailed sound design. The results explore the terrain of an emerging industrial classical aesthetic, connecting new approaches to digital manipulation and processing with the instrumentation of chamber music in an immersive examination of texture and tonality. Aftertime connects the dots between the legacy of dubstep and seminal jungle labels such as Metalheadz and Full Cycle while absorbing aspects of noise, drone and contemporary classical. Haunting angular assaults crafted across the 11 tracks create a logical post script to Porter’s roots in Vex’d, the seminal dubstep project launched in 2004, that adopted the tropes of bass production and sonic detailing inherent in sound system culture and translated them into a highly atmospheric dark ambient progression. Aftertime radiates a central narrative tension between themes of nature and technology, the ancient and modern, and the real and synthetic, revealing a compulsive cinematic netherworld, like a communiqué from an earth ravaged by science. The use of instrumentation, in particular the haunting tones of the Ondes Martenot (performed here by Cynthia Millar) reflects Porter’s fascination with rare and dying technologies, the Martenot being playable by only a remaining handful of performers. Placing this rare instrument’s eerie aesthetics alongside muscular sheets of noise and heavily machined tones, the album maps out a compositional territory that chronicles a dying sonic language while ushering in the dawning of the new. At the outer edges of this map, Aftertime stands as a re-imagined present — an apparition of a mythologized past and an unreachable future.


PORTER, ROLY: Aftertime LP (SUB 004LP) 19.50
LP version. Continuing the re-emergence of Bristol’s Subtext label, former Vex’d artist Roly Porter presents his debut solo album Aftertime, which fuses his background in bleeding edge British sound system music with experimental compositional strategies and a forensic attention to detailed sound design. The results explore the terrain of an emerging industrial classical aesthetic, connecting new approaches to digital manipulation and processing with the instrumentation of chamber music in an immersive examination of texture and tonality. Aftertime connects the dots between the legacy of dubstep and seminal jungle labels such as Metalheadz and Full Cycle while absorbing aspects of noise, drone and contemporary classical. Haunting angular assaults crafted across the 11 tracks create a logical post script to Porter’s roots in Vex’d, the seminal dubstep project launched in 2004, that adopted the tropes of bass production and sonic detailing inherent in sound system culture and translated them into a highly atmospheric dark ambient progression. Aftertime radiates a central narrative tension between themes of nature and technology, the ancient and modern, and the real and synthetic, revealing a compulsive cinematic netherworld, like a communiqué from an earth ravaged by science. The use of instrumentation, in particular the haunting tones of the Ondes Martenot (performed here by Cynthia Millar) reflects Porter’s fascination with rare and dying technologies, the Martenot being playable by only a remaining handful of performers. Placing this rare instrument’s eerie aesthetics alongside muscular sheets of noise and heavily machined tones, the album maps out a compositional territory that chronicles a dying sonic language while ushering in the dawning of the new. At the outer edges of this map, Aftertime stands as a re-imagined present — an apparition of a mythologized past and an unreachable future.

SBR 5088CD

JANAWAY, BRUCE: Puritanical Odes CD (SBR 5088CD) 17.00
Originally circulated in a private edition of just 200 vinyl copies in 1977, Puritanical Odes is among the most intensely personal and poetic albums ever made in Britain. Setting startling words to haunting 12-string guitar, it has been described as “one of the ultimate incarnations of what today is referred to as ‘downer-folk,” and makes its first appearance on CD here. Includes a booklet with full lyrics.


VA: Heartbeats CD (SFR 026CD) 17.00
Guy Gerber’s Supplement Facts mark the next episode for the label with a enduring collection of their best-loved and future classic releases on Heartbeats. Featuring label stalwarts dOP, Lee Curtiss, Ryan Crosson & Guti and Guy Gerber himself, Heartbeats weaves through the intricacies of Supplement Fact’s diverse sound. An embodiment of the ethereal yet always consistent and steadfast, this special collection illustrates how the label has shaped its character around a string of timeless creations. Opening Heartbeats are the Brooklyn-based musical partnership, No Regular Play, and their synth-led creature, “Fall Up To The Sky,” featuring the vocals of Maya Hatch. The label’s 20th release from Til Von Sein ensues, a melodic tapestry of house, before Visionquest man of the moment Lee Curtiss presents his illustrious style on “I Can Hear You Arthur,” a sumptuous number that tows the line between the light and darkness of contemporary dancefloor music. Curtiss alongside fellow Visionquest member Ryan Crosson have both released much original music on Supplement Facts and heralded key releases on the imprint. The broody nature of Supplement Facts rumbles on Michel Cleis’ “Dark Glasses,” presenting a driving track with chimes, echoes and tribal calls and smoothed down with sweet saxophone solos. Crosson collaborates with Guti on “You’ve Got Me,” a tantalizing affair that teases its flavors out slowly. Its skipping beats and sassy vocal licks culminate in an encompassing bass and a swirling breakdown to get lost in. The enigmatic French trio and Supplement Facts label staples, dOP unleash a unique sonic assault of deep and visceral house music on “The Genius Of The Crowd” and “Half Naked.” In typical style, dOP flirt with whispered vocals and massage the energies of the body with a playful and soothing approach. Seuil’s “Ultravision” brought the talented Parisian to Supplement Facts for the first time. The mesmeric progression of liquid bleeps and deep rhythms is heightened by the poignant and husky drawl of Jaw bleeding through this enveloping, crisp track. Guy Gerber rounds out the compilation with two of his own releases, the new, ominous, siren-filled “Nothing Can Be True,” taken from sessions with P. Diddy and closes with the radiant “Hate Love,” remixed by Kate Simko. Gerber has reinvented his own strain of house music and taken the underground music scene by storm in his short career. Gerber started Supplement Facts in 2006 to explore the outer realms of his imagination, and since then he has embedded it deeply within the world of electronic music. One of the only labels to emerge from Israel, its innovative and original approach has not gone unnoticed by the broader community. Heartbeats marks a new chapter as Supplement Facts embark on an expansion through a string of pioneering album projects.


PHONIQUE: Systematic Colours Volume Three CD (SYST 014CD) 17.00
This is the third volume in Systematic’s Systematic Colours compilation series. Berlin-based DJ and producer Phonique aka Michael Vater delivers us an 80-minute mixture of Systematic’s most essential single releases of the last 24 months. His live recorded set displays a colorful and diversified journey into deep, groovy, sometimes melodic, sometimes driving rhythms as you are used to on the typical Systematic record. Participating artists are Spirit Catcher, Rodriguez Jr., Gui Boratto, Will Saul, Robert Babicz, Joris Voorn and of course, label head Marc Romboy. Other artists include: Blake Baxter, Chelonis R. Jones, Ante Perry & Olivier Grégoire, F.E.X., Dachshund, Dimitri Andreas, Audio Soul Project, Tam Cooper and Stephan Bodzin.

WIRE 333

WIRE, THE: #333 November 2011 MAG (WIRE 333) 8.50
“Attached to the front cover of every copy: The Wire Tapper CD, the latest in our ongoing series of exclusive new music compilations. On the cover: DJ/Rupture (Peter Shapiro meets prolific producer Jace Clayton to hear about post-colonial Bass music, The Shining remade in Dubai and Sufi Plug-Ins). Features: Cross Platform: David Lynch (It’s Crazy Clown Time, the legendary director-turned-songwriter tells Clive Bell, and you’re all invited); Helm (Alter label boss Luke Younger decodes his punk-primitive Noise strategies); Bent Sørensen (Julian Cowley gets snowed under by the Danish composer’s multimedia blizzard of sorrowful songs); Invisible Jukebox: Gang Gang Dance (The Brooklyn avant unit avoid eye contact with The Wire’s mystery record selection); The SMiLe Sessions (Released in all its sprawling, unfinished glory, The Beach Boys’ most ambitious song cycle plays like an unofficial American history); Christoph Heemann (The German electronic musician’s immersive, cinematic soundworld provides an aural counterpart to the fiction of WG Sebald); Radu Malfatti (From free jazz to Reductionist Improv and near-silent minimalism, it’s been a long strange journey for the Viennese trombonist/composer); Queer Sound (There’s got to be more to queer sound and music than Lil’ Louis. In fact, maybe all the noise in the world is queer, contends Matmos’s Drew Daniel); Global Ear: Barranquilla.”

TR 123LP

HICKS, JOHN: In Concert LP (TR 123LP) 11.00
Originally released in 1986, this record compiles three live dates from pianist John Hicks, who played on Pharoah Sanders’ Journey To The One. Featuring Walter Booker (bass), Elise Wood (flute), Idris Muhammad (drums) and Bobby Hutcherson (vibraphone).


JOAKIM: Nothing Gold CD (TSR 024CD) 15.50
This is Joakim’s fourth album Nothing Gold — probably his most song-oriented album to date. One of France’s foremost electronic musicians, his first album Tiger Sushi was ambient electro-jazz, before he moved onto electronics with Fantômes (2003), and later Monsters & Silly Songs (2007), on which he combined post-rock, disco and electronics. Joakim runs the Tigersushi label, releasing a broad spectrum of music including Maurice Fulton, E.S.G, Poni Hoax and Metro Area. He does live sets, DJs and he’s also a remixer; he’s recut tunes from Tiga, Air and Antena. Finally, he also has a live band, Joakim And The Ectoplasmic Band, on which he plays machines, keyboards, guitars and sings. Nothing Gold borrows its title from the Robert Frost poem. The artist himself states: “…each song is about someone I don’t want to be or become or about extreme behaviors and deviant habits — with the exception of ‘Find A Way’ — like an exploration of the human dark sides, a way to exorcise the demons by becoming one of them inside a song … I’ve taken the opposite path from most music producers today. I wanted to sound different. For years, I’ve been buying gear to build the studio of my dreams where I can achieve the sound I’m looking for (something between Conrad Plank, Motown and Daft Punk). It’s simply not possible to get that sound with a laptop. I also love beautiful ‘tools.’ Things with a life of their own. You can interact with them.”


SAFRAS, MIHALIS: Alba EP 12″ (TRAPEZ LTD106) 12.00
Mihalis Safras turns slightly towards hi-energy as it was executed in perfection by genius Bobby Orlando. Sure, Mihalis keeps his new Trapez Ltd track “Alba” techno, but he uses these catchy arpeggiator sounds that give it a rush of adrenaline. A big track from the Greek Adonis. Remixes by Simone Tavazzi and Wehbba.


WATER BORDERS: Harbored Mantras CD (TRIANGLE 009CD) 15.50
Tri Angle presents the debut album by San Franciscan duo Water Borders. Primarily inspired by their lifelong passion for ’80s industrial legends Coil and the kind of underground UK dance productions often heard on Rinse FM, Harbored Mantras is a dense and dizzying soundworld; a dank, tribal and often disorientating dance record which, as the two piece state, was intended to be “a coalescence of digital and analog sounds and textures.” As well as looking to Coil and the UK dance scene for inspiration, Harbored Mantras also incorporates a vast array of Water Border’s influences, including Gamelan rhythms, proto-techno, Scott Walker, African drum patterns, dub, Popul Vuh and Glasser, who actually designed the artwork for the album. Harbored Mantras sounds like nothing else you’ll hear all year.

UT 032

UGLY THINGS: #32 MAG (UT 032) 8.95
“In our killer new issue, our intrepid writers take a look at Paul Revere & the Raiders in the psychedelic era. Mark Lindsay opens up to Doug Sheppard about the making of their underrated late ’60s albums, while Bill Kopp examines the post-Raiders adventures of Drake, Fang & Smitty and their experimental psych-pop project the Brotherhood. Moving across the pond, we celebrate the world of Freakbeat with exclusive interviews with Dee Christopholus of Wimple Winch and Don Fardon of the Sorrows. And there’s more: Part 2 of our interview with Billy Harrison of Them, big stories on’60s garage punks the Sloths, the Contrasts and Limey & the Yanks, psychedelic magic with the Creation of Sunlight and the Finchley Boys, and a lengthy story on the early years of ’70s UK punks, the Vibrators. Add in pieces on the likes of $27 Snap On Face, the Rolling Stones, Valiant Little Tailor, ’60s Virginia’s Raven Records, Bob Desper and Sir Royal Da Count and you may be looking at our best and most eclectic issue yet. Not forgetting our extensive review sections covering all the latest reissues, rock’n’roll books and DVDs.” 176 pages, perfect bound/full-color glossy cover. Cover price: $8.95.


BUZZCOCKS: Another Music In A Different Kitchen LP (MRSSS 506LP) 25.00
“The first LP by Buzzcocks, released in 1978 after the departure of Howard Devoto, is one of the truly essential punk rock albums. It sounds fast and aggressive, raw and witty, but the band also had pop hooks to spare and incorporated influences such as kraut rock to their sound, which added to the brilliant songwriting means these songs remain as emotionally intense today as when they came out.”


PIKE, DAVE: The Doors Of Perception LP (VORTEX 2007LP) 12.00
“The Doors of Perception, recorded by Dave Pike and his group, is one of the oddest records in his rather exotic — and utterly hip — discography. Produced by Herbie Mann and featuring a cast of all-stars including Lee Konitz, Eddie Daniels, Don Friedman, Chuck Israel, and Arnie Wise, this is the Pike version of an acid experiment. On this 1970 release (recorded perhaps as early as 1966), Mann gets all crazy with sound effects like echo chamber, piped-in applause from a make-believe audience, thunderstorms, the dancefloor of a crowded discotheque, a Leslie speaker recorded on overload on warbling audio tape, perhaps even the sound of a live date.” –All Music Guide


“Argentinian pianist Fernando Gelbard’s killer debut (and only) ’74 LP. Didi is a potent mix of Fender Rhodes & Moog with scatting percussionists and fierce tenor sax — Coltrane meets candombe!” Gatefold sleeve.

WR 018EP

SADIER, LAETITIA: La Piscine 12″ (WR 018EP) 15.50
Limited and silkscreened 12″ featuring unreleased songs from Richard Swift, Rebecca Gates, Superbravo and Laetitia Sadier (Stereolab). Wool loves Laetitia Sadier’s music and wanted to do a special release all around her. For this special occasion, they asked her to curate something really personal. She decided to invite some of her closest friends to take part in the project, with a water-related song as the only suggestion. La Piscine is not a compilation but rather a collaborative project of friends and talented artists.


VA: Mississippi Blues 1927-1941 LP (YAZ 1001HLP) 17.00
180 gram reissue of this essential Yazoo compilation from 1967. Artists: Henry Sims, William Harris, Skip James, Charley Patton, Geeshie Wiley, Mattie Delaney, John Bird, Bobby Grant, Son House, Harvey Hull and Robert Johnson.


VA: Please Warm My Weiner (Old Time Hokum Blues) LP (YAZ 1043HLP) 17.00
180 gram reissue of Yazoo’s scholarly 1974 collection of “bawdy and vaudeville-inspired” songs from the ’20s and ’30s. Classic Robert Crumb cover art. Artists: Whistling Bob Howe & Frankie Griggs, Tommie Bradley & James Cole, Buddie Burton, Georgia Tom & Tampa Red, Rufus & Ben Quillian, Hokum Boys, Papa Charlie Jackson, Butterbeans & Susie, Robert & Charlie Hicks, Yazoo All Stars, Memphis Minnie, Leola B. Wilson & Kid Wesley Wilson and Bo Carter.


WELDON/KOKOMO ARNOLD, CASEY BILL: Bottleneck Guitar Trendsetters Of The 1930’s LP (YAZ 1049HLP) 14.00
180 gram exact repro reissue of this Yazoo’s collection of these two blues guitarists, originally released in 1975. “Kokomo Arnold and Casey Bill Weldon were two of the most popular and original-sounding bottleneck guitarists of the Thirties, a generally dismal period for blues recording. In terms of contemporary appeal (the only yardstick that mattered to blues men themselves) they far outstripped Robert Johnson, Bukka White, and other bottleneck artists of the era…. Arnold, a left-handed guitarist, confronts the listener as one of the zaniest, most manic guitarists ever recorded; Weldon’s work is an outright rejection of traditional blues harmony, and invites comparison to Western swing.”


VAZ, ANDY: 7inches Of Straight Vacationing 7″ (YRE 000EP) 12.50
Two-track collector’s item on an orange-colored 7″ taken from Andy Vaz’s Straight Vacationing (YORE 028CD/LP) album, containing songs “Just Another Round” and “Detroit In Me” (Orlando B. Remix). Disco house madness/screaming dancefloor all the way. Limited to 150 copies.

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