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3BY3 (UK)
3BY3 008CD CLOAKS: Versions Grain CD (3BY3 008CD) 15.50
The 3by3 label returns to unveil its most anticipated release to date, Versions Grain — remixes and versions of tracks from Cloaks’ 2009 debut album Versus Grain (3BY3 002CD), where the label began. Nine heavyweight industrial workouts featuring contributions from guest remixers Ancient Methods and Legion Of Two, alongside the entire 3by3 roster — JK Flesh (aka Justin Broadrick of Godflesh, Palesketcher and Jesu), Dead Fader, Devilman, Oyaarss and Volt Music. The inimitable Ancient Methods emerge for the first time on CD, providing a 9-minute slab of industrial techno bass weight to get folks dancing like they mean it. Planet Mu’s Legion Of Two make their first appearance since their 2009 album Riffs, adding their distinctive sound of live drums and tough electronics. New 3by3 signing JK Flesh gets his first label outing. Yet another project from the insanely prolific Justin Broadrick, providing just a taste of what to expect from the forthcoming album. Dead Fader return to home listening format following their 2010 debut album Corrupt My Examiner and a succession of international live shows. Latvian producer Oyaarss puts his unique spin on “Sixmenace Two,” promising a lot from his debut full-length. Also opening their 3by3 account is Devilman, featuring Shige Ishihara (DJ Scotch Egg/Seefeel) and Gorgonn (Dokkebi Q), finally making their release debut. Carl Cloaks’ solo project Volt Music also gets a first airing and Cloaks offer up two alternative cuts that didn’t make the album. A killer remix package in its own right, but also an excellent step forward for the 3by3 label, providing an indication of things to come from its roster over the next 18 months.
4M 121LP SILL, JUDEE: Heart Food LP (4M 121LP) 19.00
2011 repress. “The second album Judee Sill made proved to be her last. A notoriously slow songwriter, this enjoyable outing took its toll on Sill during its making, turning her back to her recently kicked heroin addiction and away from the desire to create more music. Instead of using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone. It’s a stellar example of the kind of singer/songwriter fare the music industry was mining in the early ’70s. The supporting cast of top L.A. studio musicians solidifies Sill’s unique brand country-flavored pop, which moves from introspective meanderings to loping rock, often within a single song.”
4M 809LP DAVIS, MILES: Live-Evil 2LP (4M 809LP) 27.00
“Originally released in 1971, Live-Evil is one of Davis’ most extraordinary records. Here, on a double album comprised of both live and studio recordings, the electric sound that Davis first unveiled the year previous emerges as a fully formed and powerful beast. Featuring one of his finest bands, which included John McLaughlin, Keith Jarrett, Gary Bartz, Jack DeJohnette, and Brazilian percussionist Airto, Live-Evil is a stunning exploration of the outer limits of jazz, and one of the most influential records of the ’70s. Absolutely essential.” Gatefold sleeve; on 180 gram vinyl.
50 004CD ANSTAM: Dispel Dances CD (50 004CD) 15.50
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.
AIR 001CD VA: Air Texture Volume I 2CD (AIR 001CD) 20.00
Ambient today isn’t so much about psychedelics or chilling out as it is presenting the melodic or beatless fabric of dance music. Stripped of prevalent rhythm, songs tend toward melodic composition and detail. These songs may become “compositional” as individuals express themselves with technology under focused or emotive ideals. The music becomes timeless (free of meter) when the music looses its structure while retaining its idea. In the tradition of Excursions In Ambience, Instinct Ambient, and Pop Ambient, Air Texture looks to catalog and promote the diverse world of ambient, experimental, and less beat-oriented electronic music. The Air Texture Volume series asks two producers to curate a CD each of material for combined release. Volume I looked to bvdub (Brock Van Wey) and Andrew Thomas for guidance. Selections feature an in-depth list of emerging and established artists such as Oneohtrix Point Never, Ian Hawgood, Atlas Sound, Klimek, loscil, Biosphere, Markus Guentner, and Wolfgang Voigt. Other artists include: Orla Wren, Rafael Anton Irisarri, Let’s Go Outside, Maps And Diagrams, Hessien, Konntinent, The Green Kingdom, Ryonkt, Arc Of Doves, Chihei Hatakeyama, Bevan Smith And Tristan Dingemans and Leyland Kirby.
ASH 010.1EP PURITY SUPREME: Always Already 12″ (ASH 010.1EP) 12.00
Four new tracks from Purity Supreme, a collaboration between French musician, composer and producer Christophe Van Huffel and American writer, musician and composer Leslie Winer. Always Already was recorded in France at Studio7Love in May 2011. Leslie Winer’s ’90s album Witch, released under the artist name ©, is a genuine lost classic, pioneering many of the sounds that have followed. Christophe Van Huffel, ex-guitarist of Tanger, has recently produced legendary French singer, Christophe.
ASH 8.9CD NORDWALL, JOACHIM: Ignition CD (ASH 8.9CD) 14.50
Joachim Nordwall is deeply interested in the power of sound, and how sound can create certain states of mind, but also the other way around; how certain states of mind can create sound. Since his teens in the late ’80s, growing up in the remote, crude southeast Sweden, he has experimented with something he prefers to call “Psychic Broadcasting” rather than composition, at first in the still almost-active analog synth drone duo Alvars Orkester. Nordwall went on to play in various experimental music projects and spent time in Paris and London. Back in Sweden, he formed iDEAL Recordings in 1998 and joined the sweaty avant-punk rock group Kid Commando the year after, touring like mad, eventually hitting rock-bottom in 2005. After the death of KC, he formed the ritual rock/drone band The Skull Defekts, which has kept him busy ever since (recently releasing records on Chicago-based Thrill Jockey Records). In 2006, his first solo album was released under his The Idealist moniker. A few years in the making, the album offered was a deep study of Nordwall’s interior life, during a time when everything was pitch-black inside. Today, Joachim Nordwall is very active curating his iDEAL label and organization for festivals, concert series and sound art exhibitions. He is also the chairman of the legendary Stockholm venue for experimental stage art, Fylkingen. Nordwall is a man that lives and breathes sound. A few years have passed and Ignition is here, Joachim Nordwall’s second solo album. Recorded under brighter circumstances but still with many shadows present. Ignition is on one hand a solid, highly electronic trip, on the other hand, a very sensitive, analog and warm drone symphony. Ignition was released (and is still available) on cassette in 2010, thus asserting the primacy of the analog format. Received and recorded by Joachim Nordwall at Morgan Avenue (Brooklyn), Lampo (Chicago), iDEAL (Gothenburg), EMS (Stockholm) 2006-2010. Technical specifications: RITM-2, iDEALIST DRONE MACHINE, LITTLE BLACK BOY, GLAMOUR BOX, KORG MS-20, iDEALIST NOISE MACHINE, MacBook Pro (various software) and various effects. Analog sound sources, sometimes processed digitally.
ASTERISK 008CD SPIRIT FREE: Spirit Free Plays Starship CD (ASTERISK 008CD) 14.00
“Fueled by the American dream and the laundering of millions of dollars, the city of Las Vegas has turned into a metropolitan oasis in the desert. In the 1960s and ’70s, this bastion of hedonism billed itself as ‘the entertainment capital of the world,’ giving astute musicians the opportunity to cut their chops daily at the neon-infested hotels and casinos that dotted the strip. Under these conditions, a group of local musicians grew fed up with the menial sheet music dross that dominated their day jobs. Spirit Free strived to push the envelope and play jazz that was a bit more modern and experimental than anything being played in the city at the time. In 1971, the group committed their vision to wax with Spirit Free Plays Starship, mixing jazz with the exotic sounds of distorted sax, electric keyboards, and wah-wah pedals. The group’s lone long-player was a prelude to the fusion style that would dominate the popular jazz scene in the later half of the ’70s. Spirit Free Plays Starship returns, re-mastered from the original tapes and available on CD for the first time, featuring three unreleased bonus tracks and unpublished photos of the group.”
BEC 5161059 JUSTICE: Audio, Video, Disco 12″ (BEC 5161059) 12.50
“Audio, Video, Disco” means “I hear, I see, I learn” in Latin. It’s the second single from the full-length album (BEC 5161064). Maybe not the easiest one, but due to its peculiarity, the band felt it was a natural choice. Its runs at 152 bpm, which is quite fast, but still delicate. It’s also the longest track on the album. An ideal conclusion for the album and for their future live shows. Includes a download card for mp3 version.
BEC 5772393 METRONOMY: Nights Out CD (BEC 5772393) 14.50
Re-released for the U.S. in light of Metronomy’s 2011 Mercury Prize Nomination (for their third album The English Riviera). This is the CD version of Metronomy’s second studio album, 2008’s Nights Out. It is their first album to be vocal-led, with self-effacing founding member Joseph Mount stepping up and grabbing the mic for most of the tracks; and, crucially, the first to introduce Metronomy as a three-piece band, rather than a pseudonym for Joseph’s solo work. Although Joseph has worked with Gabriel Stebbing (bass, keyboards) and Oscar Cash (sax, keyboards) since their Devon childhoods, it’s the success of the trio’s live shows that led to the realization that the three schoolfriends are a bonafide group. Nights Out resolutely ignores the current vogue for yelping in a provincial accent about mingers and kebabs, and taps into a more elegant, enduring and truthful pop mood — that feeling of being at your most lost and alone when crushed into a room full of revellers high on drugs and desperation. Musically, Metronomy march to the beat of their own synthetic drum. But Joseph’s experiences of touring the nightclubs of the world, finishing his set, and then feeling unable to join in the surrounding debauchery makes Nights Out the wonky love-child of Giorgio Moroder, New Order, Pet Shop Boys and Unfinished Sympathy. Indeed, “On Dancefloors” might be the saddest song about partying ever made.
BEC 5772599 METRONOMY: Pip Paine (Pay The £5000 You Owe) CD (BEC 5772599) 14.50
This is the first album released by Joseph Mount (aka Metronomy). Initially released in 2006, this first album was a collector’s edition limited to 2,500 copies. This developed the Metronomy buzz thanks to the tracks “You Could Easily Have Me” and “Tricks Or Treats.” This new version includes four bonus tracks: “Are Mums Mates,” “Hear To Wear,” “Another Me To Mother You” and the unreleased track “In The D.O.D.” Includes 4 bonus tracks. Re-released for the U.S. in light of Metronomy’s 2011 Mercury Prize Nomination (for their third album The English Riviera).
Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound art and deeply-felt melodies. Frost’s vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason’s orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely-acclaimed releases; Bjarnason’s Processions (HVALUR 007CD) and Frost’s By The Throat (HVALUR 006/LP), we are given something altogether new. A unique collaboration, Sólaris is a quiet, stilled and all-consuming symphonic suite at once as affecting and uncanny as the science-fiction classic that inspired it. The power of Andrei Tarkovsky’s Solaris is not in its futuristic sets, or in the hypnotic shots of the alien planet’s weird, fluid surface, it’s in the way the auteur juxtaposes his alien, futuristic elements against the intimately familiar. This is a future not just of flashing lights and video screens, but of wood and wool and leather, of dogs and horses, books and photographs. In Frost & Bjarnason’s Sólaris, we do find the futuristic, gaseous atmospheres and pulses one might expect from a sci-fi soundtrack. Here they are carved instead from the warm, fragile sonorities of Sinfonietta Cracovia; one of Europe’s leading orchestras, a gently prepared piano whose harmonies warp and melt before transforming again — and waves upon waves of guitar. Created through a unique series of processes, Frost & Bjarnason’s initial sketches — improvised to the film — were fed through software designed to correct music which tried to turn their dense and distorted sonic input into a digital sequence of raw musical data. Working from data riddled with error and misunderstanding, a human score was orchestrated; the whole process deftly mirroring the very core of the film’s own narrative of memory and loss, alien doppelgängers and emotional feedback loops. Brian Eno — who consulted closely in the creation of Sólaris — also used the same film to create a video accompaniment to this music in another strange loop of computer-generated distortion. But here the score stands on its own. Sólaris is a journey into an internal world; into the self; a flux of wonder, horror, sorrow and tenderness; and a ravishing sensory experience.
BEU 2521CD ZUN ZUN EGUI: Katang CD (BEU 2521CD) 13.50
“Here comes the wildfire sound of Zun Zun Egui, toting their debut album Katang.Having formed in the libertine and verdant undergrowth of Bristol’s cultural side streets (members Kushal Gaya and Yoshino Shigihara first met at an improv session at notorious DIY cinema The Cube Microplex), released two white-hot slabs of 12″ vinyl (self-recorded at their Bristol based studio lair), played resident band at their own colourful club night called ‘How Come…’ and been invited to let loose on stages across the planet alongside everyone from Tinariwen to Whitehouse, Zun Zun Egui have now dreamed up their debut album proper, and it’s one to savour.”
BEU 2521LP ZUN ZUN EGUI: Katang LP (BEU 2521LP) 18.50
Gatefold LP version.
BKS 001EP MARIO & VIDIS: Staar Wars EP 12″ (BKS 001EP) 12.50
Following their much talked-about and played-out EPs on Endless Flight, Future Classic, Best Works, Crosstownrebels, and Otherworldly Philomena — a string of tracks supported by Âme, Dixon, Damian Lazarus, Andre Lodemann, Soul Clap, Sasha, Joakim and far too many others to mention, here comes a four-track EP of interplanetary body music from Mario & Vidis.
WIKD 297LP TERAUCHI, TAKESHI: Nippon Guitars LP (WIKD 297LP) 22.00
Subtitled: Instrumental Surf, Eleki & Tsugaru Rock 1966-1974. “The first ever retrospective in the west of one of Japan’s guitar pioneers, Takeshi Terauchi. Charting his career from the surf boom, to groovy ’60s instrumentals, fuzz freak-outs and funk rock. A must-have item for any collector of guitar ‘n’ beats from around the world or anyone with a curiosity for vintage Japanese and Oriental popular music. Big Beat International release, compiled by Howard Wiliams, previously held responsible for the Killing Melody album, a compilation of Japanese gangster soundtracks. Now venturing into the choppy waters of surf and electrified Japanese folk. Takeshi Terauchi was the main man behind the mid ’60s Eleki (electric guitar) boom. A powerhouse of guitar pyrotechnics with an understanding of the circuit board; he made his own echo machines and the first Japanese-made PA system. With his two groups, the Blue Jeans and the Bunnys, he led the field and still plays today. The album Nippon Guitars is a sample of his huge catalogue, mainly focusing on hard-edged surf, adapted versions of traditional Japanese folk songs and ’60s Japanese pop grooves. For beat scavengers there are breaks, backed with melodies in the Japanese pentatonic scale.”
ACRE 029EP MEMOTONE: Lost Hours EP 12″ (ACRE 029EP) 11.00
Anticipation is high for Memotone’s second EP for Black Acre. His combinations of brittle, ghostly percussion, found sounds and muscular synth riffs continue to unearth treasures. “Lost Hours” mixes organic with technoid to create a reluctantly funky cyborg. On “Four Minute Hallway,” he teams up with Leafcutter John to play poltergeist drummer with the cutlery. “Small Good Things” is the perfect sunset warmer with a more humanist lean, while “Slowly They Creep” finished things with a sinister air.
BLKBXXX 005EP PHAELEH/DJ MADD: Lament/Pitfall 12″ (BLKBXXX 005EP) 11.00
Two huge dubplates served up by the fast-growing Black Box camp, further cementing their reputation as dubstep’s go-to label. “Lament” was originally featured on Phaeleh’s near-classic-status Fallen Light album, re-rubbed to bombastic effect by the new hot boy, DJ Madd. In exchange, the Bristol beatmeister delivers a floor-quaking take on the new-school dungeon anthem, “Pitfall.”
PTYT 037DVD FAHEY, JOHN: 1978 Live At Audimax Hamburg DVD (PTYT 037DVD) 17.00
Shot live for TV by the legendary German music show “Rockpalast,” this DVD represents the earliest example of a complete John Fahey concert performance, given on March 17, 1978. The multi-camera filming features detailed close-ups of Fahey’s playing style, giving Fahey fans a rare insight into what Pete Townshend has called the William Burroughs of the guitar. Fahey’s 1978 visit to Europe saw him in fine wild form, performing an 10-track set and, as an incredibly rare bonus, a short interview with the maverick iconoclast. All-Region NTSC-compatible DVD in CD digipak. Location: Audimax, Hamburg. John Fahey: vocals, guitar.
PTYT 039DVD COYNE, KEVIN: 1979 Live At WDR-Studio L Cologne DVD (PTYT 039DVD) 17.00
Kevin Coyne remains one of the UK’s greatest lost cult talents; one of John Peel’s all-time favorite musicians, and an acknowledged artistic hero of contemporary talents as diverse as Will Oldham and John Lydon. His then-record company Virgin described him as the ultimate anti-star. This super-rare recording was shot live in 1979 for the legendary German TV music program “Rockpalast,” when Kevin was at the height of his considerable performing powers. The DVD features some 18 songs from across his then-career (1973 to 1979) and serves as almost a personal greatest hits set, and features him in a solo and duet (with Zoot Money) setting, for an intimate and energetic example of Coyne’s unique charms. All-Region NTSC-compatible DVD in CD digipak. Kevin Coyne: vocals & guitar; Zoot Money: keyboards.
PTYT 047CD MCPHEE, DEAN: Son Of The Black Peace CD (PTYT 047CD) 16.50
West Yorkshire’s Dean McPhee releases his first full-length album consisting of four new tracks of his singular signature style of introspective, drifting instrumentals, masterfully-played eclectic electric guitar and efx meanderings. Quiet-time music; summer fields and winter fire-tending. Future dub folk from an olde English tradition that no one can quite put their finger on. Blast First Petite re-released his initial Brown Bear EP on CD in spring of 2010 to a growing press awareness of this young man’s talents with Boomkat, Brainwashed and Foxy Digitalis giving him the big ears kudos and MOJO and Tom Ravenscroft firmly planting the McPhee flag as a talent to watch out for. A steady rivulet of live dates are planned with sympathetic souls old (Michael Chapman’s Ecstatic Peace! tripping) and new (Richard Skelton psychogeographical séances with place).
BOXER 085CD DUSTY KID: Beyond That Hill CD (BOXER 085CD) 17.00
Paolo Alberto aka Dusty Kid loves travelling, no matter whether it is a trip through his own sensuous spheres of experience (like on his solo debut album A Raver’s Diary in 2009), or a real road movie. Beyond That Hill takes the straight bass drum out of the club and plants it on the roadside. Beats are rushing past like power poles, a fresh breeze is blowing in your face, both literally and figuratively, and in front of you there is nothing but the vast horizon, a shimmering dance of coordinates. Dusty Kid wanders through luscious, epic landscapes of sounds. Hence, it is not surprising that some of his tracks hit the 10-minute mark without being tiring or exhaustive. You will rather find yourself gliding above the sounds, yet still close enough to admire all the wonderful details, and high enough to get a good view. The sounds are far more than just pure metaphysical mumbling or a series of meaningless loops and effects. The opener “Nora Nights” already starts at a tight pace, yet with a well-defined and delicately-balanced structure and ambience. Every single second, every single sound bit is essential. On “Jknoussa,” Dusty Kid first plays the Grand Canyon tourist at the coin slot telescope; then, in the 14-minute floor-hugger “Argia,” he turns into the adventurous mountaineer climbing between the jagged rocks along the abyss, suspended between heaven and earth, yet absorbing both at the same time. A little break at the campfire offers “Chentu Mizas” and “Beyond That Hill” with a rhythm guitar that invokes the ancestors under the moonlight, and helps you to get mentally prepared for “Polybolo” — the monster that drags the mountaineer into the abyss, and hits the dancefloor like an avalanche. Gone are the friendly and crackling nostalgic sounds where vocals and strings were exchanging soft cotton balls — now, the time has come to start the survival training that every raver who calls himself professional should have passed in the acid shower. Constant knocking wears the stone: like the peak bagger who finds himself awe-struck by the earth’s elemental forces, “Polybolo” reveals the pure longing, the archaic natural forces, only by means of pure synthetic tools. But soon after, the traveller gets his guitar back from “Cheyenne,” peaceful and organic, but still pushing, thanks to precise footwork and a superbly-arranged frequency spectrum. And finally, “That Hug” pulls out all the stops again to sensibly recapitulate the way the audience has travelled so far. With grand gesture and universal aspiration, this unique and unforgettable trip comes to an end. And once again, Dusty Kid proves that he is the master of the album format. An ideal mix tape for some, highly imaginative cinema for others, but the result is always the same: it is a story to dance to, a road musical for adventurous people.
BPC 241EP MULLER, THOMAS: Neurones 12″ (BPC 241EP) 12.00
Thomas Muller’s distinctive approach to programming beats and love for detail in sound design leaves an impression of constantly moving parts that remain in one place. The resulting tension instills Thomas’ tracks with an irresistible and curiously mechanical energy. Having established and refined his musical trademark on previous EPs and remixes — including those for his label-mates Telefon Tel Aviv and Cormac — Thomas enters new territory with each track of his new EP Neurones.
BMVI 003EP LAID BACK: Get High 12″ (BMVI 003EP) 12.50
“Get High” is a new track release from Laid Back. The lyrics may instantly lead your mind onto thinking of cannabis, but try to think about it in a broader context. Musically, the groove is kept groovy, with an updated twist. Danish electronic musician and DJ Kasper Bjørke has done a really cool remix. There’s also a space mix, for those who like to get out there and more into it.
BB 075CD QLUSTER: Rufen CD (BB 075CD) 17.00
“Rufen is the second installment in a trilogy of Qluster music, following on from the Fragen (BB 076CD/LP) studio album. In four impressive live recordings, Hans-Joachim Roedelius and Onnen Bock unfold aural panoramas which can only be described, in the truest sense of the word, as fantastic. Had Claude Debussy not already composed ‘Prelude To The Afternoon Of A Faun,’ then Qluster would have been ideally placed to do so, their transparency and polymorphism so reminiscent of his high Impressionism. Shunning computers and discarding digital sound, Roedelius and Bock appear to have detached themselves from their own age, exclusively playing analog keyboards, such as the good old Korg MS 20 synthesizer. Nevertheless, they do not revert to earlier periods in search of their stylistic approach. Conventional rhythmic and harmonic patterns are wholly absent. Qluster’s foreign sounds and lucidity bring their music closer to contemporary electronic chamber music; although, as paradoxical as it may sound, a form of chamber music which Qluster first had to invent. If this album’s predecessor Fragen ventured into strange, unworldly musical territory, then Rufen pushes the boundaries still further. Qluster take the listener along a path which seems to disappear on an imaginary horizon. Roedelius and Bock neither drift off course, nor do they lose sight of their destination. As such, they prove to be reliable scouts who earn the trust of the wanderer at their side. Perhaps there is no goal in Qluster’s music, unless it lies in cloud cuckoo land. The direction, however, is clear: head towards the sun, further and further, to a place where everything looks — and sounds — a little different. New land, terra incognita. Listening to Qluster feels as new an experience as the music they play. Rufen is not new just for the sake of it. That would not be enough. Rufen is new because two mature musical personalities have succeeded (effortlessly) in creating music which cannot be plotted on a timeline. Music which defies comparison in terms of form and sound. A chance occurrence — very rare, to say the least.” –Asmus Tietchens
BB 075LP QLUSTER: Rufen LP (BB 075LP) 17.00
LP version on 180 gram vinyl with free download code.
BWR 015LP LUSTMORD: Zoetrope 2LP (BWR 015LP) 31.00
2010 release. “Zoetrope (1999) is an experimental avant-garde short film by music-video director Charlie Deaux. It presents a haunting, apocalyptic story of man’s metaphysical existence. Inspired by Franz Kafka’s story In the Penal Colony, the film is an attempt to transfer Kafka’s dark, nightmarish vision and gloomy atmosphere to celluloid. The film was shot by music-video cinematographer James Hawkinson. The 3D animation for the film was created by Robert Beebe. Shot on 35mm film on extremely smooth black-and-white stock, the film features dark and surreal visuals. This 18-minute work features a dark ambient soundscape by musician and sound designer Lustmord (also known as Brian Williams) and was released on DVD in 2005 by Soleilmoon Recordings.” Housed in a gatefold sleeve. Includes expanded & revised material exclusive to this release.
BWR 021LP LUSTMORD: The Monstrous Soul 2LP (BWR 021LP) 31.00
“Burning World Records is proud to present the second installment in the Lustmord vinyl re-issue series… The Monstrous Soul, originally recorded and released in 1990. The Monstrous Soul was conceived in Sheffield in 1990 by B. Lustmord and Clock DVA founder Adi Newton. First released by London label World Serpent, it followed the seminal and highly influential dark ambient album Heresy (SOL 009CD). Although the release dates were barely a year apart, The Monstrous Soul marked a turning point for Lustmord, one that mapped the future more than it mirrored the past. Much more digital magic and electronic processing was employed this time, where much of the material on Heresy utilized acoustic sound sources and traditional analog recording technologies. The Monstrous Soul dedicated itself to creating a environment of gloom in which the listener was totally enveloped by an hour long soundscape best described as a journey through a frozen hell. At the time The Monstrous Soul was recorded, the legendary B. Lustmord resided in a squat in London, near the Oval cricket ground, just around the corner from David Tibet, founder of Current 93. It takes little imagination to connect the bleak visual landscape of south London’s worst slum to Lustmord’s grim electronics. This wasn’t simply a fantasy video game soundtrack, it truly reflected the environment from which is came.” Housed in a gatefold sleeve.
CADENZA 068EP DIETZ, ROBERT: Slinger 12″ (CADENZA 068EP) 14.00
Robert Dietz joins Cadenza for the second time with the Slinger EP. Eclipsing the A-side is the percussion-heavy show-stopper “Pandemic.” Infused with sheer funk and relentless groove, “Pandemic” screams of sweat-drenched dancefloors, grinding movement and unstoppable force. On the flip, “Red Tops” is an adrenaline-pumped fairground ride; exhilarating, dangerous and manic, the smacking hand claps, jazzy cymbal crashes and spiralling drum rolls make way for a lush and rolling b-line with speeding hats.
CH 091CD TWERPS: Twerps CD (CH 091CD) 15.50
This is the debut album from Melbourne pop foursome, Twerps. Up until now, a large part of Twerps’ charm has been their rough edges. Recording to hissy four-track tape, singing songs about enjoying the “occasional quiet drink” and then throwing up on your friends, the group has released a series of loveably lo-fi vinyl singles and cassettes on labels around the world. But now, with their self-titled debut, there might just be a little bit of growing up going on, as this is the biggest-sounding recording Twerps have ever done. Unlike their early manifestos, Twerps was recorded in a bona fide studio, with the help of engineer Jack Farley (Beaches, St. Helens). But it’s not just the sound, it’s the songs. Tracks like “Through The Day” and “Dreamin” contain instantly recognizable Twerps elements: the fascination with New Zealand’s 1980s Flying Nun era, as well as U.S. bands like The Feelies and Galaxie 500. But they also contain a kind of Australian pop timelessness that harks back to the Go-Betweens, Paul Kelly and the Sunnyboys. This is something new for the band, and it’s deep and resonant. Every Twerp is stepping up in their own way. Guitarist Julia McFarlane (once of NZ dirge-monsters Batrider) takes a rare vocal turn on the disarming “This Guy,” while her high-treble guitar lines slice through main vocalist/guitarist Marty Frawley’s endearing brashness to reveal the pulsating heart beneath each song. Bassist Rick Milovanovic is a deep melody master, while drummer Pat O’Neill provides the most sympathetic of accompaniment. Then there are the guest appearances, such as sweet harmonies from Super Wild Horses’ Hayley McKee and Amy Franz on “Bring Me Down,” and the rousing group chorale from members of Eddy Current Suppression Ring, Beaches, Panel Of Judges and others on “Don’t Be Surprised” and “Who Are You.” Panel’s Dion Nania also contributes some keyboard and guitar flourishes across the album, while Peak Twins’ Joel Carey and Liam Kenny sing back-up on “Dreamin.”
CH 092CD DICK DIVER: New Start Again CD (CH 092CD) 15.50
New Start Again, the debut album by Melbourne foursome Dick Diver, is warm and understated, shot through with casual grace and supported by real backbone. It’s an intriguing combination of widescreen Australian sweep, ’70s New York edge and ’90s indie-rock scratch that transcends its influences to become truly honest and exciting. The respectively wry and poetic songwriting of guitarists Rupert Edwards and Alistair McKay lobs Dick Diver up alongside Go-Betweens heroes Forster & McLennan, while their often epic fretwork bears echoes of Television and Yo La Tengo. But bassist Al Montfort’s impeccable punk pedigree (UV Race, Total Control, Straightjacket) roughs up the band’s bookish proclivities, while drummer Steph Hughes brings a similarly frayed-edge appeal. Her background in bands from Children Collide to Boomgates gives the band an offhand, subtly swinging charm. Their first EP, 2009’s Arks Up, enjoyed Triple J rotation and community radio thrashing, and brought shows with Stephen Malkmus and a Boogie Festival appearance, amongst other plaudits. Rupert and Al Mc hogged the songwriting duties on the EP, but New Start Again, recorded with Eddy Current Suppression Ring’s Mikey Young at an old homestead in country Victoria, is a much more even-handed affair. The band share songwriting, swap instruments, and introduce new sounds like pedal steel, piano, and slide guitar. Steph and Al Monty’s title-track duet, especially, provides a laidback, cheeky counterpoint to their bandmates’ more considered efforts. Rupert, meanwhile, provides lovelorn-but-snappy first single “Through The D” and sook-pop classic “On The Bank,” while Al Mc displays impressionistic lyrical flair on tracks like “Hammock Days” and “Seagulls.” And on closing track “Head Back,” the four loosen their collars to create probably the funnest five minutes of music released in Australia this year.
CINE 803CD HINCHLIFFE, DICKON: Project Nim Motion Picture Soundtrack CD (CINE 803CD) 11.00
“Project Nim is the follow up to director James Marsh’s Oscar-winning film Man On Wire. Mirroring the principles and techniques of a traditional film biography to the life story of an animal, we watch a baby chimpanzee named Nim lead a most unconventional existence. Bolstering the prime archival footage and contemporary interviews is a newly composed and original score by Tindersticks founding member Dickon Hinchliffe (Winter’s Bone, Trouble Every Day), the third release from Light In The Attic Records’ Cinewax imprint. Existing somewhere between Air’s Virgin Suicides, the Jean-Claude Vannier assisted instrumental backdrop of Serge Gainsbourg’s Histoire de Melody Nelson (LITA 040CD), and Michael Nyman’s most effective work, Project Nim’s evocative soundtrack serves to enhance the gripping tale of animal/human interaction. As Nim’s extraordinary life unfolds onscreen, a sonic backdrop comprised of various stringed instruments and sympathetic percussion stir pools of deep feeling and showcase dynamic range.”
CYH 015EP DJ SNEAK & IAN POOLEY: The CYH Remixes Vol. 1 12″ (CYH 015EP) 12.00
The CYH Remixes Vol. 1 don’t need a long explanation. With DJ Sneak & Ian Pooley, two of the finest house producers of all time chose their favorite Clap Your Hands track for their own interpretation. This 12″ features the DJ Sneak remix of Olene Kadar’s “Little Miss Dynamite (feat. D-Low)” and Ian Pooley’s remix of Marcel Knopf’s “Lone Gone Home.”
CLR 053EP BLACK ASTEROID: Engine 1 (The Remixes) 12″ (CLR 053EP) 12.50
CLR presents Bryan Black’s new project Black Asteroid. Two of the three perfectly balanced remixes have been crafted by CLR’s mastering wizard, renowned live act and busy producer Brian Sanhaji. Dave Clarke, who already played an early demo of the Engine EP long before it came out, contributed a highly energetic remix for the peak-time moments of the night. His take on “Engine 1” is called “Unsubscribe Remix” and was produced by himself and Mr. Jones.
COR 028CD EXTRAWELT: In Aufruhr CD (COR 028CD) 17.00
From Soopertrack on Border Community in 2006 to the Titelheld EP that same year and the album Schöne Neue Extrawelt (COR 019CD/LP) from the year 2008, which belong to the best-selling releases on Cocoon recordings, the two Hamburg residents Arne Schaffhausen and Wayan Raabe have skyrocketed their reputations to become two of the most style-forming techno protagonists within the last ten years. “We don’t want cowardly Zeitgeist Techno. We want to be courageous and dare new sounds and melodies. Sunrise scenarios, energy, revolution and ‘Kaputtheit’ — these are all parts of the Extrawelt,” the two musicians once said, and this artistic credo applies to their long-awaited second Extrawelt album, too. “We took our time and have collected tracks that have particularly touched us, no matter whether they are club-compatible or not. Besides that, we didn’t want to repeat ourselves, and have created a unique second album that stands for itself.” Without doubt, the two have succeeded in this. The spectrum of musical influences has again extended and the most diverse styles of electronic music connect seamlessly with the Extrawelt spirit. Here, the sonic Zeitgeist is not the determining variable for the music — what really counts is the creation of nothing more and nothing less than a new world, by means of a never-exhausting acoustic imagination which shows new facets, even after the thousandth time of listening. One should be careful with the use of superlatives, but this is exactly how masterpieces are sounding.
COR 091EP SANTE AND LORBER: Rootdown 12″ (COR 091EP) 12.50
Frank Lorber & Philipp Maier aka Santé are rolling a big tech house blunt that abducts you deep into the realms of modern club music. Hypnotic, groove-charged and with a very demanding bass line, the duo proves that their cooperation was a very good idea. While “Rootdown” and “Give It To Me” are fathoming the house area in a very skillful way, “You Know Paris” is a veritable tech house burner.
CSR 153LP BURIAL HEX/IRON FIST OF THE SUN: Actaeon/Grown Under English Ice LP (CSR 153LP) 23.00
Superb trans-Atlantic power electronics/death industrial face-off between Wisconsin’s Burial Hex and Birmingham’s Iron Fist Of The Sun. Burial Hex presents two “pre-industrial” conceptual compositions. Aside from one synth at the end of the first track, this music was all made with acoustic sounds. Intense power electronics, but without using amplification or electronically-generated sounds. Just like how many industrial artists have flirted with depicting sounds and atmospheres from the first and second World Wars, these pieces were composed imaging atmospheres closer to the American Civil War-era. IFOTS’s four tracks were recorded at Crushing Obelisk, Birmingham, England. Dedicated to betrayers of family/faith/country. Birmingham nihilism! 40 minutes. Limited to 500 copies.
DERWIN 003EP PROMMER & BARCK: Journey/The Barking Grizzle Remixes Pt. 1 12″ (DERWIN 003EP) 12.00
Taking it to the next level, the infectious grooves and fierce beauteousness of the highly-acclaimed Prommer & Barck album Alex & The Grizzly (DERWIN 001CD) are remixed here by KiNK, San Soda and Norman & Jerome Sydenham into captivating, idiosyncratic house music.
DESOLAT 005CD TINI: Tessa CD (DESOLAT 005CD) 17.00
This is the debut full-length album from tINI, an integral member of the Desolat family since 2009. Her album is named Tessa, after a music-loving friend who supported her transformation as a producer and DJ. It’s not only islands that need to be travelled to: developing a sound is a true journey, and one’s changing environments naturally play a role in that evolution. tINI, formerly of Munich, now resides in Berlin. Her version of house music is still representative of her electrifying, wired-up DJ sets, but there’s a new spaciousness and urban gleam to these moods, filtered through the more laid-back, surreal atmospheres of the island of Ibiza, where the majority of the album was produced. Tessa kicks off with “Divided” as a statement of intent: this is no formulaic house music, but rather something personal and idiosyncratic. A contemplative mood sets the scene for gentle, off-kilter palpitations. “Blonde Galipette” settles into the groove, with plenty of delay on rhythmic elements as a robotic interpretation of lonely shipyard sounds, and a growing tide of bass. “Mine Has A Shower” is a wink to the adopted spaces and unlikely comrades of an island dedicated to music; while “All The Good Stuff” is a tongue-in-cheek salute, referencing the tales told to new friends in the deepest hours of the morning. Tracks such as “My Shine,” “Canta La Testoasa” and “Maria, Louise And Bert” bolster the album with relaxed dancefloor vibes, while “Triptease” veers slightly closer to a boompty house pattern. “tINI Meets Jack – Medusa” brings an uplifting snap, “Monkey’s Cave” simmers and “Fail Better” unspools some compelling minimal house vibes. Lastly, on “Someone Loves You,” tINI’s debut Ibiza season wraps to a close in a contemplative mood.
DISCO 6149572 MIRABASSI, GIOVANNI: Adelante CD (DISCO 6149572) 15.50
This is essentially a solo album by “canto piano” aficionado Giovanni Mirabassi. His only guests are a trio of musicians who cut their teeth playing with Irakere and feature on “Yo Me Quedo” by the iconic Pablo Milanès, as well as singer Angela Elvira Perez — the mother of his current drummer Lukmil — who features on a more incandescent version of “Hasta Siempre,” an entire people’s anthem, which already featured on Avanti! in 2000. Giovani Mirabassi is committed, body and soul, to the 88 ebony and ivory keys, a beautiful palette of chromatic movements and the rhythmic fervor which emphasizes the melodic sparkles of a repertoire centered around Spanish songs. “I wanted to perform the melodies as they are, to let myself be guided by their sense of urgency, conviction and intrinsic freedom.” These qualities are to be found in emblematic South-American songs, such as Mercedes Sosa’s “Gracias A La Vida,” as well as in those honoring the enduring memory of the Spanish Civil War. Of course, the Paris-based Italian has also conjured up a handful of charming French tunes of old, such as “Le Chant Des Canuts,” “a slogan that revitalizes the notion of the working-class struggle” as well as several lyric-free versions of chanson classics: “Graine d’Ananar” by Léo Ferré, and “L’Affiche Rouge” by Aragon, two splendid authors that he just wanted to celebrate, not imitate.
DB 157LP STEREO TOTAL: Underwater Love: A Pink Musical OST LP (DB 157LP) 17.00
Special edition soundtrack — numbered edition of 500 copies. Franco-German synth-pop duo Stereo Total score the soundtrack music to Underwater Love: A Pink Musical, a film by legendary Japanese pink-film director, screenwriter and actor Shinji Imaoka. Bouncy pop with Japanese lyrics. From Germany’s Rapid Eye Movies and Japan’s Kokuei Company comes a whimsical pink film musical about a woman and a sea creature. Directed by pink-film veteran Shinji Imaoka (Lunch Box, Frog Song), shot by Christopher Doyle — the famed cinematographer behind Hero and countless films by Wong Kar Wai — and with music by Germany’s Stereo Total, Underwater Love: A Pink Musical promises to be unlike anything you’ve ever seen. Underwater Love: A Pink Musical was shot in 5 ½ days, one take only.
DOK 304LP BROWN AND HIS FAMOUS FLAMES, JAMES: Please, Please, Please LP+CD (DOK 304LP) 26.00
“Originally released in 1959 on King Records, Please, Please, Please is the debut studio album of James Brown and his backing vocal group, the Famous Flames. After a flurry of non-charting singles, many of them found here, Brown’s career was finally on the upswing as ‘Try Me’ hit number 1 on the R&B chart. Here Brown, who was still in search of his signature sound, tries his hand at everything from rockers like ‘Chonnie-On-Chon’ to novelty tracks like ‘That Dood It.'” On 180 gram vinyl.
DOK 309LP CASH, JOHNNY: Now, There Was A Song! LP+CD (DOK 309LP) 26.00
“Originally released in 1960 on Columbia, Now, There Was A Song! gave Johnny Cash a chance to pay tribute to his own musical influences and the songs that made country music great. Songs like Hank Williams’ ‘I’m So Lonesome I Could Cry’ (1947), Ernest Tubb’s ‘I Will Miss You When You Go’ (1952), and ‘Hank Thompson’s ‘Honky Tonk Girl’ (1954), greatly influenced the young Cash in his own development as an artist and performer.” On 180 gram vinyl.
DOK 310LP CASH, JOHNNY: Ride This Train LP+CD (DOK 310LP) 26.00
“Originally released in 1960, Ride This Train is not, as one might think, a collection of songs about trains, but Johnny Cash’s first true concept album. Here, Cash presents himself as a kind of modern troubadour, travelling by train across America and telling a story about the people who live at each place the train stops. ‘Loading Coal,’ for example, is the story of a Kentucky miner, while ‘Slow Rider’ tells of a murderous outlaw and saddle tramp.” On 180 gram vinyl.
DOK 311LP CASH, JOHNNY: The Lure Of The Grand Canyon LP+CD (DOK 311LP) 26.00
“Originally released on Columbia Records, Johnny Cash’s eleventh album, The Lure of the Grand Canyon, was unlike anything he had ever done before. Most significantly, it was not even an album of Cash’s music, rather a concept album consisting primarily of American composer Ferde Grofe’s Grand Canyon Suite. Cash gives his tribute to Grofe in the conclusive track, an eleven-minute spoken word piece about a day at the Canyon.” On 180 gram vinyl.
DOY 653LP MCDOWELL, FRED: Lord Have Mercy LP (DOY 653LP) 23.00
“Born in Rossville, Tennessee in 1904, Mississippi Fred McDowell is one of the great Delta bluesmen, and by 1971 when his ‘You Gotta Move’ first appeared on the Rolling Stones’ Sticky Fingers album, one of its best known. But in 1959 when he was first hunted down at his home in Como, Mississippi by Alan Lomax (and Shirley Collins) he had not yet made a single recording. The first time McDowell’s amazing repertoire was ever committed to tape was when Lomax set up his tape recorder on McDowell’s front porch and over a period of 4 days from September 21-25, 1959 proceeded to record McDowell singing and playing acoustic guitar, joined at times by guitarist Miles Pratcher and Fannie Davis on comb. Occasional vocals were also provided by McDowell’s wife Annie Mae, James Shorty, Sidney Carter and Rose Hemphill. Lord Have Mercy is an excerpt of that historic front porch session.” On 180 gram vinyl.
DOY 654LP MCTELL, BLIND WILLIE: East St. Louis LP (DOY 654LP) 23.00
“The ‘King of the Georgia Blues’ and a master of the 12-string guitar, Blind Willie McTell’s praise has been sung far and wide by everyone from Bob Dylan (who wrote a song about him called ‘Blind Willie McTell’) to Jack White (who covered his ‘Southern Can Mama’ and ‘Lord, Send Me An Angel’). East St. Louis is a collection of rare recordings (many of which remained unreleased for decades) made for Regal Records in Atlanta in 1950 and featuring guitarist Curley Williams. This is the first time that many of these tracks have ever been issued on vinyl.” On 180 gram vinyl.
DC 093CD ROYAL TRUX: Singles, Live, Unreleased 2CD (DC 093CD) 18.00
2011 repress. “This thirty-two song bomb was dropped on a highly suspect America back in the early winter of 1997. It was a celebration of –and no tombstone upon–the then-major label act known as Royal Trux, RTX and/or ‘these guys suck,’ depending on whom you were reading. The songs were collected from along the various ways they’d passed by from 1988 to around the time they were signed to Virgin in 1994. The title really says it all, without delivering strictly on the promise; rather than divide the album into sections dedicated to each of the above, the singles, live and unreleased tracks were scrambled in unchronologic/anthropomorphic/anti-idiomatic fashion to represent a living, breathing entity built of contradictions, rhythm, gleeful exploitation of limitations and clichés, the short con (and when you finally notice, they’d slip into the long one) and above all, total commitment. This was a band to which the word ‘definition’ had no meaning, other than as the punch-line to a variety of jokes that we won’t bore you with right now. You may never understand unless you sit in a crouch for three days, on the balls of your feet with the knees pointing out like arrows before you. And then maybe you’ll know how it feels. Some people in this life have no choice, they’ve been Indians since the day they were born. Others take it upon themselves. This was Royal Trux.”
DC 093LP ROYAL TRUX: Singles, Live, Unreleased 3LP BOX (DC 093LP) 31.00
Deluxe 3LP box version.
DC 467CD 200 YEARS: 200 Years CD (DC 467CD) 13.50
“200 Years is none other than those straw dogs of skull counting (and flowers!), Ben ‘Six Organs of Admittance’ Chasny and Elisa ‘Magic Markers’ Ambrogio. Yep, that’s what they called them back in grade school — and that’s where the storm clouds started massing. It would be years and many cold dishes of revenge before this unique version of socialization would blossom into the music that both are rumored for today. They still don’t lie, but the debut 200 Years LP sounds like they’re figuring out a way to build around the smoking holes, instead of the rough old craniometry count down. If destruction is a type of construction, then you can say we here at DCHQ knew they had it in ’em the whole time! Like magnets, or Voltron, apart these two have wreaked havoc with electricity and enemies, but when joined create a force of absolute cohesion and power. Quiet-like, though! 200 Years is to a listening experience like seeing is through a dirty window — you can’t see anything clear out there but the light. And that’s more than you got in the room. Sonically, it’s basically Ben and Elisa with guitars, Elisa’s voice, Ben’s guitar alone, the breath of a harmonium, the faintest strains of piano. There’s more playing in the mix than just that, but it’s like that ol’ dirty window — the sounds are more not there than they are there.”
DC 467LP 200 YEARS: 200 Years LP (DC 467LP) 17.00
LP version.
DC 488LP VA: Whaur the Pig Gaed on the Spree LP (DC 488LP) 17.00
Subtitled: Scottish Recordings by Alan Lomax, 1951-57 (compiled by Alasdair Roberts). “In the summer of 1951, Alan Lomax made his first trip to Scotland on the recommendations of folksinger Ewan MacColl and poet, song-collector and Scots nationalist Hamish Henderson. Traveling through the Scottish Lowlands, Lomax and Henderson recorded pipe tunes, children’s games, Robert Burns compositions and dozens of ballads from farm laborers, fishwives, and the Scottish Traveling folk. Lomax wasn’t just impressed by the variety of the country’s traditional music, he was astounded by the depth of the Scots’ knowledge and appreciation of it. Whaur the Pig Gaed on the Spree commemorates the 60th anniversary of Lomax’s first Scottish recordings and acknowledges their profound effect on Scotland’s folk revival with one of its most gifted heirs at the wheel: Drag City recording artist Alasdair Roberts. Curated by Roberts and produced in collaboration with the Alan Lomax Archive’s Global Jukebox label, the record is a startlingly diverse portrait of Lowland traditional music and song: from gentle to rumbustious, hilarious to heartbreaking.”
DC 492LP PAREDES, CARLOS: Guitarra Portuguesa LP (DC 492LP) 15.00
“Carlos Paredes was one of the greatest Portuguese guitarists, and a symbol of the Portuguese culture — not simply a great composer, but one of the men behind the world-wide understanding of his instrument and his country. Dating back hundreds of years, Portuguese guitar is most notably associated with the traditional Portuguese popular music known as fado. Paredes’compositions went beyond the traditional use of the instrument in fado musicianship, giving him (and the instrument) a status above folk or regional music. Carlos released his first EP at the age of 32, during which time the music of fado was being adopted by many young Portuguese songwriters to decry the oppressive Salazar regime. Shortly thereafter Carlos was detained by the fascist government for suspected subversive beliefs. While imprisoned in 1958, Paredes managed to stay sane and even created some of his most remarkable works. It is said that during this time the guards thought he had lost his mind, as he walked back and forth in his cell pretending to play an instrument, but in fact all he was doing was composing in his head. After receiving recognition for the 1963 soundtrack to the film Os Verdes Anos, Carlos worked on music for film and stage productions for the next several years. His full-length debut, Guitarra Portuguesa, was finally released in 1967, which would establish him as the master of the Portuguese guitar.”
DC 493LP PAREDES, CARLOS: Movimento Perpetuo LP (DC 493LP) 15.00
“After the release of Guitarra Portuguesa, it took Carlos Paredes four more years to produce another album. Again regarded as a masterpiece, Movimento Perpetuo showed a more mature Carlos Paredes. If the tireless playing of his instrument wasn’t enough, throughout the entire album one can hear Paredes breathe sharply as he forms his phrases. Paredes performed around the world following the release of these albums, but he always returned to Portugal. The long-standing dictatorship there was finally brought down in the Carnation Revolution of 1974 — an event recalled by many Portuguese when they hear the music of Paredes, which played incessantly over the radio and television during news reportage.”
DC 496CD DWARR: Starting Over CD (DC 496CD) 13.50
“Posterity is a word that simply means ‘all future generations.’ Only sex, money, and power are stronger driving forces behind human creativity, and posterity is the thing that motivated Duane Warr to create his first album, Starting Over, in 1984. What makes a person in their twenties concerned about posterity? Hard living, a sense of mortality, the fear of dying before having done something worth a damn. And Duane Warr lived hard, oh yes. So what did he leave for posterity? A spectacular vision of the apocalypse–of starting over from zero. A vision of terror and suffering but also, perhaps, one of hope. (Warr would be born again nine years later.) Following on the heels of last year’s acclaimed reissue of Dwarr’s hard rock masterpiece Animals, Drag City and Yoga Records proudly present Duane Warr’s first testament, a home-recorded rock-metal-blues shredder unlike anything else, a true outlier from the heart of the conformist 80s. Don’t believe us? Take a look at his ‘Screams of Terror’ music video on YouTube and remind yourself what it feels like to be fucking amazed by something so different it’s almost threatening. Call it outsider art if it makes you feel better.”
DC 496LP DWARR: Starting Over LP (DC 496LP) 18.00
LP version.
DC 497EP ROBERTS & KARINE POLWART/DREW WRIGHT, ALASDAIR: Captain Wedderburn’s Courtship/The Dowie Dens O Yarrow 7″ (DC 497EP) 6.00
“This split 7″ record is being released in tandem with the compilation album Whaur the Pig Gaed on the Spree: Scottish Recordings by Alan Lomax 1951-’57. The A-side of the single is Alasdair Roberts’ own arrangement and performance (with renowned Scottish singer Karine Polwart) of ‘Captain Wedderburn’s Courtship,’ a traditional ballad included on Whaur the Pig… from the mouth of an octogenarian farmer named Willie Mathieson. The flipside features another young and talented traditionally-minded Scots singer, Drew Wright, who turns in an interpretation of the classic Scots border ballad, ‘The Dowie Dens O Yarrow.'”
DC 505EP SEGALL, TY: Spiders 7″ (DC 505EP) 6.00
“It ain’t always clean. Not every time, man. Sometimes, hardly ever. Goodbye Bread is on its own level, but Ty Segall is an if-it-shines-it-shines kinda guy. And Spiders is more like downtown without the lights. The a-side creeps heavy and sounds like some Finnish funeral if it were a slow-jam on a dance floor littered with off-handed mutterings of the word ‘gnarly’ and everyone just a tad high but no one copping to it. Of course, that only adequately describes one of the A-side jams. Like a good friend, Spiders totally smacks both cheeks, what with being a double A-sided single and all. Per usual, the B-side — or third spankmaster, as we’re apt to call it — is a through-the-ringer-cover (this time it’s the Groundhogs) brought to new life through Ty-Fi Recording. Recorded just a few minutes ago (or months? who can tell?) with Sic Alps’ Mike Donovan pushing the start and stop button on the tape machine, shit kills.”
E#105U LONG DISTANCE POISON: Gamma Graves Cassette (E#105U) 8.00
Hand-numbered limited edition of 100 copies. “Long Distance Poison present an irresistible concoction of convergent psychedelic and analog electronic energies, everything from a love of nature, and Rothko-like visual aesthetics, to musical influences like Sky Records, John Carpenter soundtracks, minimalism, and a less-hyper Mother Mallard or post-Phaedra Tangerine Dream. They’ve released some excellent tapes, on Life Like, Cryptic Carousel, and Digitalis Limited, releases that capitalize on the band’s strength in long-form electronic composition with a wealth of improvisational wiggle-room. There’s a ‘ground’ concept for each section of each piece, but that merely serves as a taking-off point for LDP’s pulsating extrapolations, typically about 30 minutes in length total, or longer. They’ve been wowing local Brooklyn audiences for some time now, and part of the fun of their shows is the opportunity to experience the band finding their way in the moment, watching the clay of their ideas take on form and urgency as they go.” –Wm. Berger, host of “My Castle of Quiet” on WFMU
RZ 10020CD D’ANGIOLINI, GIULIANO: Simmetrie Di Ritorno CD (RZ 10020CD) 20.00
“Giuliano d’Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls “impersonal” music — music that has fully abandoned the idea of development or form. Through successive states of presentation, which aim to elucidate, d’Angiolini wanted to “leave place in sound so that music could become less voluntary.” This led him to favor the surface and present an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will — as if the composer wanted to make positive use of the negative metamorphosis of today’s urban listeners, listeners who are constantly assailed with stimuli.” –Gérard Pesson
RZ 1023/24CD WOLFF, CHRISTIAN: Kompositionen 1950-1972 2CD (RZ 1023/24CD) 38.50
“Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I’ve used is, as far as I know, the only possible one for the kind of sound I should like. And don’t forget, we also like to be surprised …and the rhythm produced by that situation is like no other rhythm.” –Christian Wolff; Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time. Housed in a digisleeve including a booklet in German and English.
RZ 1025CD HEYN, VOLKER: Sirènes CD (RZ 1025CD) 20.00
Performers: Kammerensemble Neue Musik Berlin, Steffen Tast, Pellegrini-Quartett: Antonio Pellegrini, Thomas Hofer, Fabio Marani and Helmut Menzler. Born in 1938, Volker Heyn is an “outsider,” or perhaps an “unloved insider,” an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of “New Simplicity,” “Neo-Romanticism,” “New Complexity” and so forth. In 1960 he left Europe to spend more than ten years in Australia where he joined a travelling theater company, making ends meet by singing in nightclubs and working the night shift in a metal works. Heyn’s music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. It investigates a process, which in itself is inaccessible and cannot be reproduced on paper. Volker Heyn is not interested in sound per se — in the positive acoustic gesture — but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements. His composition patterns follow the resonance — the overhang — that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. And this must be enough, more would be too much. Then these remnants of sound will be drained and exhausted right up to the merest subversive unit. This is the soundscape that we are given: an intricate, though ultimately innocent structure of endless macro and micro sounding reactions. Housed in a digisleeve including a booklet in German and English.
EMEGO 134CD HASWELL, RUSSELL: ACID nO!se Synthesis CD (EMEGO 134CD) 15.50
“Pure audio-visual abstraction” or “true synesthesia?” For his new studio album, UK experimental artist Russell Haswell tackles the complex world of analog modular synthesis, alongside his regular live kit of electronics and pedals, or computer. At the same time as recording, the artist also monitored his material visually with an X-Y oscilloscope, revealing the movement of the stereo signal and phase correlation (try it for yourself). However, this is no hipster noodling, but a whole album crammed full of tracks that explode hard. Brutal acid lines fight for room against insane noisescapes and face-melting electronics, severe dynamics, brain-floss, collision-edits, oscillographic pervery, as well as a smattering of genuine, dark, metallic oddness and grimey immersive voids! ACID nO!se Synthesis could be your most fulfilling multi-sensory experience from a piece of plastic this year. Comes with a 16-page booklet with text and 15 vector oscillograms. Improvisation on either modular synthesizer, computer or electronics and pedals. Recorded and simultaneously monitored on stereo/phase scope (visual) and speakers or headphones (auditory). Performed, recorded (direct to HD – 2 channel – no overdub, no midi), edited, compiled and mastered by Russell Haswell in Suffolk, 2010-2011. For a multi-sensory experience (seeing sound, in this case, Lissajous patterns), connect a stereo/phase scope (Oscilloscope X-Y view or software equivalent) to your audio player:, Recommended reading: Oscilloscope at work. Alfred Haas, Ralph Watson Hallows (Wireless World/Iliffe & Sons Ltd. 1956); Audio Metering. Eddy Bøgh Brixen (Focal Press. 2011).
EN 015CD BURAKA SOM SISTEMA: Komba CD (EN 015CD) 15.50
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.
ESK 504519 AEROPLANE: In Flight Entertainment CD (ESK 504519) 17.00
In recent years, Aeroplane has been carefully selecting the best of all the new music released every month to turn it into the “Aeroplane Chart Mixes,” gaining a lot of attention and a non-stop growing fan base on the internet, and followers on the official Aeroplane Soundcloud, with each mix getting between 30,000 and 45,000 plays and quickly becoming blogosphere favorites. The next step was when Aeroplane decided to make it “official.” His mixes became a radio show called “In-Flight Entertainment,” played every last Friday of the month on Belgian national radio station PureFM, with the mix becoming available on the Aeroplane Soundcloud right after it was aired on the radio. The constantly-rising interest made the “In-Flight Entertainment” mix series really influential in the dance music scene, pushing artists to send music to Aeroplane upfront to include in his mixes, turning them into something more and more exclusive. Also Aeroplane’s constant search for new music and his obsessive need to listen to everything he receives gave him the opportunity to discover a lot of newcomers he would feature on the mixes, which would help to put them on the music map. With this history, an Aeroplane mix CD couldn’t be anything simple, it needed to be special. He wanted it to be ahead of its time and he wanted it to be 100% exclusive. Teaming up with all his friends and producers from all around the world, he put together a collection of songs that have never been heard before, some of them being made especially for the compilation with, as usual, a lot of space for young producers. Even Aeroplane rolls up his sleeves to contribute with an exclusive Aeroplane track. But what does it sound like? Lately, the so-called nu-disco/Balearic producers have been asked to “collaborate” with the pop music world by remixing mainstream pop artists, turning their songs into warm and sexy disco anthems, and giving those artists visibility in the blog world and the club scene. It often happened that those remixes became more popular than the originals. Aeroplane’s remixes of Grace Jones’ “William’s Blood,” Robbie Williams’ “Bodies” or Friendly Fires’ “Paris” are good examples of that. But Aeroplane wants to believe that the time has come for all those artists he supported to get to the next level, and to put their time and talent into becoming the new pop acts. With radio starting to playlist more and more of them, even playlisting the remixes rather than the originals, he thought the time was right. So that’s what it sounds like. Pop music filled with catchy hooks and disco grooves, updated to 2011 — or should we say 2012? Artists include: Poolside, Bxentric, Herr Styler, Drop Out Orchestra, Martin Dubka, Stars On 33, Kolombo, Michael Parker, RipTide, Cosmonauts, Oliver, James Curd, Devin Byrnes and Moonlight Matters.
FABRIC 118CD FOUR TET: FabricLive.59 CD (FABRIC 118CD) 17.00
“Ambient field recordings were taken at the club and woven throughout to give the mix the feeling of spending a night at Fabric. Obscure UK garage white labels that informed Kieran’s youth were relentlessly tracked down. The compilation was mixed digitally, but each track recorded from vinyl for analogue warmth. FabricLive 59: Four Tet is a labor of love, demonstrating the attention to detail that makes his musical vision so intriguing.” Artists include: Michel Redolfi, Crazy Bald Heads, Persian, KH, Youngstar, Floating Points, Apple, Caribou, Big Bird, Genius, David Borden, STL, Percussions, C++, Burial, KMA, WK7, Ricardo Villalobos, Red Rack’em, Active Minds, and Armando Gallop & Steve Poindexter.
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). The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the CD presents Bogner’s early experiments with voice and tape music — a previously-unknown, emotional side of her music is revealed here through her singing. The 126-page book contains, along with drawings, photos and other curiosities from Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner and Bettina Klein as well as interviews with the orgone researcher Jürgen Fischer and the ethnographer Kiwi Menrath. Sonne = Blackbox attempts to locate Ursula Bogner, the sound experimentalist within broader cultural history. A central theme is the phenomenon of fake: how did the erroneous suspicion of fakery come about in the case of Ursula Bogner and what is a post-fake? Answers in this book. No Neo (Ursula Bogner, 1971, Maas Media Vol. 43, ISBN 978-3-940999-25-2); Deluxe edition in a card-box: with CD (FAITICHE 005) and book (MAAS MEDIA). Text in English/German; Introduction by Jan Jelinek. Texts by: Momus, Kiwi Menrath, Jürgen Fischer, Bettina Klein, Tim Tetzner, Andrew Pekler. Book and CD in card-box. Pages: 126; Bound: 14 x 21 cm with numerous photographs, drawings and compositional instructions. CD compiled by Andrew Pekler. Total time: 35:12 mins.
FVCD 124CD LONDON JAZZ QUARTET: London Jazz Quartet CD (FVCD 124CD) 10.00
Founded in 1952, the Flamingo on Wardour Street played host to both the cream of visiting U.S. jazz musicians and also the emerging British talent. It is the latter on which “Ember Jazz Originals” will focus primarily. During the ’50s, Flamingo founder Jeffrey Kruger built up his interests in music publishing and also facilitated recordings of some of his favorite artists, initially placing them with established outlets including the Tempo label. Then in 1960, the first British jazz releases appeared on his own Ember label, both reissues of material previously placed elsewhere, and releases of entirely new repertoire. The London Jazz Quartet album was recorded in May 1959 and first released on Tempo. A year later it was reissued on Ember with new artwork, incorporating the striking “swirl” graphic, which would be a feature of many Ember jazz sleeves. The project leader, drummer Tony Crombie, had previously been associated with big bands, so this quartet recording was quite a departure for him, and one that saw him collaborating with eminent British musicians Tubby Hayes, Alan Branscome and Jack Fallon. It’s a testament to the quartet’s proficiency and agility that, while Fallon sticks to bass throughout, the rest cover ten instruments between them. Crombie contributes the majority of the atmospheric tunes, which also include compositions by Tony Kinsey, Alan Clare and Bill Le Sage. This reissue, mastered from stereo tapes, is housed in the original Ember sleeve, while the booklet reproduces the original Ember sleeve notes and labels, plus the sleeve to the earlier Tempo release.
FVCD 125CD VA: Jazz At The Flamingo CD (FVCD 125CD) 10.00
First released in May 1961 as a (slightly premature) 10th Anniversary celebration of the famous Soho jazz venue, Jazz At The Flamingo now serves as an ideal introduction to Fantastic Voyage’s new series of competitively-priced Ember Jazz Originals. Founded in 1952, the Flamingo on Wardour Street played host to both the cream of visiting U.S. jazz musicians and also the emerging British talent. It is the latter on which Ember Jazz Originals will focus primarily. During the 1950s, Flamingo founder Jeffrey Kruger built up his interests in music publishing and also facilitated recordings of some of his favorite artists, initially placing them with established outlets including the Tempo label. Then in 1960, the first British jazz releases appeared on his own Ember label, both reissues of material previously placed elsewhere, and releases of entirely new repertoire. Jazz At The Flamingo was a collection of personal favorites, some previously released on Tempo, Decca, Parlophone and the nascent Ember itself, others new to vinyl. As such, it is a perfect primer for the Ember Jazz Originals series, which will reissue entire albums by many of the feature artists and others besides. To maximize the nostalgia of this reissue, Fantastic Voyage has faithfully retained the original album’s artwork, and the CD booklet reproduces the album’s original labels and sleeve notes (penned by Kruger himself). To increase the desirability of this release, Fantastic Voyage has added bonus tracks including all four tracks from The British Jazz Trio EP of September 1962 (again reproducing all original artwork) and two previously-unissued, longer outtakes from sessions for the Tommy Whittle Quintet album of 1959. Other artists include: Flamingo All Stars, London Jazz Quartet, Ronnie Ross Quintet, Eddie Thompson Trio, Tony Crombie Orchestra, Derek Smith Trio With Harry Klein, Ronnie Scott and Tubby Hayes And The Jazz Couriers.
FIRE 140CD ESG: Come Away With ESG CD (FIRE 140CD) 16.50
“ESG’s 1983 debut record Come Away With ESG is reissued and available on Fire. Brooklyn, NY. Fresh off their well received debut EP the Scroggins girls, along with neighborhood friend Tito Libran, strike out to fully capture the potent brew that has emerged in their live show. Named one of the Top 100 Albums of the ’80s by Pitchfork. Liner notes feature an exclusive interview with Renee Scroggins and artwork is designed by John Foster. Available as originally intended with the same track listing as the debut LP.”
FIRE 222CD ESG: ESG CD (FIRE 222CD) 16.50
Fire’s reissue of “ESG’s 1991 release” that “brought ‘Erase You’ and ‘U.F.O’ from the streets to the record player.” With exclusive liner note content featuring an insightful interview with Renee Scroggins.
FIRE 247CD ORCHESTRA OF SPHERES: Nonagonic Now CD (FIRE 247CD) 18.50
“Although distinctly their own, the band’s sound draws on influences far and wide, with echoes of African rhythms, free jazz textures, electronic dance music, krautrock and Indonesian gamelan music. Nonagonic Now was recorded at the fittingly named Frederick Street Sound and Light Exploration Society, a venue run collectively by the band and others in the Wellington creative music scene. Creative and exploratory it certainly is, to a dazzling level matched only by the sequins and shine of their radiating costumes. If Orchestra Of Spheres illuminate themselves as a stellar, cosmic form, this record is grounded to this earth by a strong rhythmic force, which pumps continually from the opener ‘Hypercube’. Setting a subconscious canon for the rest of the album that weaves in and out of tracks, it emerges in hypnotic guise on ‘Rotate’ and as space funk on ‘Hypersphere’.”
FINC 001CD MAROW: Plus Minus Null CD (FINC 001CD) 17.00
Exactly 20 years after its very first release, the legendary Force Inc. label is re-launched. This finally reunites it with its original sister label, Mille Plateaux and together with Force Intel completes the family of three labels covering the entire range of innovative electronic music. Force Inc. will handle the rather dance-oriented releases of the label group. Force Inc. presents an album by Berlin-based Marow. Yes, this album has tracks with a 4/4 beat, but it is still far from being commercial or club music. However, the subtle melodies, the distinct Marow sound and the crystal-clear production make +-0 (pronounced: “Plus Minus Null”) a pleasure to listen to even for advanced listeners. Mille Plateaux’s A&R Marcus Gabler continues to follow his idea of “more substance by more musicality.” A must for Yagya, Monolake or Thinner label fans.
GPM 144EP SIS: SIS IS SIS Vol. 1 12″ (GPM 144EP) 12.50
SIS unleashes his leftfield percussive sound with his debut project for Get Physical, SIS IS SIS. For this release, SIS turns his hand to remixing some of the finest tracks in the Get Physical catalog. On the A-side is Audiofly’s “Fela”; an Afrobeat-infused slow-house burner. SIS’ rework favors hollow percussion and shuffling, scraping ambience. Flipping over to the B-side is M.A.N.D.Y.’s “4+1.” SIS’ new treatment adds hypnotic waves of ambience, while transforming it into an intricate work of sound design.
GPM 159EP SIS: SIS IS SIS Vol. 2 12″ (GPM 159EP) 12.50
This is SIS IS SIS #2, featuring SIS’s edits of Lopazz and Matthew Dear. On the A-side we start off with Lopazz’s 2004 Get Physical debut, “Migracion.” A hit in its own right, SIS takes us even deeper into the groove with a stepped-up bass and heated percussion track layered over reverberated chords. Next, SIS pulls out a heavy Matthew Dear track, “Free To Ask,” lightening the mood a bit while still managing to maintain the heavy bass kick.
GSR 001CD RALFE BAND: Bunny And The Bull CD (GSR 001CD) 12.50
“With their acclaimed original soundtrack to British feature film Bunny And The Bull (Warp Films), Ralfe Band create a magical, inventive and atmospheric journey, with enchanting melodies and beautiful instrumentation featuring piano, guitars, electronic pieces and classical themes, alongside folk and gypsy influences with mandolin, accordion, viola and brass. Based around the talents of British songwriter Oliver Ralfe, Ralfe Band were discovered in 2004 by John Peel who said ‘It’s difficult to tell who they’ve been listening to’.”
GUW 001CD YOUNG MODERN: Live At The Grace Emily 22.12.2010 CD (GUW 001CD) 17.00
Grown Up Wrong presents the first power pop band from Down Under Young Modern, captured live last year, but sounding like it could have been recorded back in the day. Includes “She’s Got The Money,” “Countdown,” “Sportsgirls,” “Girl Of Mine,” covers of “The Singer Not The Song” (Rolling Stones), “On Top Of The World” (Bluesbreakers) and more, including the definitive version of “Don’t Go To Sydney” from Young Modern singer John Dowler’s subsequent band The Zimmermen. Young Modern played their first gig in Adelaide supporting Radio Birdman in 1977, and quickly became the hottest band in town. They moved to Sydney the following year, where they were briefly a “next big thing” before splitting in ’79. Their classic 7″ She’s Got The Money/Automatic remains a much-loved artifact of the early days of Australian independent releases, and their posthumous album Play Faster was indeed one of the first local albums of the indie era. This stunning 18-song live album, recorded in Adelaide in late 2010, finds the band sounding EXACTLY like it’s 1978 again. With definitive versions of all their classic tunes, this is masterful power pop that will appeal to fans of Big Star, The Flamin’ Groovies, Badfinger and The Nerves.
GUW 002CD HOT KNIVES: Hot Knives CD (GUW 002CD) 17.00
This stunning album is one of the archeological rock finds of the century. Recorded in 1976, never released and not even rumored to exist, this is classic stuff from a band that combined ’60s folk rock with muscular rock’n’roll in a sound that was simultaneously a throwback to a more innocent time (think Beau Brummels, early Jefferson Airplane and Moby Grape) and a raw and rockin’ alternative to the pop-smart mid-’70s Fleetwood Mac. This 14-track album has languished in a cupboard for over 30 years. Only two singles from it ever saw the light of day at the time; the second one, “I Hear The Wind Blow,” prompted the greatest of pop pickers, the late Greg Shaw, to declare in his Bomp! newsletter that “The Hot Knives are the best thing happening in San Francisco right now; their second self-made 45 is just out… They’re not punk rock, it’s folk-rock with female vocals a la early Jefferson Airplane, with warm harmonies and gorgeous Byrds guitar.” Includes stomping covers of Moby Grape’s “Hey Grandma” and the Knickerbockers’ “Lies.”
GUW 003CD SCREAMING TRIBESMEN, THE: Date With A Vampyre/Top Of The Town CD (GUW 003CD) 17.00
The two defining 12″ releases from the Screaming Tribesmen, in their entirety for the first time ever on CD, together with nearly an album’s worth of bonus tracks. The Tribesmen came out of Brisbane in the early ’80s, recording two classic singles for Citadel. We pick up the story when former Radio Birdman/Hitmen/New Christs guitarist Chris Masuak joins the fray and the band becomes one of the hardest working in the land. This CD features their best-selling Date With A Vampyre EP from 1985 and its follow-up, Top Of The Town from 1986 and includes a number of tracks that have never been on CD before. As an added bonus, Grown Up Wrong have included nine live and rehearsal tracks, featuring one unreleased original (“It May Be Love”) and a whole bunch of covers that the band made their own (and which their fans LOVED) back in the day, including Roky Erickson’s “Two Headed Dog,” Television’s “See No Evil,” the Dictators “Baby Let’s Twist,” the Vertebrats’ “Left In The Dark,” Lou Reed’s “I Can’t Stand It” and the Easybeats’ “Good Time.” The rehearsal tracks are from a short-lived line-up from 1984 that included Hitmen/New Christs drummer Mark Kingsmill just before he joined the Hoodoo Gurus, and Hitmen/New Christs bass player Tony Robertson.
GUW 004CD SCREAMING TRIBESMEN, THE: Bones & Flowers CD (GUW 004CD) 17.00
The only album released by the classic Screaming Tribesmen line-up featuring former Radio Birdman/Hitmen/New Christs guitarist Chris Masuak, together with bonus tracks, including never-before-heard demo and live tracks. Recorded at the peak of their powers and popularity in 1987, Bones & Flowers took the band to the States where they came close to a hit single with I Got A Feeling. This CD features the album’s original 10 tracks, plus the killer B-sides “Color Me Gone” and “Don’t Turn Away” along with three 1986 demos of tracks that never ended up appearing on any Tribesmen release (“This Bar,” “What You Said” and “Cold December”), and a scorching live track from 1988, again of a track that’s never appeared on a Tribesmen record, “Teutonic.” So, 16 tracks in all. The Tribesmen reached new fans in recent years through their inclusion in best-selling compilations like Do The Pop! and Tales From The Australian Underground.
HB 026LP AELTER: III LP (HB 026LP) 18.00
“One of several side-projects to emerge from the Wolvserpent camp, Aelter is the solo effort of Wolvserpent guitarist Blake Green. With Aelter, Blake explores a similar realm of dark majestic sound to Wolvserpent, with his massive downtuned guitar roar and bleak minor key melodies being the common thread between the two projects. But where Wolvserpent blends this chugging Melvins-esque heaviness and haunting slowcore arpeggios with violins, pounding drums, and a propensity for extended hypno-dirges, Aelter dispenses with the drums almost completely and goes for a more cinematic approach using layered keyboards and gorgeous harmonized voices that reminds me of something you would have heard on Beggers Banquet or 4AD being fused to a malevolent black heaviness.”
HELLO 018EP SEUIL: Late Call 12″ (HELLO 018EP) 12.50
Seuil is one of Paris’s most inspired underground producers and Late Call is exactly what its name suggests: a record made for the deepest, most tender portion of the night. The drums are slick and punchy, but the rest is woozy and romantic. This is one to put on when the crowd has stopped chatting and everyone’s dancing with their eyes closed.
HFN 009CD DARKNESS FALLS: Alive In Us CD (HFN 009CD) 17.00
Darkness Falls are the enchanting new Danish rock duo fresh from the ever-expanding Copenhagen music scene. The fruitful partnership of vocalist and keyboard player Josephine Philip, and Ina Lindgreen — guitar and bass — already brought us their first stunning EP Darkness Falls released in April 2011. Discovered by visionary producer Anders Trentemøller, Darkness Falls now announce their debut full length album — Alive In Us – which is also produced by Trentemøller. A perfect modern fusion of melancholic melodies, ’60s guitar twangs, haunting atmospheres and spaced-out pop, the album will whisk you away to a not-so-distant land of bittersweet harmony and musical contemplation. Guest musicians include Anders Trentemøller (drums, keyboards, strings), Jakob Høyer (The Raveonettes, Murder) (drums), Kim Las (vocals, guitar), Jeppe Brix (Chimes & Bells, Howl Baby Howl) (guitar), Anders Wallin (vocals) and Manoj Ramdas (The Raveonettes) (guitar).
Highgrade Records celebrates its 100th release with 12 tracks from the Highgrade Disharmonic Orchestra. The creative combo featuring both label bosses Tom Clark and Todd Bodine, alongside Philip Bader, Daniel Dreier and Dale, began over a year ago with the intention of celebrating the tenth birthday of the Berlin label. And the resulting gift: a musical experiment. The five artists have bundled their creativity together into a symphony unparalleled in the techno scene. Every performance is like a jam session: All five laptops are interconnected, so each of the artists has the opportunity to react to the others and modify each track as desired. Thus, new arrangements are created and constantly re-interpreted. Drum machines and synthesizers are also in play, to further stretch the improvisational possibilities. No wonder then, that the 100th release follows in this creative vein. The Highgrade Disharmonic Orchestra, with Multilayer, kidnaps us away into vastly different musical worlds: from deep influences and custom recorded vocals to an array of technoid sounds and effects. Then back to groovy, swinging beats reminiscent of a balmy summer evening on the beach. Therefore, the record is something of a rollercoaster ride, where we never know what might be waiting behind the next curve. Typically Highgrade.
HJR 109CD PERRY, LEE ‘SCRATCH’: The Return Of Pipecock Jackxon CD (HJR 109CD) 14.50
Originally released in 1980, this album from Lee “Scratch” Perry is the final work to emerge from the Black Ark studio, before its permanent destruction. It concludes a series of such LP masterworks such as Super Ape, War In Babylon, Police And Thieves, and Return Of The Super Ape. Enthrallingly, it crosses the sound world of Roast Fish Collie Weed & Cornbread with new hybrids — like the irresistible 11-minute opener, rolling and delirious, a kind of reggae prophesy of Marvin Gaye’s “Sexual Healing,” but musically richer, and more glazed, randy and visionary.
HDH 231CS PRURIENT: Time’s Arrow Cassette (HDH 231CS) 10.00
Limited cassette version. “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.”
HDB 053EP WALTON: Aggy 12″ (HDB 053EP) 11.00
“Sam Walton is the 20-year-old Mancunian producer behind this Hyperdub debut, an EP exploring four original experiments with the funky house sound, always keeping the emphasis on energy. ‘Aggy’ kicks things off by perfectly blending the raw, hard aggression of grime with the tight disciplined micro-syncopations of funky house. ‘Mangled Riddim’ runs a bassline that sounds like a rubber band being twanged accompanied by spacious toms and 808 kicks and claps, while ‘808 Vibzin’s mix of swinging 808 claps and claviers with sunshine synths and xylophone sounds like classic blissed out Midwest ’90s house music. ‘Skrilla’ on the other hand mixes tough off-beat ‘funky drums and rhythmic stabs, simultaneously recalling grime’s sparseness and the chilly toughness of Northern bleep house.”
IMPREC 344CD ELEH: Floating Frequencies/Intuitive Synthesis 3CD (IMPREC 344CD) 42.00
“First edition of 1000. This deluxe 3 CD set presents Floating Frequencies/Intuitive Synthesis in its completed three part entirety. Intuitive Synthesis/Floating Frequencies takes full advantage of the low noise floor and clarity provided by the digital medium. Mastered by Eleh specifically for the digital environment. This box is not intended to be a replacement of the analog records but an entirely different experience.”
IMR 007LP TRENTEMØLLER: Reworked/Remixed 2×12″ (IMR 007LP) 20.00
Special double vinyl edition of Reworked/Remixed, featuring Trentemøller’s personal selection of the best remixes and reworkes of songs from his album Into The Great Wide Yonder. 9 tracks in total, 7 of which are new, exclusive & unreleased songs. Featuring UNKLE, Marie Fisker, Efterklang, I Blame Coco, Andrew Weatherall and Modeselektor. Anders Trentemøller has become one of the most respected names in cutting-edge electronic music. His rise to notoriety was sparked by his early, techy releases for Poker Flat and Audiomatique and has since gone on to stellar highs with his own personal take on the genre, spanning, pop, rock, indie and classical.
IRL 001CD THROBBING GRISTLE: The Second Annual Report Of Throbbing Gristle 2CD (IRL 001CD) 21.00
For the first time in 30 years, Throbbing Gristle are now back on their own original Industrial Records label. Industrial Records — the sole representative of, and only official label representing and releasing records by the band — present the re-release of TG’s first five albums on vinyl and CD. Each album has been restored and remastered specifically for each format by Chris Carter from 24bit “baked tape” digital transfers of the original first generation analogue master tapes. Each of the CD special-editions are presented in a gatefold sleeve featuring restored and remastered cover artwork and an integrated 8-page booklet (the booklets feature different artwork and content than the vinyl editions). Each CD special-edition also includes an exclusive bonus CD containing content from the year of the album’s original release, including live tracks and remastered singles. Originally released in 1977, TG’s Second Annual Report features various recordings of “Slug Bait” and “Maggot Death,” plus the 20-minute soundtrack to After Cease To Exist, a short film featuring a castration sequence. A scathing debut from these avant-garde legends. The bonus CD features additional live recordings from this period, plus the 7″ single versions of “Zyklon B Zombie” and the strangely-accessible “United.”
IRL 001LP THROBBING GRISTLE: The Second Annual Report Of Throbbing Gristle LP (IRL 001LP) 23.00
LP version. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. Includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. Limited to 2,000 copies.
INFRA 004EP XXXY/IKE RELEASE: XXXY/Ike Release 12″ (INFRA 004EP) 11.00
The Infrasonics split 12″ series continues with another heavy slab of dancefloor wares, cut in a tested four track double A-side format and signaling the return of a familiar pairing. The series was early to anticipate the existing melting pot of UK bass-influenced dancefloors and this drop follows in that ilk: the stripped-back, heads-down dirty house of XXXY contrasting the sleek, sophisticated anthems of Ike Release.
INT 021EP DISCODROMO (FEAT. HARD TON): Build A House 12″ (INT 021EP) 12.00
Dust off your mirrorballs and set the strobes to max. Discodromo brings in the Italian Barry White from hell for this late anthem. Prins Thomas on the dub, Tensnake on the remix.
JBJ 1024EP GRISWOLD, ARTHUR: Pretty Mama Blues/Trying For A Future 7″ (JBJ 1024EP) 11.00
By far one of the most infectious and danceable ’60s blues singles out there, these thumping, hard-driving, beat-led R&B cuts from the Toledo, Ohio-based Griswold brothers — two under-exposed heroes of latter-period blues who showed up in Detroit sometime in the mid to late ’60s to officially cut the last two singles of the legendary Fortune label’s catalog. No limp send-off, both tracks are mean and gritty to the very last note.
LDN 026CD SULLY: Carrier CD (LDN 026CD) 16.50
Long before — four of five years before — the UK garage revival kicked in and “future” garage had even been dreamt up, Sully began finding a space between 2step’s swing, dubstep’s edge and breakstep’s drums, all underpinned by the rude spirit of jungle. He displayed a deft touch for heart-breaking melodies that could touch people as much as the ruff sub-bass could hit them, as evidenced on EPs like Phonebox and Jackman’s Rec for the pioneering Frijsfo Beats label. Carrier makes good on Sully’s unwritten promise to his long-hopeful fans. It’s a short but sweet opus that embraces house, 2step, UK funky, purple synths and juke, with a widescreen, epic vision and Sully’s trademark emotive vistas. In fact, so poignant was one cut, “2Hearts,” that it was rumored to have been held back for the mythical “lost” Burial DJ Kicks mix. The second half of Carrier sees Sully — best known for his 2step garage variants — filter his own take on Chicago footwork, combining eski strings, crunchy 808 claps and ravey piano loops at a tempo last used by jungle, while a hitherto unheard UK funky influence is also revealed on “Encona.” Collectively, the album presents a body of work infected by ruffneck pirate culture.
LDN 027CD DAMU: Unity CD (LDN 027CD) 16.50
This is the debut album by one of the most distinctive artists to emerge from the UK in recent years, Damu. Dense sheets of color and ripples of warm emotion cascade through Damu’s musical vision. It’s an ambitious album, and at an hour in length, it’s not necessarily an easy listen, but those who endeavor will find themselves swept away by the fantasy world that Unity inhabits. The steel drum march of “L.O.V.E.,” the midnight serenade of “After Indigo,” Trim collaboration “Ridin’ The Hype,” and breathtaking closing track “Don’t Cry In My Bed” are only some of the sights you’ll see along the way. Alongside his recent split release with HDGLT, Damu has only had two physical solo releases to date, but already he’s honed an instantly recognizable sound of his own. His releases have been supported by artists such as Starkey, Sinden, Brodinski, Sbtrkt, Girl Unit, and notably The Streets’ Mike Skinner, who selected Damu as one of his “New Faces of UK Dance Music” in his Guardian takeover in February 2011. He’s part of the UK’s underground dance music scene by association, but Unity finds Damu thinking much bigger than that, with touches of Air France’s beach-pop, the gloss of major label R’n’B, and subtle nods to the demented psychedelic visions of Wiley and Aphex Twin. It also betrays his classical background, demonstrating knowledge of chord progressions and structural sleight-of-hand that many of his peers would kill for.
MJJ 322LP HARUMI: Harumi 2LP (MJJ 322LP) 32.00
“Originally released in 1968 on Verve, Harumi is a classic double album of obscure ‘Japan meets Greenwich Village’ psych with legendary producer Tom Wilson (Velvet Underground, Zappa, Dylan, Simon & Garfunkel) at the helm, desperately trying to reign in the talents of this enigmatic Japanese artist on the outer fringes of an East/West freak out. All songs are sung in English. Original gatefold sleeve.” Housed in a gatefold sleeve.
“Originally released in 1970, At Home is the debut album of the obscure Los Angeles folk-rock duo Lambert & Nuttycombe. This album of original ballads was recorded live at the home of Craig Nuttycombe and Denis Lambert in Sausalito, California in 1970 and co-produced by David Anderle (The Doors), Glyn Johns (The Beatles, Rolling Stones) and Chad Stuart (Chad and Jeremy) And although the album–with its intimate vocals and subtle guitar work–generated serious interest at the time, drawing parallels to Nick Drake, the band members’ increasing drug problems eventually blocked their road to stardom. Lambert tragically ended up committing suicide in 1997.” On 180 gram vinyl.
MJJ 324LP HENSKE & JERRY YESTER, JUDY: Farewell Aldebaran LP (MJJ 324LP) 21.00
“Originally released on Frank Zappa’s Straight! Records in 1969 and limited to 1,000 copies, Farewell Aldebaran is an inspired one-off project by singer Judy Henske and (ex-Association and Lovin’ Spoonful member) Jerry Yester. Henske’s amazing vocal range and the album’s wonderfully eclectic feel (while still firmly rooted in psychedelia) makes one wonder why Henske & Yester did not become bigger stars. A true cult item, combining the help of guest musicians of the calibre of Bernie Krause (Beaver & Krause), Solomon Feldthouse/David Lindley (Kaleidoscope), Ry Cooder and Dick Rosmini. Now reissued for the first time ever on vinyl!”
MJJ 325LP COSMIC JOKERS, THE: The Cosmic Jokers LP (MJJ 325LP) 21.00
“Recorded in 1973 during a series of acid-fuelled all-night jam parties held at producer Dieter Dierks’ studio near Cologne, Cosmic Jokers was the work of a veritable krautrock supergroup that included Dierks himself, Manuel Göttsching (Ash Ra Tempel), Klaus Schulze (Tangerine Dream), Jürgen Dollase and Harald Grosskopf (both of Wallenstein). This free-form freak out — consisting of two epic tracks, the 22 min “Galactic Joke” and the 19 min “Cosmic Joy”–was first of five albums by the group to be released on Rolf-Ulrich Kaiser’s Cosmic Couriers label in the coming months. A first rate slab of space rock up there with other classics of the genre.”
LITF 001LP VA: Life In The Future: Swedish Post-Punk & Synth Wave 79-87 LP (LITF 001LP) 18.00
“Life in the Future compiles twelve rare singles (and two album tracks) from the golden era of Swedish synth and post punk. From the DIY madness of Horforstaelse to minimal classics by Reason to Live and Friz Be, via the dark post punk of Cortex and Unter Den Linden, LITF only scrapes the surface yet paints a complete picture of the country’s fertile scene.” 500 copies on white vinyl, with silkscreened covers and insert.
LITA 075CD LOUVIN BROTHERS, THE: Satan Is Real/Handpicked Songs 1955-1962 2CD (LITA 075CD) 21.00
“Long before heavy metal put Lucifer in the charts, a country duo from Alabama were telling listeners: Satan Is Real. The Louvin Brothers, aka brothers Ira Loudermilk (1924-1965) and Charlie Loudermilk (1927-2011), were that duo, strumming their guitars and singing country ditties about God and damnation. Long beloved of later musicians such as Gram Parsons, The Byrds, Wilco, they became the most lauded harmony team in country, influencing The Everly Brothers who, arguably, begat The Beatles. Now, Light In The Attic Records give The Louvin Brothers’s back catalogue the long-deserved archive treatment, with a double CD compilation of their essential mid-’50s to early-’60s works. On the first disc is the original Satan Is Real album, their Southern Gothic masterpiece from 1959. Inspiring generations with some of the finest harmonies ever recorded, this Louvin Brothers classic is an angelic combination of high lonesome country and dark southern gospel. Meticulously re-mastered from the original tapes with a 40-page booklet and new notes, it includes a free download card for an exclusive Audio Commentary interview with the late Charlie Louvin, recorded in Nashville in June 2010. On the second disc, Handpicked Songs 1955-62, stars of country, rock, folk and more pay homage to the Louvin Brothers by handpicking a track each for this brilliant compilation of archive Louvin Brothers recordings. Each track is performed by the Louvin Brothers. The full list of handpickers includes Mark Lanegan, Graham Nash, Beck, Emmylou Harris, Will Oldham, Lucinda Williams, Jim James, Kris Kristofferson, Devendra Banhart, Chris Hillman, Zooey Deschanel, The Black Angels, Dolly Parton and M. Ward. Here’s what some of this esteemed group have to say about the singing Brothers.”
LION 661CD SANDROSE: Sandrose CD (LION 661CD) 15.00
“On their sole release (Polydor, 1972), Sandrose play a superb mellow proto-progressive rock based on the continuous floating sounds of the mellotron, incisive guitar interventions by Alarcen (whose sublime playing explodes during superbly constructed instrumental passages), and singer Rose Podwojny’s powerful, clear voice. On songs like ‘Vision’ and ‘Never Good at Saying Goodbye,’ Podwojny’s voice expresses such a maturity and sensitivity that simply listening to this song is enough to have goose-bumps and tears in your eyes. But it’s the eleven minute instrumental ‘Underground Session’ that is the centerpiece of the album, with Alarcen giving free rein to his creativity; it’s not just a highlight of the album, but one of the great instrumental rock tracks of all time. I’m serious. As for singing in English, Alarcen explained at the time: The spirit of our music is closer to the Anglo-Saxon spirit, it is perfectly normal that we have the words in that language.’ Elegant 16-page booklet reproduces all original LP art; liner-notes tell the band’s history, and include rare photos, discography, and translations of several contemporary articles. If you love groups like Earth & Fire, Julian’s Treatment/Julian Jay Savarin, Goliath, or Analogy, (and who doesn’t?), then Sandrose is an obvious choice for you.”
LION 7655CD EL POLEN: Cholo CD (LION 7655CD) 17.00
“The fusion of native folk instruments and trippy psychedelic rock elements produced some of the finest music to emerge from South America in the early 1970s: Congregacion from Chile, Arco Iris from Argentina, Wara from Bolivia, and Genesis from Colombia. To this list of excellent bands should be added that of El Polen, artistic commune from Peru founded in 1969. Integrating European folk music with Peruvian indigenous music elements, El Polen used mandolin and violin in place of electric guitars; cello instead of bass; and percussion instead of drums. The result was a unique style where violins sounded like fuzz guitars. El Polen’s debut album, Cholo, was released in 1972 as the original soundtrack music for a film about soccer player Hugo Cholo Sotil. The opening track, ‘La Flor’ is a psychedelic acoustic improvisation akin to the music of Brazilian legend Lula Cortez. Other tracks like ‘Sitting Dreaming’ and ‘Tondero’, start with Andean folk elements and evolve into long psychedelic excursions. For many years it was thought that the original reel-to-reel tapes were missing, but after laborious research our friends at Repsychled found the master tapes. Along with the tapes was another important discovery: an unreleased track by El Polen featuring vocals by Grammy Award winner and current Peruvian Minister of Culture, Susana Baca. This special mini-LP sleeve edition comes with a replica ticket for the first El Polen concert in 1971, a replica poster from the second El Polen concert in 1971, and a black and white photo of the band taken in Barranco. A limited, numbered edition of 400 copies, remastered from the original master tapes.”
MEX 025LP LUCKY LUKE: Travelling For A Living LP (MEX 025LP) 18.00
2009 release. “Scottish folk beauty! Overlooked catalog piece tip-on sleeve, hand numbered. Reminiscent of Nico, Sandy Denny, Fleetwood Mac.” Hand-numbered edition of 500 with download code.
MEX 029LP PEARL HARBOR: Something About The Chaparrals LP (MEX 029LP) 18.00
“Ethereal melodies a la Cocteau Twins, lush with the doomed worldview of today’s California, fallen into the sea.” Second pressing of this 2009 release; hand-numbered limited edition of 2000. Includes download code.
MEX 047LP WEBB, TK: TK Webb LP (MEX 047LP) 16.50
“Back to the solo stance, T.K. Webb trades in the power moves of his last album Ancestor for the sad-eyed folk foundations that propped them up, bringing back the power of the rock trio and transposing it into a more personal, confessional offering. Honest music by a guy who’s been killing it for years.” Hand-numbered limited edition of 750 copies. Includes a download code.
MEX 053LP BEST COAST: Crazy for You LP (MEX 053LP) 18.00
2010 release. “Hazy, dreamy, and genre-defining pop from breakout band Best Coast. A 12-track, twenty-nine minute collection of genuinely romantic sandy jams.” Includes download code.
MEX 076LP PURO INSTINCT: Headbangers In Ecstasy LP (MEX 076LP) 18.00
“Mexican Summer came under the spell of the starry Kaplan sisters: Piper and Skylar, and their band Pearl Harbor, who graced the land with their beautific Something About the Chapparrals EP. But funny how time flies for the beyond their year siblings, as it’s suddenly 2011 and Pearl Harbor now goes by the name of Puro Instinct. And Piper and Sky find themselves bolstered by four other bandmates: Cody Porter, Jessie Clavin, Mike Baum, and Crazy Murray to make their hazy, swirling pop even more realized and sumptuous. Think Fleetwood Mac, Bobb Trimble, and Lush in a champagne filled jacuzzi -but with a bit more sparkle and smog.” Hand-numbered limited edition of 1000 copies. Includes a download code.
MEX 085LP PINK PLAYGROUND: Destination Ecstasy LP (MEX 085LP) 16.50
“From Houston, Texas comes Pink Playground, a new band that makes videos instead of playing live, and runs in the tradition of shoe-gaze and ethereal sounds right back to the earliest Jesus and Mary Chain demos. Guitars, synths, otherworldly vocals and drum machines collude to the proto-noise pop moment of the mid ’80s, and charges forth as if the band’s members were born to play in that vein. Ear-splitting volume and spun sugar melodies fill the space with pink pollen blizzard dynamics so thick and hazy you might need a dust mask to power through them, songs so sweet that they sting, manners inverted into a new form of aggression.” Hand-numbered limited edition of 750; includes download code.
MEX 099LP QUILT: Quilt LP (MEX 099LP) 16.50
“Listening to their self-titled debut, it’s no surprise that the members of Quilt came together out of a shared love of visual art. While their music is steeped in timeless qualities like the gorgeous harmonies on ‘Milo’ or the twinkling guitar on ‘Utopian Canyon,’ the entire record is full of expansive, cinematic moments. Each song can be enjoyed independently, but taken as a whole, the record becomes a world of its own: guitars drift languidly, keys sparkle in and out, often following their own threads into the stratosphere, with vocals that are at once powerful and intimate.” Hand-numbered limited edition of 750; includes download code.
MRP 002LP VA: Last Time Around LP (MRP 002LP) 14.00
“Part three in Mississippi Records series exploring the rawest side of gospel music (Part one being the Life Is A Problem compilation & part two being the Oh Graveyard, You Can’t Hold Me Always compilation) Moving ballads sit side by side with incredibly rocking crunchy guitar workouts. The recordings span the 1950s through to the ’80s, but the sound is timeless & consistently soulful like you won’t believe. Artists include Precious Bryant, Isaiah Owens, The Hickory Bottom Harmoneers, Boyd Rivers, The Straight Street Holiness Group & many more. We are very proud of this one. Housed in an old school ‘tip on’ sleeve.”
MRP 004EP THOMAS, URAL: Push Em’ Up/ Deep Within My Heart 7″ (MRP 004EP) 7.00
“The third volume in our North Portland Music Series, two great soul songs by local legend Ural Thomas recorded in 1960. ‘Push em, Up’ is an upbeat soul stomper for the dance floor. ‘Deep Within’ My Heart’ is a pretty ballad with tight harmonies & lots of groove. Ural is an underappreciated musician who toured opening for Otis Redding back in the day, had James Brown plagiarize his style, played in countless bands in Portland & Seattle, built a house out of debris salvaged from the Willamette river, mentored countless kids in the neighborhood, & probably wrestled an alligator or two. Proof that unsung heroes live right in our backyard. Housed in a thick old school ‘tip on’ sleeve.”
MRP 005EP THOMAS, URAL: Fade Away/Smile 7″ (MRP 005EP) 7.00
“The fourth volume in our North Portland Music Series — a most unusual record. Ural recorded this in his house with a bunch of neighborhood kids back in 1970. ‘Fade Away’ is reminiscent of the ‘bad trip’ portion of Sly & the family Stones’ ‘There’s A Riot Goin’ On.’ A lazy funk riff is accompanied by drony vocal incantations & kids blowing into sawed off bed posts as if they were trumpets! It really happened. ‘Smile’ is a more straightforward simple ballad wherein Ural sends a positive message out to the world. Ural self pressed 300 copies of this way back when just to prove to the kids accompanying him on it that they can do anything they want if they put their minds to it. Its message rings true today. Housed in a thick old school ‘tip on’ sleeve.”
MRP 006LP JOHNSON, BLIND WILLIE: Dark Was The Night Cold Was The Ground 2LP (MRP 006LP) 15.00
“The complete works of Blind Willie Johnson (minus alternate takes of two songs) on one album for the first time! The most powerful gospel blues musician of all time growls & moans through twenty-nine amazing songs. Great duets, ballads & rockers. At times tough & at times tender slide guitar playing that makes the hairs on the back of your neck stand up. Not for the faint of heart. Beautiful clear transfers heard for the first time on vinyl. A onetime pressing not to be missed. Housed in a gatefold old school ‘tip on’ sleeve.”
MONKEY 017CD ELAN: Next 2 Last 2CD (MONKEY 017CD) 20.00
eLan, the mysterious but prolific beatmaker residing in San Diego, USA presents all his 12″ vinyl releases for the first time on CD, also including lots of new exclusive tunes and remixes. When Modeselektor were introduced to the music of eLan, they immediately fell for the effective simplicity and on their constant mission to discover the next new beat, signed the young talent from California right away. First a track named “Pussy Posse” appeared on Modeselektion Vol. 01, later a by-now sold out split 10″ with eLan and Falty DL was released on Modeselektor’s longest-standing label 50 Weapons. Following the 50 Weapons split 10″ in January 2011 eLan, member of the highly-praised and super-eclectic WEDIDIT Collective (including Shlomo and several others), part of the Indigo Pyramid crew, resident of Critical Beatdown in San Diego, has released a much-acclaimed vinyl trilogy on Monkeytown Records. This 2CD contains the 12 original tracks from all 3 EPs as well as remixes from Modeselektor, heRobust, Lazer Sword, Cosmin TRG, Byetone, Anstam and many others. On top of all the vinyl highlights, you will find several unreleased bonus tracks and remixes. A must-have for all fans of the Monkeytown Records camp. eLan has been praised as the new instrumental hip-hop beat wizard with the talent of an early Rustie, Hudson Mohawke or even Boards Of Canada.
“Shipwreck” is the first single release from Modeselektor’s album Monkeytown (MONKEY 015CD/LP). As a tribute to the traditional single format, the song is released as a limited 7″ (only 1,000 copies worldwide) with an exclusive non-album B-side track. The song was started as an online file exchange between Modeselektor and Thom Yorke and finished during a 2-day studio session in Berlin. “Dull Hull” is an experimental rework chopped by Modeselektor, based on a piano scrub and Prophet sound by Thom Yorke.
MORR 108CD VA: Backyard CD/DVD (MORR 108CD) 19.50
Backyard is a realization and celebration of Reykjavík’s creative spirit. It is the embodiment of what happens when a group of friends work hard at implementing and executing an idea, and it is simply because they’re having fun! It is pure joy on celluloid, and you should join this party, which features performances by múm, FM Belfast, Sin Fang, Hjaltalín, Retro Stefson, Borko & Reykjavík!. Most of them are internationally known due to their releases on Morr Music and Kimi Records. This is what happened: after he had successfully organized a concert (featuring eight bands in 12 hours), Árni Rúnar Hlöðversson (of FM Belfast fame) found himself pretty amazed by the energy and velocity of his local scene. He thought: “I should throw a party like this in my own backyard.” So he invited all his friends and favorite local bands to play a show in his small backyard over the course of a couple of days. And he also invited filmmaker Árni Sveinsson. The bands don’t sound anything alike — they are all doing their own thing. What they share is a friendship, a mentality and approach that surpasses any superficial differences. This is not so much what you would call a “scene.” It’s a group of friends: take Borko kicking off the movie with his lo-fi majesty against Hjaltalín’s intricate baroque; múm’s delicate patchwork against Reykjavík!’s drunken artwork or FM Belfast’s ungovernable will to party (which marks the grand finale, here). It’s all there, and it works together because the shared idea is not a sound, but a feeling. This feeling is perfectly captured in Backyard. The DVD comes with a CD of original live music from Backyard. DVD Information: Film length: 71 mins. Bonus material length: 18 mins. Directed by: Árni Sveinsson. NTSC format, ALL-Region DVD; picture format: 16:9; sound format: stereo; language: Icelandic.
MUSIQ 060EP MR RAOUL K: Remixed Vol. 2 12″ (MUSIQ 060EP) 14.00
Welcome Stranger’s remix of “Le Triangle Peul” and Kuniyuki’s dub remix of “Africa.”
“What does ‘modern’ music sound like in the age of global awareness? This is the question taken up by three haikei and more, using examples from traditional music and new works based on the Japanese musical tradition. The koto (the Japanese zither) originally arrived in Japan by way of China in the Nara period (8th century) as an instrument in the gagaku ensemble. Later it evolved into a solo instrument whose important traditional repertoire was provided by Yatsuhashi Kengyo in the 17th century. At the same time as the koto, the recorder had its music-historical heyday in the Baroque age of the 17th and early 18th centuries. During the 20th century, in the wake of the early music movement, it became a concert instrument for which contemporary composers have written an increasing number of works. The koto and the recorder can be found in both the folk and the art music of their respective cultures. The composers commissioned to write new works for Makiko Goto and Jeremias Schwarzer were thus able to draw their material from many and varied realms of musical association.” Stereo/multichannel hybrid SACD that can be played on any CD player.
NEOS 11038CD RIHM/ERNST TOCH, WOLFGANG: Cello Concertos CD (NEOS 11038CD) 21.00
“Neos presents Wolfgang Rihm’s Konzert in einem Satz and Ernst Toch’s Konzert fur Violoncell und Kammerorchester. Featured artists: Tanja Tetzlaff, cello; the Germin Chamber Philharmonic Bremen; Peter Ruzicka and Florian Donderer, conductors.”
NEOS 11045CD RUZICKA, PETER: Orchestra Works Vol. 1 CD (NEOS 11045CD) 21.00
“The bulk of Peter Ruzicka’s catalogue of works is taken up by pieces for or with orchestra. For an artist whose intellectual purlieus have always centered on modernism, this is nothing to be taken for granted. The post-war avant-garde found its preferred vehicle in works for small ensemble and struggled to come to terms with large forms and forces. That Ruzicka turned to the orchestra from a sense of inner necessity has to do with the peculiar make-up of his creative imagination, which takes sound as its point of departure.” Featured artists: Jeroen Berwaerts, trumpet. NDR Sinfonieorchester, Peter Ruzicka, conductor.
NEOS 11106/8CD GUBAIDULINA, SOFIA: Chamber Music With Double Bass 3CD (NEOS 11106/8CD) 63.00
“When I took up the double bass many years ago I developed certain premonitions of what music for double bass might be. The elemental force of its dark, earthy tone, and especially its incidental sounds, noises and overtone series, kindled my imagination. Over the years I have performed many pieces that skillfully exploit the instrument’s potential. But in Sofia Gubaidulina’s work I found music that exhausts the essence of my instrument in previously unparalleled depth and truthfulness. Here I was able to revisit the sonic fantasies of my past, brilliantly compressed into musical form. The present recording is being released in honor of Sofia Gubaidulina’s 80th birthday. Especially in recent years she has increasingly written music for the double bass and produced new double bass versions of several earlier pieces. Our recording allows listeners to hear these works for the first time in their entirety. It also allows them to retrace the evolution of her music over a period of five decades.” –Martin Heinze. Featured artists: Martin Heinze, double bass; Heike Gneiting, piano.
NUP 001EP BLACK SAMURAI (FEAT. THE RAGGA TWINS & DADDY FREDDY): Information Critic 12″ (NUP 001EP) 11.00
Initially released in 2004, “Information Critic” is a bumping rocksteady/hip-hop track from Leeds MC Black Samurai, featuring vocals by UK dancehall legends The Ragga Twins and Daddy Freddy. Despite picking up radio plays at the time, it found its way into only a handful of selector’s boxes, one of whom was Nice Up founder DJ Shepdog, who has re-licensed the track and commissioned new remixes. Benny Page gives it a junglist relick, J-Star delivers a moombahton-style rework, and The Heavy drop a head-nodding reggae/hip-hop version.
ZEN 12299EP DJ FOOD: Magpies, Maps And Moons 12″ (ZEN 12299EP) 10.00
“Finishing the trilogy of EPs started in 2009 with One Man’s Weird Is Another Man’s World and The Shape of Things That Hum, comes Magpies, Maps & Moons. Another five track 12″, wrapped in a poster cover by 2000ad comic artist Henry Flint, and featuring more collaborations to add to the growing Food roster.”
ZEN 12301EP SLUGABED: Sun Too Bright Turn It Off 12″ (ZEN 12301EP) 10.00
“Slugabed, otherwise known as 22-year old Greg Feldwick is back with the Sun Too Bright Turn It Off EP, his second for Ninja Tune. It follows unanimous praise for his first Ninja Tune release Moonbeam Rider, and is the next step on the way to a highly anticipated debut album in 2012. STBTIO is an instrumental EP which is at once complex, deep, thoughtful and above all distinctive. It channels the energy of the best of today’s bass music, through spacey bleeps and meditative melodies to explore the outermost reaches of electronic music making today.”
NA 5083LP EAST OF UNDERGROUND: Hell Below 3LP BOX (NA 5083LP) 55.00
3LP box version. The complete albums from the winners of the US Army’s First and Second Annual Original Magnificent Special Services Entertainment Showband Contests. 1971-1972. Exact album repackaging in thick cardboard, gatefold “tip-on” sleeves. Full-color 20-page booklet features extensive essays, photos and rare Army ephemera. Contains a full-color, exact reproduction of East Of Underground’s 1971 tour poster.
ORTS 001EP COLECO: Martyr EP 12″ (ORTS 001EP) 11.00
Coleco sets new standards of multi-genre influenced dubstep on this four track EP. “Martyr” is a pan-Asian influenced, funky breaks-driven number. “Morbid Curiosity” takes a classic live funk break to the operating table, twists it up half-time style, and stitches on a roaring sub-bass. “Taostic” is a dub-Eastern crossover, and “Aether” features haunting atmospherics and filters in moody, offbeat Guhzeng stabs, deep sine waves, and a pounding breakbeat, bringing the EP to a heavy funk finale.
PHILE 2011EP JACKMATE: Oval 12″ (PHILE 2011EP) 12.00
Techno from Jackmate.
PHP 057EP ARTTU: Transfiguration 12″ (PHP 057EP) 14.00
This is the second 12″ by highly-acclaimed Arttu, delivering the goods on two slammin’ gangsta tracks. Timeless jackshit to open your mind (…like the artwork suggests). Pressed on clear vinyl.
POPC 107EP MINION, FRANK: How Much Land (Does A Man Need)/Watermelon 7″ (POPC 107EP) 8.00
Two cool sides from jazz-cat/croon-cat Frank Minion. “How Much Land (Does A Man Need)” is a precautionary tale which warns of the perils of everyday greed set over a simple but effective honking horn backing. A couple minutes of suavely delivered street corner wisdom over an infectious popcorn groove. On the other side, “Watermelon” is an oddball delicacy: a bongo-driven, sparse and spaced-out affair with deep gospel-accented, yearning vocals from Minion.
PSYCHBOX 007CD VA: Filling The Gap Volumes 1-5 5CD BOX (PSYCHBOX 007CD) 57.00
Finally available again, this terrific 5CD collection compiles a wealth of non-LP U.S. psych/garage tracks by artists who are better-known for their work on albums. Spanning legends like The Blues Magoos, The Human Beinz and The Lollipop Shoppe as well as obscurities like Homer, Stone Garden and The Federal Duck, the set is not only highly informative and entertaining, but will also save a fortune for collectors who would otherwise have to shell out a small fortune to hear many of the songs included. It comes complete with a full booklet containing detailed background information about each artist and many rare photos, making it a must-have for psych aficionados. Other artists include: Lincoln St. Exit, Writing On The Wall, Thee Sixpence, White Light, Bohemian Vendetta, The Glass Family, The Fredric, Negative Space, Pacific Sound, The Shadows Of Knight, Headstone, Mariani, The Weeds, Teddy & His Patches, Twentieth Century Zoo, We The People, The Seeds, 49th Parallel, The Magic Mushrooms, The Crome Syrcus, Marcus, Peanut Butter Conspiracy, Saddlesore, Front Page Review, Tripsichord Music Box, Gary Lee Yoder, Children Of The Mushroom, The Legend, Velvet Night, The Common People, Genesis, Jake Holmes, Moloch and Bead Game.
R-N 130CD BYETONE: Symeta CD (R-N 130CD) 17.00
Byetone’s new record Symeta opens with a combined track — a transit — since “Topas” and “T-E-L-E-G-R-A-M-M” could be seen as one single piece. Both tracks convey the atmosphere of a live session rather than the character of a studio production. The tracks are quite long and deal with repetition, layers of sounds, density and energy, more than melodic and engineering finesse. The whole album follows this approach, as it was fashioned within the context of live performances during the last two years. “Neuschnee” — the third track — has an obviously reduced tempo, creating a wide landscape of sound with an intimate aura, which works as a counter draft to the other tracks on the record. With “Opal,” the tempo speeds up again, a polyrhythmic phrase whirls around a straight beat, filters are turned, all that evokes the impression of early-’90s minimal techno. Byetone is basically interested in remembering, in a way to preserve, in citing rock/pop styles, without getting stuck in the past, whereas none of the tracks really fit into a specific genre. Seen from this perspective, “Helix” opens the final, more rocky block of the album. Here, the tracks are offensive and rude and sound like a band in a rehearsal room. This part peaks with “Black Peace” in a high-speed heavy metal session. Finally, “Golden Elegy” closes Symeta and a band-like situation occurs. The track ends with a wired lament, presented by Jan Kummer in the tenor of Chemnitz, hometown of both artists. In former GDR-times, they started their musical activity with the brilliant, dilettantish AG.Geige, together with Frank Bretschneider (Komet). Symeta, the title of the album, appears mysterious. This synthetic word arouses associations with symmetry, synthesis or (meta-)structures. It doesn’t stand for a definite object, there isn’t any solution, and that is the reason why the title has been chosen. Byetone’s music tries to create such associations without really fulfilling these expectations. In this sense, Symeta consequently follows Death Of A Typographer (R-N 092CD), this album’s well-received predecessor.
R-N 131EP SENKING: Tweek 12″ (R-N 131EP) 14.00
On Tweek, Senking again reveals his sense of cineastic atmospheres and dark abysmal depths of sound, which are subordinate to extremely slow, choky basses and delayed beats. Tweek is meant to be a DJ-tool for a club environment. “Tweek” refers to a character on South Park, who constantly struggles with feelings of uncertainty and anxiety. This 12″ documents the eagerness to experiment, with astonishing ideas shining through the dark substance. The tracks even reveal cheerful and comical features.
R-N 133CD ALVA NOTO: Univrs CD (R-N 133CD) 17.00
Alva Noto’s (Carsten Nicolai) Univrs follows on from and develops the concept of the album Unitxt (R-N 095CD/LP). Whereas the focus of Unitxt was on the processing of rhythmic patterns (“unit” = unit of measurement, element) and information (“txt” = data, language), with Univrs the focus is on the conceptual differentiation of a universal language (“universum/universal” = unity, entirety). The 14 tracks on Univrs have evolved from a live context, hence, the approach is more continuous and dense. For the track “Uni Acronym,” Alva Noto works again with the French vocal artist Anne-James Chaton. The track is based on a number of 208 three-letter acronyms (set in alphabetical order), creating a random narrative. The audio-visual performance of Univrs is based on the real-time manipulation of software-generated test images by audio signals. A customized hardware box triggers the video signal according to the value of the audio signal. The resulting color patterns change constantly without repetition. The visualization of Univrs (Uniscope Version) — an expanded screen projection setup — on a digital level combines a variety of modules demonstrating different methods of audio analyzing. The resultant signal processing is shown as a relay structure and is performed in real-time. Each module can be zoomed in on the expanded screen, enabling greater visual detail. The Univrs (Uniscope Version) was developed with the Touchdesigner software in close cooperation with Derivative in Toronto, Canada. Alva Noto would like to thank Anne-James Chaton for his on-going inspiration, Martin L. Gore for providing a sample for the track “Uni Rec,” and Daniel Miller for advice and support. The album was mastered by Rashad Becker at Clunk, Berlin.
RSOON 022EP ULTRAMARINE: Find A Way 7″ (RSOON 022EP) 11.00
Real Soon are proud to present the first new material in 13 years by London-based electronic veterans Ultramarine. “Find A Way” rolls out dreamy, chopped and layered vocals over a wash of soft, treated guitar, deep synth stabs and swinging 808 percussion. The B-side version kicks off with a monotonous, metallic-sounding Moog synth loop and builds into a full live 808 workout punctuated by arpeggiated electric bass, vocal snippets and dub effects.
RINSE 021CD BEN UFO: Rinse: 16 CD (RINSE 021CD) 15.50
This is the 16th edition of the Rinse label’s compilation series, mixed by Ben UFO, following on from successful releases from Youngsta, Oneman, Marcus Nasty, N-Type, Skream and Roska. Ben UFO has been at the forefront of the evolution of dubstep to its current state: as co-founder of Hessle Audio, as host of the Hessle show on Rinse FM and as a DJ in his own right. On this compilation, brand-new cuts from the UK underground rub shoulders with house, techno and experimental music from across the globe. An eclectic mix of artists are featured including How To Dress Well, Actress, Carl Craig, Pearson Sound, Mr. Monday, Kode 9, etc. The series started with Rinse boss Geeneus and has since taken in a who’s-who of UK underground dance music. Over the last couple of years, the boundaries around the sound that was once simply known as “dubstep” have disintegrated, allowing outside influences to work their way into its DNA. Ben UFO has been at the forefront of these developments in every capacity. Rinse: 16 captures a snapshot of that process in action, where dubstep’s 140bpm skank slows to house’s heartbeat pulse, and where excess fat melts away to leave little but tough percussion and wispy melody. What remains as a hallmark, though, is the presence of sub-bass — a thick tar that binds together everything from the acidic electro of Swims to the barely-there techno of Actress’ “Ghosts Have A Heaven.” Starting with the house music that forms the backbone of his sets, deep cuts from Aaron Carl, Kassem Mosse and STL, the UK gradually makes its presence felt in Karenn’s convulsive “Caretaker” and Jam City’s hyperactive grime. As the two styles meld together, house’s four-to-the-floor throb begins to break apart even as tempo remains fixed, leaving the exquisitely broken hybrid that’s defined 2011 so far; like Ben’s shows, it practically demands that you immediately start exploring further. Other artists include: Dro Carey, Third Side, XDB, 2562, Lerosa, Objekt, Champion, Snugs, Elgato, Soul Capsule, Ordinary People, Fierce, M Dubs, General Levy, Pangaea, Helix, Shackleton, Unknown, Bassboy, Bok Bok, Sicko Cell and Andrew Coltrane.
LAUNCH 029CD WHITE HILLS: Heads On Fire CD (LAUNCH 029CD) 16.50
Overdue reissue of Heads On Fire, the out-of-print second album by New York’s White Hills. Since this release, their first for Rocket, the band have gone to release several very highly regarded albums for Thrill Jockey. Ever changing and always striving to push the envelope, White Hills’ album Heads On Fire finds the band playing a heavier style of space-rock. Relentless and punishing, the album kicks off with the spacey swirl of the song “Radiate” and ends with the speed-laden blast of the track “Eternity.” Along the way, a mesmerizing blend of growling fuzz/wah guitar, pounding bass, sprawling synth, and chaotic drumming doses one’s head three sheets to the wind. Whether it be the mere one-minute track “Return Of Speed Toilet” or the 26+ minute “Don’t Be Afraid,” the listener will be taken on a ride through a world that is all-encompassing from beginning to end. The band started in New York as a solo project by Dave W. Since then it has turned into a trio, with Ego Sensation (bass) plus various drummers which has included Kid Millions of Oneida fame. Like Oneida, White Hills also share a love for a hard rock stripped of its bombast — their heavier, dirtier, earthier influences contend with airier atmospheres while combining steadiness with spacious, soaring guitars. These heads are always on fire.
LAUNCH 040CD TEETH OF THE SEA: Your Mercury CD (LAUNCH 040CD) 16.50
Teeth Of The Sea return with Your Mercury, their colossal second LP. Balanced elegantly between electronic exploration and incendiary psychedelic freakout, these 46 minutes showcase a band whose expansive mindset has birthed a unique sound, more dynamic, adventurous and vividly atmospheric than ever before. Your Mercury exists on a strange and beguiling astral plane, whereby the boundaries between the synth odysseys of the ’70s, the guitar-noise-fuelled infernos of the ’80s, horrorscore schlock, Reich-ian repetition, and a whole plethora of other cathode-ray and speaker-stack birthed epiphanies are blurred into one futuristic and fearsomely coherent whole. Teeth Of The Sea, the most exciting psychedelic band in the UK, have spun into a brand new orbit. In the vein of: Eno, Goblin, Emeralds, Butthole Surfers, Ash Ra Tempel and Liars.
RUM 2011010LP WILLIS, CHUCK: King Of The Stroll LP (RUM 2011010LP) 21.00
“Though well known to his fans as the ‘Sheik of the Blues’, thanks to his gigantic private collection of colorful turbans he used on stage, by the end of 1957 the Atlanta-born Chuck Willis found himself crowned with yet another title: The King of the Stroll. When the new dance step, the Stroll, began sweeping the US, his Betty And Dupree 45 had just been released, making it immediately clear that the groovy, slow tempo type of music to which the Stroll was danced went perfectly with the type of music Chuck Willis was releasing for Okeh Records, such as his irresistible update of ‘C.C. Rider’, a classic folk blues performed by Ma Rainey in Atlanta before Willis was even born, along with a plethora of R&B top sellers. These Okeh singles were later collected by Atlantic on this 1958 LP, The King Of The Stroll.”
RUM 2011011LP COASTERS, THE: The Coasters LP (RUM 2011011LP) 21.00
“Like most of the early-era R&B LPs, the Coasters’ first album is more of an all-killer no-filler singles compilation than a proper debut. Covering four years and two distinct lineups, including a good portion of the period when the group was known as ‘the Robins’, and including thirteen songs supplied by Jerry Leiber and Mike Stoller (probably the most legendary team of composers of the whole rock and roll era!), The Coasters is one of the most fun and entertaining R&B vocal harmony records of its time, from one of the few bands in rock history to successfully straddle the thin line between music and comedy.”
RUM 2011012LP COASTERS, THE: One By One LP (RUM 2011012LP) 21.00
“The Coasters’ 1960 ‘meet-the-band’ LP wherein the singers are presented not as a group but as individual soloists, represented a complete departure from what the Coasters rose to fame for. If the previous material was marked musically by its rock and roll teen-age based orientation and a by a deeply satirical approach to the lyrics, this album is notable for his musical maturity instead, with swingin’, jazz-inspired arrangements brought by a full complement of musicians and an expensive production, resulting in a Coasters’ album that appealed not only to the youthful fan-base, but to adults of a more cultivated and advanced musical taste.”
RUM 2011013LP DARIN, BOBBY: Bobby Darin LP (RUM 2011013LP) 21.00
“Often compared to Frank Sinatra or Dean Martin, Bobby was one of the greatest American singers. Born in the Bronx to a poor, working class family at the height of the great depression, Darin’s career took off in 1958 when he wrote and recorded ‘Splish Splash,’ as a result of a bet with radio DJ Murray ‘The K’ Kaufman, who bet Darin that he could not write a song that started out with the words, ‘splish splash, I was takin’ a bath’, as suggested by Kaufman’s mother. Though he later became an actor, a comedian and even a political folk singer of indisputable value, his 1958 debut remains an unprecedented classic in the history of rock and roll.”
RUM 2011014LP TEENAGERS FEAT. FRANKIE LYMON, THE: The Teenagers LP (RUM 2011014LP) 21.00
“New York doo-wop group centered around the talent of its 13-year-old frontman and lead singer Frankie Lymon, the Teenagers exerted an enormous influence on the early rock and roll and doo-wop scene, and hits such as ‘I’m Not a Juvenile Delinquent’ or ‘Why Do Fools Fall in Love?’ clearly provided initial inspiration to Berry Gordy to model his entire Motown production approach. Though they only existed as a group for a brief 18-month period, they’ve been mentioned as source of inspiration by the likes of Diana Ross, Smokey Robinson and Michael Jackson over the years. Their self-titled first album originally issued on Gee, remained in print longer than any other album from the 1950s, thanks in part to one of the most distinctive looking album covers of its period.”
RUM 2011015LP BELAFONTE, HARRY: Calypso LP (RUM 2011015LP) 21.00
“Originally released in 1956, Belafonte’s third album was the first full-length gramophone LPs to sell over one million copies, topping the charts for thirty-one weeks on the strength of hits like ‘Jamaica Farewell’ and the immortal ‘Banana Boat (Day-O)’. Mostly consisting of music written by the Trinidadian songwriter Lord Burgess, Calypso had an incredible impact on popular music of the ’50s and ’60s, bringing Caribbean rhythms to a wider audience and making Belafonte one of the most successful Caribbean-American pop stars in history. An absolute landmark in ’50s American pop culture.”
RB 029EP BOOF: Joi Is Smiling/Now She’s Jumping 12″ (RB 029EP) 12.50
Joi Is Smiling/Now She’s Jumping is the 12″ single going hand-in-hand with Shhh, Dandelions At Play (RB 003CD), the latest album by Boof. The sound of flowers dancing. Produced by Maurice Fulton.
LP version. “Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji. Following the ‘fodder first’ tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control’s evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji’s name came up early in that conversation and felt intrinsic to Waterhouse and Cho’s own musical calling. After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji’s 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraaji’s zither explorations alongside Eno’s soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool. Over two album sides, the listener is transported from the urban sound garden of ‘Awakening Day,’ through the soulful yow of ‘Light Ships,’ into the texture bliss of ‘City of Love,’ and finally the reflective pool of ‘Freeflow’. The first bonus track ‘Somebody Scream’ demonstrates Laraaji’s dexterous zither-playing over thirty-five minutes of music, while the second, ‘Astral Jam,’ starts with a Wu-like beat (courtesy of Laraaji) and warps into a rolling snare trance.” Includes a download code for the entire album, plus “almost an hour of bonus material.”
SEC7 010LP FOLEY, BLAZE: Clay Pigeons LP (SEC7 010LP) 17.00
“Secret Seven Records is proud to present Blaze Foley’s Clay Pigeons, a vinyl-only career-spanning collection of studio, home and intimate live recordings from 1976 — 1988. Culled from numerous posthumous CD releases, Clay Pigeons marks the first-ever proper LP release by one of country music’s most beautiful, yet oft unheard, voices. Featuring many of Blaze’s best loved songs including: ‘Oval Room,’ ‘Clay Pigeons,’ and ‘If I Could Only Fly’ — a song Merle Haggard described as ‘the best country song I’ve heard in 15 years.'” Limited to 500 copies.
CORE 095D-EP BLAZE: Core 1995 – Moonwalk 12″ (CORE 095D-EP) 11.00
“When ‘Moonwalk’ was released in 1995, it was immediately recognized as a new high for the already well-accomplished Newark, NJ outfit Blaze. Previously, Josh Milan and Kevin Hedge had laid to waste virtually all competition with a slew of dope releases under their various guises in a little over 2 years –this after they had been dropped from Motown and left to fend for themselves in the highly inspired NY/NJ underground club scene. Burrowing further, the duo kept a low-profile throughout 1994, returning the following year to grace the world with their Funky People incarnation on the seminal Blaze Tracks EP, hailed for ‘Moonwalk”s relentless, soaring beauty. Borrowing from the most psych-inclined soul-jazz pioneers of Blaze’s confessed elementary foundation, the instrumental is one of the groups unquestionable demonstrations of genius and a bellowing affirmation of Josh Milan’s otherworldly synth-work, which slithers and slopes its way through the tough, on-point, moody-keyed production typical of their mid-90’s sound. The track is so cocky it abruptly ends with virtually no notice following 7 minutes of continuous ascension and accumulated tension, all left to dissipate instantly in a haze of astonishment and amazement. A classic club landmark, ‘Moonwalk’ is reissued here as the latest installment of slow to speak’s CORE series, a fine testament to the expansive, totally-mesmerizing sound of authentic deep house music at its point of inception in the sweaty, blacked-out club-spaces of the NY metro-area and beyond.”
SMALL 004LP MOOMIN: The Story About You 2LP (SMALL 004LP) 20.00
2LP version. Moomin’s debut album The Story About You is an album of uniqueness and transcendence, like a meteorite touching the ground in your own private garden. Sebastian Genz aka Moomin never intended to reinvent house music, as his productions come from the heart and are related to the lovely people’s dancefloor. That’s what gorgeous parties and releases of the White label around Oskar Offermann and the Smallville imprint taught him: real house music is only possible within a soulful surrounding. Moomin builds an enchanting sound and wonderful tracks — everything one could love about instrumental house music, including that reduction of groove and loop: a hypnotic theme that could last forever, giving a night its color and deepness. The secret is not only his skills but also quite an enormous selection of vintage analog machines — whether it is the holy Roland instruments TR 606, 808, 909, the Roland Alpha Juno, an SP 1200 or a Korg Poly 61. The musician’s addiction to producing keeps Sebastian Genz playing the machines every day and every night.
“Replica is an electronic song cycle based around audio procured from TV ad compilations. These sample-based meditations are as lyrical as they are ecological, featuring re-purposed ‘ghost vocals’ which serve as narration for Lopatin’s signature amorphous, ambient passages. Lopatin’s Juno-60 is still prominent, but Returnal’s placid, synthetic surroundings are accelerated through darker, more unpredictable terrains via Lopatin’s use of samplers, analog filtering, tape-op, piano, plate reverb and sub-bass. The result is a heightened sense of music as part and parcel of an overall sonic terrain.”
LP version. Released in a hand-numbered edition of 1000 copies with the best ASCII backcover art of the year.
SOME 017EP STL: Me And The Machines 12″ (SOME 017EP) 14.00
STL has crafted a four-tracker of raw electronic beats and mind-rumbling grooves. Jacking house tracks composed on analog hardware, executed without any static computer arrangements, to keep the true spirit and feeling of each session alive. These sounds are like mad, colorful old school games, taking the listener on adventures to head, feet and soul. Sweet transmissions from a universe dominated by sound. Pressed on a handsome 12″ in very limited quantities.
SG 1149EP NORTHERN STRUCTURES: Service & Devotion 12″ (SG 1149EP) 14.00
Copenhagen’s Northern Structures duo return on Sonic Groove with their second release entitled Service & Devotion. DJs such as Ben Klock, Marcel Dettmann, Tommy 47, Chris Liebing, Rolando & Milton Bradley all played their debut, and now they follow up perfectly with three more songs of well-crafted industrialized, dark, pumping techno. This is contemporary techno at its finest.
Soniculture, the Lisbon-based label, proudly presents Billy Dalessandro’s fifth album. This project forges a new generation of production style and sound design for Billy as he cocks the shotgun of his latest experiment in electronic debauchery. Cracktime sonically defines those innocent and naughty moments that each of us exhibit, in our own way, that helps to fulfill our lives with all those insane memories we carry with us back to the grave. Thirteen tracks round out this ring match in a dub-infused, 303-injected, Chicago-style bassed-out fight that lasts just about an hour. So sit back (or jack back) and remember — that if religion is the opium of the masses, music definitely gives us our daily crack.
What is a “Teufelskamin?” A “Devil’s Chimney” is a natural geological phenomenon, a natural rock formation built by tidal powers. Take for example, the natural shaft on the Crozon peninsula in Brittany, France. Waves push into this pit and spit out a giant jet of seawater. Watch out! It’s a cold, Satanic soup coming from Hell’s kitchen. When chef Satan starts cooking, wet showers come out of his hut, not dry smoke. At least the devil cooks with water. What is cooking when the old Kammerflimmer Kollektief invites you to sit on their Teufelskamin? There is a familiar electric guitar that takes you on a ride into black mountains. There is the ground making the sound of the breath of an Indian harmonium. There is the gentle, dark push from an upright bass. And there is the female voice amplifying wordless moods over wordless songs. For years now, the Kammerflimmer Kollektief have skillfully sailed waves of various musical genres. On Teufelskamin, a spooky guitar sound, a sort of “Surf Noir” is the new ingredient. And bravely, they call out for Albert Ayler’s helping ghost. Kammerflimmer Kollektief has created a great, authentic dish over a nice long-running fire, and like the devil, they cook with water. Cool, cool water. Heike Aumüller, Johannes Frisch and Thomas Weber stir up some salty beauty from which no one can escape.
SVT 069EP NICONE & SASCHA BRAEMER: Romantic Thrills Part 1 12″ (SVT 069EP) 12.00
First 12″ single from Berlin-based DJs Niconé and Sascha Braemer’s full-length Romantic Thrills (SVT 068CD). Featuring contributions from Jan Blomqvist and Narra.
SOD 090LP GRODY, DANNY PAUL: In Search Of Light LP (SOD 090LP) 16.00
“In Search of Light is the full-length follow-up to the well-received Fountain (RS 057CD), Danny Paul Grody’s debut solo release. Many listeners no doubt recognize Grody from his work in San Francisco-based groups Tarentel and The Drift. As a solo artist, he produces wistful, poignant music culled principally from acoustic guitar and synthesizer. Grody’s work recalls aspects of the post-Takoma school in that fingerpicked, cyclical melodies make up the crux of many of his recordings. However, he also masterfully avoids the pitfalls of the genre, invariably favoring concision, lyricism and ideas over dexterity and flare. In listening to In Search of Light, one can’t help but imagine these recordings appearing on some lost private issue California folk LP from the late ’70s- such is the timelessness of Grody’s aesthetic. As an album, In Search of Light is an assured and beautiful statement, an aural tracking shot of the California coast that feels as old and familiar as the sun. Artwork by Billy Joe Miller. Mastered by James Plotkin. LP in edition of 500.”
SR 328CD SOSA, ROGELIO: Raudales CD (SR 328CD) 15.50
This CD is a selection of recordings and electroacoustic music from 2003 to 2009. During this period, Sosa Rogelio has explored different approaches to music creation such as the micro-deconstruction and transformation of music recordings, the development of software that synthesizes organic sound compounds using digital signal feedback and voice improvisations with multi-processing workstations. Nevertheless, all these explorations have shared the same interest during these years: to create a visceral music that expresses itself through intense and complex sound flux and aims to vibrate and resonate within ourselves. Rogelio Sosa was born in Mexico City in 1977. His work explores a wide range of aspects that deal with sound morphology, structures of auditory reference, intensification of the acoustic space and performativity. His projects include solo and collective improvisations, music compositions, sound actions and sound installations. All of these are produced using electronic media. Part of Sub Rosa’s Framework series. Limited edition of 400 copies.
SR 333CD JAMKA: Pari Passu CD (SR 333CD) 15.50
Pari Passu is Jamka’s fourth full-length album. It was recorded live with minimum overdubs in London between summer 2010 and spring 2011. It relies heavily on the use of hardware equipment, delivering a focused and full sound rich in detail, color and dynamics. Jamka is a music project set up by Monika Subrtova and Daniel Kordik, who first met as philosophy students in Slovakia. After playing in various hardcore and punk bands, Kordik had gradually become more interested in the idea of making music with electronic devices, and when Subrtova began to share his enthusiasm for synthetic sounds and misleading compositions, they decided to explore this territory together. Jamka played their first gig in autumn 2001 at the Academy of Fine Arts in Bratislava. Using a sequencer and a sampler, they generated raw-sounding rhythms and structures. In the same year, together with RBNX and Urbanfailure, they released their first common CD-R/tape, Urb Sound Systems, and founded the Slovakian Urbsounds Collective. Jamka now reside in London, where they have established themselves as part of the local experimental scene. Using synthesizers, sequencers, samplers and various FX boxes, they touch on the darker side of techno, industrial and noise music, approaching it in their own uncompromising way. Their music is a whirlwind of colliding rhythms and fractured structures, punctuated throughout with hard-hitting sounds. Sub Rosa’s Framework series; limited edition of 400 copies.
#LTD is the debut album by Berlin-based producer Till von Sein. It follows a comprehensive catalog of 12″ singles, collaborations and remixes that have appeared since 2006 when von Sein began to work exclusively on his musical career. In addition to his activities as a producer, he also works as a booker at Clique Bookings (who represent, amongst others, Kollektiv Turmstrasse, Format:B, AKA AKA, Kasper Bjoerke and Trentemøller) and tours himself as an internationally-celebrated DJ. #LTD is not just a reference to his own hood, it is an audio snapshot of his current reality as well as a homage to his roots and musical background. Before turning to house, he was active as a DJ and MC in the rap scene and ran a streetwear store. Some of these musical influences from various stages in his life come across more clearly in the sound of the album than others. This return to the developments of the past few years is manifested by the many producers, artists and friends featured on the album, among others: Catz ‘n Dogz, Chopstick, Tigerskin, Aera and Thalstroem. Instead of being fixated on the dancefloor, #LTD seems to be about anything and everything. He doesn’t just pick up on traditional Detroit techno, he uses it to make this non-soul album the most soulful of the year (and probably for years to come). #LTD is simply captivating in its nonchalance and formal aesthetic makeup. It starts out with the opener “Tilly’s 61 Rhodes Jam,” an ethereal piece. It is followed by the excitingly subtle, slow house hymn “LTD,” in which the elegant sample ware has been filtered away to unobtrusiveness, which makes it all the catchier. Catchiness also applies to the faster, James Brown-vibish “Out Of Love” (featuring Jon Hester on saxophone), as well as the perfectly-balanced “61” and the ’90s nostalgic, acid, mantra-like “Non Existent Love” (featuring Tigerskin, Lazarus & Meggy). It applies especially to the otherworldly “Neptune” (produced with Catz ‘n Dogz) and “Biloxi Jam” (featuring Chopstick) with its uninhibited, catchy mouth-harp hook. And finally, it is most clear and irresistible on the album’s floor-filler “Blueprint,” in which Fritz Kalkbrenner’s heart wrenching and knee-shaking diction is reminiscent of so many soul classics.
SSREC 002CD VON TREYER, XAVER: The Torino Scale CD (SSREC 002CD) 17.00
The Torino Scale is the debut solo album from Berlin-based producer and Supersoul Recordings head Xaver von Treyer, aka Xaver Naudascher. The result is astral pop music that swirls around the idea of beginnings, ends and aggregate states, while staying true to the known Supersoul sound — strong connections to dance music (Krautrock, Italo, Chicago and Detroit) without being nostalgic or exclusive to one style. Every track has a strong identity of its own, showcasing the artist’s personal take on modern pop music, ranging from psychedelic pop to acid via ambient cinematic themes. The album was recorded and mixed in three stages in Berlin, the second half in wooded seclusion just outside the city center. In keeping with the overall theme, characters are introduced and whisked away with regularity, an eclectic blend drawn from all corners of the globe. Arthur Hornig, the first cellist for the Deutsche Staatoper, contributes to two tracks, while Wolfram (aka Diskokaine) provided vocal snippets for the intricate grooves of “Love Is A Drum” from his hotel room and Jayney Klimek (a friend from the Terranova era) completes the mantra. London-based folk-singer Nana Kay adds layers of heightened sensuality with her vocal contribution to the skulking “We Are Alien.” A collaborator with Xaver for over a decade, Japanese singer Yuko Matsuyama covers the whistle-led skittering pop of “Lunar Rover” in sultry poise. The most significant contribution, however, comes from Marek Polewski, creative director at Supersoul Recordings, with his input into the visual accompaniment for the album. Images in motion form the conceptual basis, the underlying principle being a fine balance struck between the images and sounds — no hierarchy.
TEC 051EP DISTAL: Angry Acid/French Science 12″ (TEC 051EP) 11.00
Tectonic moves straight into bold new territories, introducing a new artist to the label: Distal from Atlanta, USA, who injects plenty of energy and dancefloor savvy throughout his productions. “Angry Acid” is more like a 140bpm warehouse acid track than anything “dubstep” as we know it, sounding like some lost collaboration between Aphex Twin and Drexciya. “French Science” is less frantic and more sexy — grooving instead at a more restrained 125bpm. Big, bright, synthy — full of charm and alien seduction.
TEC 052EP AUTHOR: The City/Teacher 12″ (TEC 052EP) 11.00
Author’s first single features deep melodic music with real instrumentation. The producer duo are no newbies, either. Ryan Gath aka Jack Sparrow has a slew of deep-dubstep dancefloor killers under his belt and Dom Howard is known for his Ruckspin dubstep production moniker as well as being a key member and producer for the live dubstep super-group Submotion Orchestra. “The City” is an energetic future-garage riddim while “Teacher” captures the essence of the original 2004-2005 dubstep vibe while updating the production levels for 2011.
This is a compilation of music created by one of Senegal’s most important and highly-respected artists Idrissa Diop, highlighting his recordings made from 1969 until 1976, which was the last made in Senegal before leaving to live in France. The liner notes include more information on “IDY,” his legendary band Sahel and the music in Senegal.
THR 283CD ROBERTS, LUKE: Big Bells And Dime Songs CD (THR 283CD) 14.00
“The debut album by Brooklyn’s own Luke Roberts is an intimate and immediate experience. Songs about running, stumbling, falling, crashing, crying, spitting, fighting, sleeping, dancing, healing, bruising, the butterfly, crawling, creeping, building, flying, fording, gargling, just starting out, homecoming, claiming, calling, bridges, tunnels, planets, and the sun and money. Essentially they are just gifts for Luke’s loved ones. Luke says it best: ‘They are poems that I didn’t feel comfortable not reciting before I go.'”
THR 283LP ROBERTS, LUKE: Big Bells And Dime Songs LP (THR 283LP) 15.00
LP version.
TC 001CD TOTAL CONTROL: Henge Beat CD (TC 001CD) 17.00
Featuring members of Eddy Current Suppression Ring and The UV Race, the band known as Total Control originally came together due to a shared love of minimal and electronic-based punk music. Over the course of four 7″ releases, their music ran the gamut of electronic post-punk, from dark new wave to jarring noise to austere cold wave. Their debut album, Henge Beat, was recorded and produced by guitarist Mikey Young (Eddy Current) in the Australian summer of 2011 — the band achieving an excellent cohesion of the sounds from each of their previous singles. Total Control contains just the right balance of abandon and discipline. You need comparisons? Think: Devo, Joy Division, Cabaret Voltaire, Suicide, Swell Maps, Screamers, etc.
TO 070LP GUDNADOTTIR, HILDUR: Without Sinking 2LP (TO 070LP) 20.00
Gatefold 2LP version. This release contains 3 extra tracks in addition to the ten on the CD version of Without Sinking (TO 070CD). Hildur Ingveldardóttir Gudnadóttir (b. 1982) is a classically-trained Icelandic cellist and composer, and this is her first full-length release for the Touch label. Best known for her collaborations with múm and guest appearances with Pan Sonic, she has a rich catalog of collaborations and varied projects behind her. Gudnadóttir began playing cello as a child, entering the Reykjavík Music Academy and then moving on to musical studies/composition and new media at the Iceland Academy of the Arts and Universitat der Kunste in Berlin. Back in Iceland, she became very active in the neu-Iceland scene as a member of Kitchen Motors, a Reykjavík-based think tank, record label and art collective, along with internationally-renowned composer Jóhann Jóhannsson. In 2004, she started playing with the band Angel (Ilpo Väisänen and Dirk Dresslehaus). Around that time, she made an album with Dirk (Mr. Schmuck’s Farm), and went on to play live with Pan Sonic, later collaborating on their album Katodivaihe/Cathodephase. She released her first solo album, Mount A, under the artist name Lost In Hildurness, on the Reykjavík-based label 12 Tónar in 2006. Gudnadóttir played all the instruments on the album — vibraphone, viola da gamba, harp and vocals, constructing a work of delicately-layered, contemplative, cello-based ruminations. She has also played frequently with field recording artist and performer BJ Nilsen; delicate duets that conjure the somber rapture of multi-tracked cello — Gudnadóttir’s live playing augmented by laptop loops. As a composer, she has written music for plays, dance performances and films, pieces for chamber orchestras, various instruments, voices and electronics. Gudnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. Touch presents the work of an artist who has quickly risen in status as an essential staple in modern music composition due to her notable collaborations, her deft touch and her haunting, evocative soundscapes. Composed and recorded in Berlin and Reykjavík; Hildur Gudnadóttir (cello, zither, processors and voice); additional recordings by Skúli Sverrisson (bass and processors on all tracks except track 7); Jóhann Jóhannsson (organs and processors on tracks 2, 3 and 9); Guðni Franzson (clarinet and bass clarinet on tracks 6 and 10).
TURBO 032CD RENAISSANCE MAN: Renaissance Man Project CD (TURBO 032CD) 17.00
This duo of Finnish architects launched their career in 2008 with Spraycan on Switch’s Dubsided. They soon found eager champions in the tastemakers at Kitsuné, Sound Pellegrino, and the blogtelligensia over at Fluokids. By 2010, they were legitimate players, having remixed WhoMadeWho, Delphic, Crystal Fighters, Brodinski, Crookers, Health, and, most recently, Azari & III. A more refined, structural sound emerged on the Babbadabba EP on Made to Play. And the larger scope of their commitment to intelligent design comes to fruition on Turbo Recordings, erecting a post-tropical hermitage of dancing man’s thought-funk. The music is highly detail-oriented, referencing everything from bass music to curry house, with eyes and ears trained on millennia of art and concept, with a special emphasis on the millennia when music actually existed. The first track and single, “…When You Do What You Do” is a who’s-what-you-who of blazing critical house. Renaissance Man. Designing the box. Building the box. Thinking on top of the box. Features Tuomas Toivonen (Acid Kings, Giant Robot), Helsinki Bass Machine and K-X-P.
TYPE 096LP INDIGNANT SENILITY: Consecration Of The Whipstain 2LP (TYPE 096LP) 23.50
Pat Maher’s outsider sounds have emerged in many different forms; the syrup-laced rap remixes of DJ Yo-Yo Dieting, the ketamine house of Diamond Catalog and of course the wheezing industrial ambience of Indignant Senility. Consecration Of The Whipstain is Maher’s second widely-available album under the Indignant Senility moniker, and its long-form abstractions place him a step apart from his peers. Where Plays Wagner took a selection of thrift store charity records as source material, Consecration… works with a wider palette and sees Maher roughly paste together clattering percussion, wretching environmental sounds, opium drones and much more to emerge with a sound that owes more to Iannis Xenakis and Lustmord than to the contemporary set. Maher’s noise roots have always given him a rougher, more abstract edge than others in the genre, but this album finds his shadowy ambience chiseled into four pitch-perfect explorations of his very particular alternate timeline. Recorded through amplifiers and microphones to give the music a chance to “breathe,” the fuzzy pictures slowly come to life and offer a shocking amount of depth and variety. At times it sounds like a decaying sound strip from a ’30s suspense reel, with all the crackle and flicker you’d expect to come alongside that. Maher’s sounds take us into places we might not want to go, but there’s no denying that once you’re there it’s hard to wrench yourself free. Deluxe vinyl edition, cut at Dubplates And Mastering, Berlin.
UP 004EP SAD CITY: Gestures 12″ (UP 004EP) 14.00
“We first came across Sad City’s (aka Gary Caruth) distinctive and unique sounds through our wonderful friend Julian Lynch after the pair met at university in Aberdeen, Scotland. Gary’s been involved in deep, layered electronic music since his teenage years. Growing up just outside Belfast, surrounded by his Dad’s old 7″ disco records (his Dad was a cross community DJ during the height of the Troubles), Gary became fascinated by the production techniques of Cerrone and Giorgio Moroder. Over the years he became increasingly intrigued by minimalist composition, and his exposure to the musique concrete aesthetic and process eventually led him to experiment with reel-to-reel tape recording, sampling, and the use of high and low level frequencies. That concept – of finding and discovering new and organic ways to create music – lies at the very heart of this record. ‘Shell (or Wash)’, cinematically creeps through waves of flange and reverb, finally phasing into an incredible swell of unified, wavering noise. ‘Night Time Trail’ follows on with the shimmer and stabs of carefully manipulated sounds sustained by a steady house/dub groove. ‘Jaya’ then loops and merges a far-east sax line that gains intensity as the rhythm builds around the layers, ultimately breaking down to reveal a mesmerizing freeform sax flutter. The closer, ‘Twilight (or Tightrope)’ concludes the record in perfectly understated fashion, looping a dreamy piano line that washes and echoes alongside an emerging rhythm track.”
UP 011LP TWERPS: Twerps LP (UP 011LP) 18.00
“Underwater Peoples are proud to join with Chapter Music to present the self titled debut LP from Australian pop-smith’s Twerps. Up til now, a large part of Twerps’ charm has been their rough edges. Recording to hissy four track tape, singing songs about enjoying the ‘occasional quiet drink’ and then throwing up on your friends. But now, with their self-titled debut album, there might just be a little bit of growing up going on. It’s definitely the biggest-sounding recording Twerps have ever done. Unlike their early manifestos, Twerps was recorded in a bona fide studio, with the help of engineer Jack Farley (Beaches, St Helens). But it’s not just the sound, it’s the songs. Tracks like ‘Through The Day’ and first single ‘Dreamin’ contain instantly recognizable Twerps elements: the fascination with New Zealand’s 1980s Flying Nun era, as well as US bands like the Feelies and Galaxie 500. They also contain a kind of Australian pop timelessness that harks back to the Go-Betweens, Paul Kelly and the Sunnyboys. This is something new for the band, and it’s deep and resonant.”
UY 002CD MEINHARDT, MARCUS: Upon You Diary No. 2 CD (UY 002CD) 17.00
Even after the success of Diary No. 1 — Upon You’s first CD label compilation — it was clear that the Berlin crew wasn’t through with their adventures and had every intention to keep documenting them. With nearly 70 releases in their catalog and with recurring label nights held in their hometown’s top clubs (Berghain/Panorama Bar and Watergate), Upon You felt it was time to make another full-length statement in the form of Diary No. 2, compiling 12 new, exclusive tracks, showing the label’s wide sonic spectrum within the realm of techno and house music. But this isn’t just some uninspired victory lap. Whereas the first edition was curated by Marco Resmann (who co-runs Upon You along with Hawks Grunert), this time the honor goes to DJ/producer Marcus Meinhardt, a core member of the Upon You artistry and bookings roster as well as co-founder of the legendary HomeSweetHome party series in Berlin. Another core difference here is that while the first compilation focused solely on their own home-grown talent, this sequel invites some international like-minded friends in on the action — such as Mark Henning, Douglas Greed, The Glitz, Melohman, Javi Bora, Santorini and RifRaf — in addition to regulars like Gunnar Stiller, Pele and ONNO & Marcus Gehring. From pristine pulsations to clattering percussion, from warm timbres to frigid synths, Diary No. 2 covers all the bases, in line with the rich past of techno and house, but clearly without any retro fetishism. Douglas Greed sets the tone with the seductive opener “Sense,” featuring the demure Delhia de France while RifRaf contributes the fuzzy, buggy “Down From Heaven” which demands the fog machine be cranked up to 11. One of the compilation’s highlights is the first collaboration between Marco Resmann and Emerson Todd, the bewitching “Cursed,” which seems to melt sine waves until they evaporate in the air. In between more spartan and darker moments, The Glitz and Nico Stojan lighten the mood with their respective looney tunes “Orange Blossom” — which would definitely make it into Woody Woodpecker’s DJ bag — and “Inflagranti” — the kind of track that makes you think you have 5.1 ears on your head. And of course, tastemaker Meinhardt wouldn’t neglect to include himself, here bringing a slice of colorful, synthetic Tropicalia titled “Splash.” Finally, up-and-coming duo Melohman & Javi Bora close out the collection on a graceful, somber note with the operatic “Moldavia.”
UY 052EP STILLER, GUNNAR: South Of The Border 12″ (UY 052EP) 12.00
Gunnar Stiller’s latest release starts out with the “Way To Wollongong,” inspired by his Australian tour in 2010 and smoothly continues the agility of his former releases. “Antipodeans” on side B takes its time and introspectively sprouts chords through the bush of the Outback. Includes a remix by Marcus Gehring.
WAP 322CD ENO, BRIAN: Panic Of Looking CD (WAP 322CD) 11.00
“From the recordings that produced Drums Between the Bells–the acclaimed collaboration between Brian Eno and British poet Rick Holland–comes an all new EP titled Panic Of Looking. The six tracks continue the exploration of how lyric & song-writing are perceived in the post-everything era. As the Sunday Times (UK) suggests, ‘the poems aren’t sung, yet the pieces are undeniably songlike, first because the music refuses to act simply as background, but lurches frequently, sometimes unexpected to the fore, and second because we hear the meaning of the words in the way we normally pick up song lyrics,’ while WIRED Magazine calls Eno’s soundscapes, ‘a tapestry of pillowy synths, minorkey melodies, chiming guitars and skittering drums.'”
WAP 322EP ENO, BRIAN: Panic Of Looking 12″ (WAP 322EP) 17.50
12″ EP version.
WARP 221CD DRC MUSIC: Kinshasa One Two CD (WARP 221CD) 16.50
“In July 2011, DRC Music – a collective of producers led by Damon Albarn (Blur, Gorillaz) – headed to Kinshasa in the Democratic Republic of Congo to make a record with contemporary Congolese musicians. DRC Music is comprised of producers: T-E-E-D (Totally Enormous Extinct Dinosaurs), Dan The Automator, Jneiro Jarel, Richard Russell, Actress, Marc Antoine, Alwest, Remi Kabaka, Rodaidh McDonald and Kwes. Each of them has donated their time and waived all royalties to this work. The sounds created were completely different to normal instrumentation because the local instruments were primarily homemade from whatever was available. As Dan the Automator said, ‘The equipment they created to make music was amazing. The drive and spirit to create with whatever was available was the highlight to me–old fans, tins, tree trunks, homemade drums, metal rods.’ The Democratic Republic of Congo has long been wracked by conflict and is home to one of the world’s worst humanitarian crises. Proceeds from the album will benefit the local performers and Oxfam’s work in Congo. Oxfam fights poverty and suffering in DRC through the empowerment of individuals and communities based on their rights, such as the right to clean water or to live in safety. Oxfam has been in DRC for 50 years and now has more than 350 staff in projects across the country, responding to emergency situations in order to save lives.”
MLADYS 002LP TYVEK: Fast Metabolism LP (MLADYS 002LP) 14.00
“At long last, the vinyl debut of this flawless compilation of Tyvek’s early singles. Long out-of-print, and still in high demand, Fast Metabolism was initially issued as a CD-R only release, and quickly caught fire around the world. Hailing from Detroit, and behaving as if Wire had been the world’s only hardcore band, Tyvek were (and still are) a much needed adrenalin spike through the breast plate. These songs eventually were released as four very hard to find 7″s between 2006 and 2008. Issued in an edition of 2000 copies, with deluxe tip-on jackets, and mastered for precision by Timothy Stollenwerk, with the vinyl lacquers cut by Bob Weston, this is a co-production between Brooklyn, New York’s M’lady’s Records and Portland, Oregon’s Water Wing Records.” Includes lyric sheet insert.
“It was sometime during the mid-’60s that the countercultural and rock & roll lifestyles merged. Any kid with an acoustic guitar and songwriting ambition suddenly had accessible role models in the folk and rock worlds to emulate, and plenty of venues throughout America at which to try out their songs and pick up new, progressive musical tricks in the process. Michael Oosten began his musical journey playing in various rock bands. Keeping a band together was difficult. He had begun writing songs that veered away from pop-song copies; and then there was the relative ease and lack of responsibility required for hauling around a guitar. And so, Oosten began a solo career. With a Martin guitar in hand, he took off, playing in coffeehouses and clubs across the country. By the end of 1973, he was ready to record an LP. Oosten settled on five songs and rounded up a couple of friends to fill out his folk/rock/psych sound: some piano from Tom Hennick on ‘Hey Babe,’ vocals from Jan Reek on ‘Garden,’ and bass from Al Byla on ‘Sunny Day.’ True to Oosten’s nature, the album was sunny and full of charm, and it reflected his itinerant philosophy of life at the time. University of Wisconsin art professor George Cramer, and Mercury Records graphic artist, John Craig, came up with airbrushed artwork which graces the album’s sleeve, and Oosten and friend Lester D’ore (former editor of Chicago countercultural paper Seed and designer of the Yippie flag) holed up at D’ore’s Wisconsin commune farm to silkscreen each LP jacket by hand. And what an odd record, full of buoyant psychedelic folk/rock–woodsy, spare, and warm–that sounds as if it could have been recorded on the front porch of a country house. Needless to say, considering the individualistic nature of the album’s genesis, marketing and publicity for the album was limited to Oosten driving to radio stations in surrounding cities to hand-deliver copies to DJs. Still, ‘Wayfaring Boy’ received quite a bit of airplay in Madison, and the album as a whole gained solid play on college campuses. Columbia Records expressed interest in Oosten’s music; but after a single meeting with the label, it was clear that the album would be too difficult for the mainstream honchos to market. Oosten’s whimsical, wayward talk-singing puts us in mind of other meandering vocal faves from various eras (like the Incredible String Band, Perry Leopold, or the Meat Puppets, to name but three); not everyone’s thing, I guess, but who cares! The album has plenty of lovely musical and instrumental bits, from the bouncy ‘Hey Babe’ to the brightly smiling ‘Sunny Day,’ while on the epic ‘Hungry Horse Montana,’ Oosten switches seamlessly from Celtic picking to Middle Eastern chord progressions. Oosten proves himself a stellar guitarist along the lines of John Fahey or Leo Kottke, only in a more eccentric and percussive mode. This new re-release has bonus tracks: three previously unreleased songs from 1973, to be exact. All told, the work of a true renegade, ripe for rediscovery.”
DG 001CD WENDERS, WIM: Pina: Original Motion Picture Soundtrack CD (DG 001CD) 15.50
The soundtrack to the film Pina for Pina Bausch by Wim Wenders (to be released in North American theaters in Dec 2011), containing 15 tracks from the successful 3D movie. Most of the music is from the productions of Pina Bausch’s dance company, featured in the movie. Songs composed especially for this movie by Berlin musician Thom Hanreich add to this versatile concoction. Wim Wenders’ love for music can be perceived in all of his movies — this time around it is no different. Especially with the sounds from Pina Bausch’s dance company which predefined the choice of music: “Music plays a highly important part in all of Pina’s pieces. And music was certainly one of the reasons why I felt so well sheltered inside them, so much at home,” says Wim Wenders. The soundtrack Pina portrays a cross-section of this musical variety. The compilation presents a range of artists such as Jun Miyake (Japan), Lisa Papineau (France), Hazmat Modine (USA), Owain Phyfe & The New World Renaissance Band (USA), Germano Rocha (Canada), René Aubry (France), Amon Tobin aka Cujo (Brazil), The English Chamber Orchestra (UK), and Thom Hanreich (Germany). It comprises a mix of different music styles, featuring artists maybe not known to all of the listeners. The soundtrack will be sure to awaken memories of many compelling movie scenes. Wim Wenders emphasizes that the music Pina Bausch chose is one of yearning. The director states: “We shared a similar taste in music. Whether in blues, in fado, or in Latin-American music, but also in popular German music, this yearning, this deep longing is predominant.” Many fans have been yearning for the music from Pina.
After his impressive solo debut, Consolamentum, Manchester-based musician Richard A. Ingram returns with another slab of implacably somber cinematic electronic music. Perhaps without acknowledgement, Happy Hour occasionally hints at Rhythm & Sound-style analog manipulations, and at other times is reminiscent of Andrew Chalk’s darker excursions. There are puzzles within this music too; clues lie within the titles, within the CD text and the audio itself — we’ll say no more, they are there to be uncovered. Richard’s music has something of a signature lo-fi quality — one which mangles the original sound source in such a way that you’re not entirely sure what it is you’re listening to. Album opener “Agile Drone” certainly highlights this, with what sounds to be a peculiar, tape degraded/filtered piano; shifting through resonant frequencies, bellowing and morphing, then decaying almost to the point of silence before delivering the album’s killer bass drop. “Truncheon Tree” is perhaps more closely related to the Consolamentum material, with a sampled piano loop which slowly expands to a peak before resolving right back where it began. The album’s final tracks entitled “Chaos Fortifier” and “Retro Morph” venture into the realms of aural perversity akin to the compelling yet disturbing visuals of Gaspar Noé (Enter The Void and Irreversible) and Michael Hanake (Funny Games) — music as harrowing as it is euphoric, creating almost drug-induced states of unrest. Limited to 250 copies only.
WLM 017EP VOICES OF BLACK: Her Flower EP 12″ (WLM 017EP) 12.00
The arresting Voices Of Black of the Wolf + Lamb family come of age as both producers and lyricists with their zenith Her Flower EP. Introducing new vocal crush Rap Lisa, whose colloquial, melodic verse is a perfect match to the Brooklyn boys’ refreshing take on warm, soulful space funk & house. Also featuring a searing Greg Paulus cover, this release is poised to set VOB on fire.
YORE 028CD VAZ, ANDY: Straight Vacationing CD (YORE 028CD) 17.00
Andy Vaz’s Straight Vacationing is his first full-length artist album since the 2006 release of Repetitive Moments Last Forever. This album registers as less a straight-up collection of dancefloor burners and more of a variety pack that mixes club tracks and full-fledged house songs. Listeners hungry for just ordinary 4/4 throw-downs will not entirely get their share of those, but they’ll also get a whole lot more on this dynamic and well-rounded set of eight album tracks. Straight Vacationing dives into house in all its rich variety: from deep melodic, early Chicago-influenced acid house, jacking-Jedi mind tricks to disco-type grooves and last but not least excursions into Bizzaro World, with an almost psychedelic experimental-edged sound. The album perks up the moment the first track, “Detroit In Me,” appears and when its acidy bass line percolates so determinedly alongside a female vocal motif, Vaz polishes the track’s Detroit surfaces to a mirror-like sheen. It sounds a little bit similar to what Maceo Parker might sound like soloing over a funky Detroit-styled bass. Saxophonist Andreas Pasternack spreads his creamy playing all over “Stubnitz” and in so doing, bolsters the album’s already soulful character. The album’s poppiest moment arrives on “Just Another Round,” whose hooks Vaz powers with a lead bass line and sweetens with a chirping female vocal. The funky-as-hell bass playing and the music’s cold sweat, not to mention the honk of Pasternack’s sax, might remind listeners of a certain age of the J.B.’s, James Brown’s ’70s band. On the experimental tip there’s “Fukuoka Liquid,” a bubbly, acid-techno shape-shifter featuring a hammering groove overlaid with synth smears, and “Worlds Collide,” an exercise in jacking acid-house — old school all the way. The album features occasional guest players contributing to the house-driven sun-showers. As a bonus, the album offers free additional digital remixes from Yore all-stars such as: Patrice Scott, Rick Wade, Alton Miller, Memory Foundation, Ibex, Kez YM and Orlando B.
ZEDD 024CD DJ RED GREG: Under The Influence Volume One: A Collection Of Rare Soul 2CD (ZEDD 024CD) 17.00
…& Disco. Z Records continue to release high-quality compilations filled with lesser-known disco, funk and boogie. Now they launch a new compilation series named Under The Influence. The story behind UTI is this: being a seasoned record collector, Z label boss Dave Lee (Joey Negro) has made the acquaintance of many of the world’s other vinyl junkies — people that may be unknown to the general public but are hardcore enthusiasts who have built some of the best collections of soul, funk and disco on the planet. Volume 1 has been compiled by DJ Red Greg aka Darren Griffiths, a familiar face across the world at record fairs and second hand vinyl stores, as well as a DJ putting on his own Ebonite nights in Dalston (and playing in parties in the UK as well as Paris and NYC). Unlike many reissue comps, it’s doubtful there will be anyone who picks up this CD and looks through the track list and has the all the songs contained. This selection is the result of years of digging, buying records on a hunch, acquiring a few turkeys to find the gems. Check his sleeve notes out for some detailed analysis and history. As always with Z Records, they’ve spent time and money to make the masters sound as good as possible. A word from Red Greg: “When pulling together some ideas for this compilation, it became apparent that so many superb soul and disco records of the late ’70s, early ’80s simply vanished into obscurity, due to the lack of finance, multi-million dollar recording studios or the promotional power of the major labels. Clearly influenced by the disco R&B sound of the time, smaller independent releases struggled to get their sound across to the mainstream and as a result, never received the success they deserved. From the raw and gritty to the gloriously orchestrated, by no means was their sound inferior to the great classics from the likes of Prelude, Westend or Salsoul, but yet many went unnoticed outside of their hometowns. With the classics and major label releases from the past still dominating the market today, it seemed only fair to delve into some of these lesser-known recordings for this series. From hidden B-sides to overlooked album tracks, my Under The Influence album showcases a collection of these under-exposed gems, finally giving them the attention they deserve. All have been favorites of mine in recent years and previously unavailable on CD or digitally, until now.” Artists include: Donnell Pitman, Lo-End, Beckie Bell, Seaquence, Panache, Andy Crown, Free Spirit, Sophisticated Ladies, The Vandales, Sir Ted Ford, Chain Reaction, Aged In Harmony, Rim & Kasa, K.I.C., Arthur King, Percy & Them, Lafayette Street, New Love Ltd & Interstate 95, Miss Misty, Thunderbolt, Del Richardson, Jim Manns, Carl Marshall & The S.D’s and Star Quad.
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