order from our NEW! beta site:

you can also click on cover art or album info to order online
from our old site

a secure order form is available for credit card purchases.
we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

for more information about shipping or ordering
please refer to our FAQ:

direct any questions to

4M 523LP MODERN LOVERS, THE: The Modern Lovers LP (4M 523LP) 19.00
2012 repress. 180 gram vinyl. “Originally released on the Beserkley label in 1976 (though most of the material was recorded in 1973), The Modern Lovers is a universally accepted proto-punk classic. It’s an album that bridges the gap between The Velvet Underground, a band whom leader Jonathan Richman was obsessed with, and the first wave of punk rock. While also displaying the goofy wit that would later be Richman’s signature, The Modern Lovers is equal parts geeky, emotional, angst driven, life affirming, and, from start to finish, absolutely brilliant.”
Subtitled: Live At The Ann Arbor Blues & Jazz Festival 1972-73-74. “Recorded live at the Ann Arbor Blues And Jazz Festival 1972-73-74. The classic big band with a full complement of singers, Tracks 1-10 (1972) feature the great Space is the Place Suite. After the first few minutes the sound is surprisingly good with great drums throughout; crystal clear. Presence and excitement are well captured, along with some blistering Ra electronics and the crowd cheering everyone on. A bass solo even: rare event. Tracks 11-18 (1973) roll straight on winding up with the long declamatory, dramaturgical, chant that gives this set its title and, so far as I know, appears here for the first time. Extensive notes by John Sinclair.”
“One part War, two parts Santana, a dash of Motown, immersed in a rich Puerto Rican stock, the Nombres were the undisputed kings of Northern Ohio’s rust-belt barrios. Following successive explosions of brown-eyed and Latin soul in Los Angeles and New York in the mid and late ’60s, Lorain, Ohio’s Boricua underdogs went on a recording tear in nearby Cleveland, going all-in on a series of no-budget recordings at Boddie and Way Out. With a voice that rivaled any on the Fania roster, Willie Marquez led the rotating cast of Latino teens through numerous underfunded recording sessions for the Day-Wood, Beth, and Lorain Sounds imprints, the lo-fi fruits of which are compiled here.”
Gatefold LP version.
B 153LP WIFFEN, DAVID: At The Bunkhouse Coffeehouse LP (B 153LP) 27.00
“At The Bunkhouse Coffeehouse was English-born folk singer David Wiffen’s first solo album, recorded live in 1965 at the Bunkhouse Coffeehouse in Vancouver, Canada. Throughout the 1960s Wiffen played in numerous bands on the Canadian folk scene, but in 1971 tasted mainstream fame when his self-titled studio debut, David Wiffen, was released. The album included two hits, ‘More Often Than Not’ (which went to the top of the charts) and ‘Driving Wheel’, famously covered by Tom Rush, the Byrds, Cowboy Junkies, etc. For his next album, 1973’s Coast To Coast Fever, Wiffen famously collaborated with Bruce Cockburn, who both produced and played on the album.” 140 gram vinyl. Clear yellow vinyl in transparent PVC sleeve with blue lettering. Limited edition 500 copies.
B 157LP DEW: Recorded Live At The All Japan Folk Jamboree August, 7 1971 LP (B 157LP) 27.00
“First ever vinyl reissue of this incredibly rare early ’70s Japanese LP recorded live at the 2nd All Japan Folk Jamboree on August, 7 1971. Formed in 1970 by ex-Blues Creation singer Fumio Nunoya, this live album featured a mix of self-penned guitar-heavy psych rock with anguished Japanese vocals along with a few standard blues covers.” 140 gram LP, clear green vinyl in transparent PVC sleeve with blue lettering. Limited edition 500 copies.
DIYNAMIC 054EP AUGUST, DAVID: You Got To Love Me 12″ (DIYNAMIC 054EP) 12.00
David August is back with his third EP. The title track features a repetitive vocal line which will stay on your mind for a long time. With its pumping bassline and one stretching acapella breakdown, “You Got To Love Me” is a guaranteed dancefloor bomb. “On My Mind” captivates with a funky bass line. Finally, a haunting vocal-hook accompanied by low atmospheric piano notes and deep bass hits support the pleasurable slowness of “Stepping Trough My Self.”
DOY 659LP MCTELL, BLIND WILLIE: The Amazing Grace LP (DOY 659LP) 23.00
“Recorded in an Atlanta hotel room in 1940 by John Lomax on one of his last trips to the South on behalf of the Library of Congress. The story goes that Willie McTell (age 42) was spotted by Lomax playing for tips in the parking lot of the Pig ‘n Whistle BBQ. Lomax pulled into the parking lot and offered McTell one dollar plus cab fare to meet him at his hotel room for an impromptu recording session the next morning. Despite the meager compensation, McTell agreed and the historic session took place. That morning in November McTell recorded fourteen tracks, including five folk ballads that he had never recorded before. He also shared the story of his life and his considerable knowledge of American music, while speaking out on racism as well. These historic monologues are also included here.”
DOY 660LP VAN RONK, DAVE: Sings Ballads, Blues & A Spiritual LP (DOY 660LP) 23.00
“‘Not infrequently I am taken to task for the manner in which I approach my material,’ folk singer and guitar player Dave Van Ronk (1936-2002) wrote in the liner notes to Ballads, Blues, and a Spiritual. A white New Yorker singing traditional Southern black songs, he distinguished himself from others who adopted this repertoire by imitating the way he heard black musicians perform. ‘Although I can appreciate the ‘white approach’ to Negro folksongs and enjoy the work of many of its adherents, I still reserve the right to sing these songs in the style to which I am accustomed, partly because of habit, and partly, I confess, because I feel that my way is the ‘right way’.’ Originally released in 1959 on Folkways, this release was Van Ronk’s first record. It contains the tracks ‘If You Leave Me Pretty Momma,’ ‘Backwater Blues,’ ‘K.C. Moan,’ ‘How Long,’ and ‘John Henry’. Liner notes include photos, lyrics, song histories, and an introduction by Van Ronk.”
DOY 661LP VAN RONK, DAVE: Sings LP (DOY 661LP) 23.00
“Born in Brooklyn in 1936, Dave Van Ronk was Bob Dylan’s ‘first New York guru,’ writes Dylan’s biographer Robert Shelton. ‘Dave Van Ronk was the musical mayor of MacDougal Street,’ Shelton continues, ‘and… a walking museum of the blues.’ Originally released on Folkways in 1961, this album features fifteen songs, including a parody of ‘Nearer My God to Thee’: ‘Georgie and the IRT.’ Liner notes include song lyrics and song histories.”
DPC 039EP WASHERMAN: Kutz From The Basement 12″ (DPC 039EP) 12.00
Washerman is the new project from Gianni Siravo, one-half of Azuni. His first releases came out in 1998 with his former project Sequel, which was at the forefront of the broken twisted house movement. The gentle man from Zurich provides raw, honest and euphoric house music which is bound to the floor. With Washerman, he moves on and presents some truly forward-thinking tunes. These beats are made to kill.
FAITICHE 005LP BOGNER, URSULA: Sonne = Blackbox LP (FAITICHE 005LP) 17.00
Limited repress. LP version. Subtitled: Voice And Tape Music. The world first learned of unknown housewife/mother/pharmacist/electronic experimentalist Ursula Bogner’s work in 2008. Since then, her identity has been surrounded by rumors, her graphic work has been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, among others).
“These songs were formed from an inspired evening session of improvising and recording in London in June 2008, at the brick lane studio of David Cunningham. The three musicians were working together on a performance event at the ICA in London that week, and took the opportunity to try tracking some songs together.”
FIRE 247LP ORCHESTRA OF SPHERES: Nonagonic Now LP (FIRE 247LP) 23.50
LP version. “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’.”
GR 2123CD ESPLENDOR GEOMETRICO: Desarrollos Geométricos CD (GR 2123CD) 18.00
Desarrollos Geométricos (Geometric Developments) is the new album by influential Spanish cult legends Esplendor Geométrico. Recorded during 2010 and 2011, a few of the tracks on this release premiered at the band’s performances in Europe. Esplendor Geométrico has developed a unique and personal style that has influenced many groups and is increasingly moving away from the clichés of Industrial Music. Arturo Lanz, who heads the group, thinks that they can no longer be labeled as “industrial.” “Our music is deep, powerful, primitive and hypnotic, using electronic instruments and new technologies,” he says. Desarrollos Geométricos follows in the steps of their previous album, 2009’s impressive Pulsión, which was remixed on a 10″ release by renowned musicians such as Frank Bretschneider and Atom TM. Repetitive and mechanic electronic rhythms are intermingled with recordings of voices, shouts, samples from traditional oriental music and percussions. Some tracks induce a kind of trance, and you won’t be able to stop listening to them over and over again. The CD version includes 9 tracks, while the limited vinyl edition has 6 (3 of which are exclusive, vinyl-only tracks).
HMR 020LP CACCIAPAGLIA, ROBERTO: The Ann Steel Album LP (HMR 020LP) 23.00
“Roberto Cacciapaglia is an Italian electronic composer who’s made albums using every possible permutation of the same six notes, right up to modern classical, with The Ann Steel Album as the weird anomaly. Made with an American model who moved to Italy to make it big in fashion, Roberto took her languid, Laurie Anderson-esque voice and created a detached futurist popstar. The odd sound of these European futurist pop songs make it sound like the machines are breathing, creating a weird organic/electronic rhythm section. It has to be heard to be believed. With fans ranging from Geologist and Avey Tare from Animal Collective, Deerhunter’s Bradford Cox and Banjo or Freakout/Walls mainman Alessio Natalizia. The first time this album has been on vinyl since its initial small pressing in the ’70s.”
HERZ 022CD MASSEYEFF, NICOLAS: The Motherland CD (HERZ 022CD) 17.00
Nicolas Masseyeff releases his debut album, The Motherland, on Stephan Bodzin’s Herzblut Recordings. His latest work draws on a wide sonic palette: it goes deeper and more introverted than his previous releases, making it as suited to home listening as it is to club dancing. The album is one to pick apart for DJs or to digest whole for connoisseurs. The Motherland is not only a fine artistic statement from one of France’s leading electronic producers, but also an assured full-length release on Herzblut which will no doubt stand the test of time.
MJJ 326LP NAGAI, SEIJI: Electronic Noise Improvisation 1999 2LP (MJJ 326LP) 32.00
“After spending the first half of the 1970s globetrotting with Asia’s premiere avant-garde band–Takehisa Kosugi’s Taj Mahal Travellers (where Seiji Nagai played trumpet and keyboards)–Nagai continued to study and play music, particularly Indian music (drones) and electronic/computer generated music. In 1999 he finally released Electronic Noise Improvisation, with the help of Koichi Watanabe, Koji Kawai and Minoru Yonemoto. Here, as in the days of TMT, Nagai concentrates on creating dense drones, but this time his instruments are computers and a host of electronic gadgets, as well as electronic mandolin and piano.”
MJJ 328LP TAJ MAHAL TRAVELLERS: Live At The Moderna Museet In Stockholm, 1st & 9th July 1971 2LP (MJJ 328LP) 32.00
“Recorded on July 1 and 9, 1971 in the geodesic dome at the Utopia & Visions 1871-1981 exhibition at the Moderna Museet in Stockholm, Takehisa Kosugi’s Taj Mahal Travellers were the premiere Japanese experimental rock band of the 1970s. The band, heavily influenced by Fluxus, used electronic effects and a host of unusual instruments to create a series of improvised drones. Kosugi went on to become the music director for the Merce Cunningham Dance Company.”
KLN 002EP BJORK, HARALD: Bigfield Remixed 12″ (KLN 002EP) 12.50
Bigfield Remixed is the follow-up to Harald Björk’s debut album Bigfield, which was released on Kranglan Broadcast in 2010. On this limited 300 copies 12″, three original songs are reworked by Axel Boman, Fairmont and Kate Wax. As a bonus, there are two original album tracks on the B-side, “Din,” and the 10-minute exploding title track.
KRANK 157LP A WINGED VICTORY FOR THE SULLEN: A Winged Victory For The Sullen LP (KRANK 157LP) 13.00
LP version. “A Winged Victory for the Sullen is the first installment of the new collaboration between Stars of the Lid member Adam Wiltzie and composer Dustin O’Halloran. The duo agreed to leave their normal home studio comfort zone and develop the recordings with the help of large acoustic spaces, and to hunt down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end. Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began in one late night session in the famed Grunewald Church in West Berlin on a 1950s imperial Boesendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last final session in a private studio deep in the northern cusp of Italy on a handmade Fazioli piano, and the final mixes took place in a 17th century villa near Ferrara, Italy, with the assistance of Francesco Donadello. All songs were processed completely analogue straight to magnetic tape. Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to live dangerously, realizing that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic replicating ingemination. In ‘Requiem for the Static King Part 1’ (created in memory of the untimely passing of Mark Linkous) they have taken the age old idea of a string quartet and then shot it out a cannon to reveal exquisite new levels of mellow bliss. Of the 13 minute track ‘Symphony Pathetique,’ Wiltzie says ‘after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing.’ Notable guest musicians include Icelandic cellist Hildur Gudnadottir, and violinist Peter Broderick. A Winged Victory for the Sullen is not a side project. This is the future of the late night record you have always dreamed of.”
MCR 901LP MORPHINE: Cure For Pain LP (MCR 901LP) 23.00
“This is the second release on Light In The Attic Records’ new imprint Modern Classics Recordings. ‘Low-rock’ and ‘fuck-rock’ are two descriptors enigmatic Morphine front man Mark Sandman used to describe his band’s beat-inspired blues-jazz-rock holy racket. Along with Sandman’s baritone vocal delivery and oddball two-string bass styling, co-founder Dana Colley played a saxophone as his lead instrument of choice instead of the expected guitar, creating a quirky and burning sensibility. Original drummer Jerome Deupree, who was replaced by percussionist Billy Conway during the recording of 1993’s Cure For Pain, flushed out the unorthodox trio. Hailed by the alternative college-rock community in the mid-1990s after motion picture soundtrack placements in Spanking the Monkey and the MTV animated series Beavis and Butt-head, such commercial endorsements did little to distract from Cure For Pain’s deep soul. Released on vinyl as the second title in Light In The Attic’s Modern Classics series, following a reissue of Mercury Rev’s seminal Deserter’s Songs (MCR 900LP), we’re happy to make this album accessible to music lovers the world over.” First-ever US vinyl issue. Audio lovingly remastered for 180-gram wax. 180-gram LP housed in expanded gatefold jacket with four page insert featuring interviews with surviving band members.
MK 338LP MCTELL, BLIND WILLIE: Fare You Well LP (MK 338LP) 22.00
“The ‘King of the Georgia Blues’ and master of the 12-string guitar, Blind Willie McTell’s praise has been sung far and wide by everyone from the Allman Brothers (who famously covered his ‘Statesboro Blues’), to 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’). Originally recorded for Vocalion (in New York City) and Decca (in Chicago) these tracks from the mid-thirties mark the height of McTell’s recording career. Featuring his wife Kate singing on ‘Ain’t It Grand To Be A Christian’ and long-time associate and Georgia guitar-great, Curley Weaver on several tracks.”
MK 339LP BLIND BLAKE: The Vanished Bluesman In Richmond LP (MK 339LP) 22.00
“After their success with Blind Lemon Jefferson, Chicago’s Paramount was scouting for more male blues talent, and they found it in 1926 in a man called Blind Blake (1893-1933), a sophisticated guitar player who was the antithesis of Delta blues. In fact, Blake soon became Paramount’s best-selling and most recorded artist, with over a hundred sides to his name. Blake–one of the greatest blues guitarists of all time–is best known for his development of the ‘ragtime’ guitar style, the sheer complexity of which has baffled would-be imitators for the past eight decades. His mastery of this approach was so complete that none have ever come close to being able to imitate him. These recordings from 1929 are a collection of sessions Blake recorded for Paramount in the Gennett Studios in Richmond, Indiana. Blake is accompanied by Charlie Spand on piano on several tracks. Spand was the king of the 1920s barrelhouse piano style and one of the most influential piano players of his day.”
MK 340LP JEFFERSON, BLIND LEMON: How Long, How Long Lasting Loving LP (MK 340LP) 22.00
“The Father of Texas blues, Blind Lemon Jefferson began a successful recording career for Chicago’s Paramount Records in 1926, recording over 100 sides in just three short years, right up until his premature death at age 35 in1929. Wildly popular, he was one of the first male blues guitar players to achieve national acclaim. His versatile guitar style and two-octave vocal range–which allowed him to sing in an impossibly high register–made his style unique among country blues singers. Influencing the likes of Leadbelly (with whom he played frequently while still in Texas) and Lightnin’ Hopkins, his songs (often thinly veiled protest songs) have also been covered by many rock artists including The Beatles, Bob Dylan and the Grateful Dead. All songs recorded in 1928 and originally released as Paramount singles.”
MR 315CD CRAMPS, THE: File Under Sacred Music: Early Singles 1978-1981 CD (MR 315CD) 17.50
Munster Records presents a compilation of the The Cramps’ early singles plus some tracks from the same period, 1978-1981, that were never issued in that format. Six replica sleeves and four new sleeves were especially designed for this edition, reproduced in the CD booklet, which includes photos and memorabilia.”I’ve no idea why The Cramps don’t seem to figure in a lot of alleged histories of punk or just plain music in general. This could be down to them being utterly or unpigeonhole-able (is that even a word?) or just outright ignorance. Perhaps a bit of both, but hey, let’s not concern ourselves with that. The band changed the face of culture. Period. Without bothering ‘the charts’ or playing too many stadiums, their seismic effect on everything you hold dear will be felt for all time. This ancient knowledge — some of their grooviest gravy — is presented here for your delectation and delight. So get a crack-a-lackin’ with blasting these twisted hymns morning, noon and night. And while the ruckus is in full swing, pray to whoever might listen that Ivy will get around to compile the ultimate document of her undulating combo in commemoration of their services to entertainment. The bloody gears of this here rockin’ machine will be rolling way beyond the foreseeable future. Reasons outwith anyone’s control might mean that you can’t see the band anymore but no one — no how — will be able to make this thing stop. Meanwhile, dig into this feast for the little ghouls that understood all along or indeed anyone with a decent set of ears.” –Lindsay Hutton
MR 316CD LA BARRA DE CHOCOLATE: La Barra De Chocolate CD (MR 316CD) 17.50
La Barra De Chocolate was a short-lived project led by Pajarito Zaguri, a former member of Los Beatniks, Los Náufragos, and a key figure in the birth and development of Argentine rock. In 1968, he gathered some musician friends that used to visit the legendary Buenos Aires venue La Cueva. They soon caught the attention of the Music Hall record label and in 1969 released their first single, Hippies Y Todo El Circo/¿Cuál Es La Forma?. They also won the Festival Beat talent contest and their second single, Alza La Voz, sold over 40,000 copies. However, after the recording of their first album and the release of a few more singles, the band split the following year, unable to cope with their newfound success and perhaps due to the other music projects all the members had. This brief period was enough to produce a fantastic LP containing garage, beat, psychedelia and the influence of Bob Dylan which represents a brilliant portrait of late 1960s Buenos Aires. Includes 8 bonus tracks not included on the vinyl version.
MR 317CD TRAFFIC SOUND: Virgin CD (MR 317CD) 17.50
Formed in 1968 by members of bands from Lima, Peru, such as Los Hang Tens and Los Mads and other musicians, Traffic Sound started as a covers band playing songs by The Doors, Cream and Jimi Hendrix. Their influences came from England and the U.S., and apart from some bossa nova played at rehearsals, Latin music didn’t feature in their repertoire. However, their origin and background could still be heard in their sound, something which they embraced even more after Santana’s success. Their first LP with self-written songs, Virgin (1969), is a masterpiece of Latin rock. In it, the band from Lima combined psychedelia, hard rock, a hint of progressive rock and a Latin tinge to create a personal, mighty sound full of details. The best example is “Meshkalina,” a track with references to Incan culture which became an anthem of the period and was heard all over Peru. The LP was a great success and even saw a U.S. release. Traffic Sound would record another two albums (Traffic Sound and Lux) which took them to greater success and tours in Brazil and Argentina, before finally disbanding in 1972.
MR 318LP JUANITA Y LOS FEOS: Pesadilla Adulta LP+CD (MR 318LP) 19.50
LP version. New album by Juanita y Los Feos, one of the most active bands in the thriving Spanish garage/punk/new wave scene. Pesadilla Adulta is a major step forward for the band, who have been together since 2004. The sharp production takes JYLF to new wave and post-punk perfection in should-be-hits such as “Autolesionarse,” “El Final,” “500 Muertos” or “Circo Roma,” while maintaining a trace of their garage punk origins. Includes a free CD version of the album, plus an insert.
PHILE 2012EP CLK DIVIDER: Deep Rift 12″ (PHILE 2012EP) 12.50
Here comes CLK Divider — primal!
ASH 3049LP TAJ MAHAL TRAVELLERS: August 1974 2LP (ASH 3049LP) 31.00
2012 repress. Gatefold 2LP version. Originally issued as a double LP with each of the 4 tracks being roughly the same length as the side of a record, August 1974 presents the Taj Mahal Travellers at their most sophisticated. Although their stunning cosmic music was always improvised, the band, formed in 1969 by “six meta-music creators and one electronic engineer” played regularly throughout Japan and eventually found their way to Europe where they met up with avant-garde musicians such as Don Cherry. 1974 would be the band’s last official release as they went their separate ways the following year with all but Takehisa Kosugi, leaving music behind them. Each track is distinct from the others, with several beginning with clearly-defined structure before departing into the realms of the abstract, with violin, harmonica, bass, tuba, trumpet and mandolin dueting in a subliminal and obscure manner. “Voices” both subhuman and supernatural, resonate with a universal inner voice. Includes original insert. Hand-numbered limited edition of 1000; on 180 gram vinyl.
PFR 028LP VA: Forward To The Past 2: The Acid Flashback 2×12″+10″ (PFR 028LP) 25.50
After the old-school inspired Forward To The Past that saw Poker Flat revisit some seriously jacking zones, we now focus directly on acid house and the genre’s beloved Roland TB-303. That innocent little box created some of the most freaky basslines in dance music history, and we’re here to celebrate its unique tone and the legacy of ACID. The wax version comes with two 12″s and a bonus 10” picture disc — limited to 303 copies! Producers featured include Motorcitysoul, Vincenzo & Tyson Ballard, Sven Tasnadi & Juno 6, Sasse, Steve Bug, Kink & Neville Watson, Snuff Crew, Tin Man and Glimpse & Will Saul. Germany’s Motorcitysoul drop the “soul” and transform themselves into “MotorcityACID” with “Bass En Provence.” A mighty 303 bass line tweaks while ungodly synths warble on top of the madness. Sasse is back with a storming, flanging monster On “Cassopolis.” 707 drums work the floor while a reminiscent string line leads the 303 tweaks into the night. Leading hallucinators Kink & Neville Watson really freak us out with “Sleepless” — a dark, dirty and raving track that makes no compromises and sends us sky high with its multiple acid lines and driving drums. Up and coming UK producer Owain K supplies a really haunting acid track complete with some really classy vintage percussion and a squelching lead line. Similarly, Vincenzo & Tyson Ballard feed our analog appetites with more soaring 303 action and a classic stomping new jack groove. Reliable machine-jack outfit Snuff Crew employ their finest weaponry for “I Can’t Remember” while respected producer Tin Man comes to the fore with the chugging “Blown.” Two of London’s finest, Glimpse and Will Saul, join forces to create “Into The Woods” — a rough and moody ambient-inspired piece that really has its own groove and unique sound design. Sven Tasnadi’s “Follow The Roots” adds a unique swing to the groove as he really gets the acid cooking in a hot warehouse jam. Included on the bonus 10” picture disc, Sven Tasnadi & Juno6’s far-out filter acid cut “Generation A” is one of the more intense moments of the album. Building and freaking with true rebellious newschool drama, it’s a guaranteed floor-screecher! This is backed with Steve Bug’s hot little tribute to Chicago, “This Is Acid.”
RS 7001LP SUICIDE: Suicide LP (RS 7001LP) 12.00
2012 repress. Official 1999 reissue of the first Suicide LP from 1977, on the original Red Star label. Digitally remastered, iconic cover art intact. Beyond-essential late ’70s underground listening which has carried near boundless influence. “Suicide were Alan Vega (voice) and Martin Rev (electronics). Classic punk-electronic trance that sounds as intense and vivid as ever and unlike some of their peers from the era, still as dangerously futuristic.” This edition contains two extra tracks not on the original LP: a remix of “Cheree,” and “Keep Your Dreams.”
RT 1003LP VA: Psych-Out Original Soundtrack LP (RT 1003LP) 22.00
LP version. Starring Jack Nicholson and released in early 1968, Psych-Out has been described as “a groovy movie par excellence, the Citizen Kane of the late ’60s Haight-Ashbury scene.” Its superb soundtrack originally appeared in April 1968, combining classics by acid-rock heroes The Strawberry Alarm Clock and The Seeds with exclusive material from The Storybook and Boenzee Cryque. Packed with flute, organ, sitar, fuzz and more. This is the first vinyl reissue.
STS 21812EP TORSKE, BJORN: Oppkok 12″ (STS 21812EP) 11.00
“This 12″ contains remixes from Bjorn Torske’s acclaimed Kokning album from 2011. Here Torske gets remix treatment from DJ Harvey (with Harvey on vocal!), fellow Norwegian Todd Terje & Italy’s Crimea X.”
SVT 071EP NICONE & SASCHA BRAEMER: Romantic Thrills Part II 12″ (SVT 071EP) 12.50
Second 12″ single from Berlin-based DJs Niconé and Sascha Braemer’s full-length Romantic Thrills (SVT 068CD). Romantic Thrills Part 2 dazzles with three distinct remixes by Stil for Talent heavyweights Oliver Koletzki, Florian Meindl and Dan Caster. Again, all tracks are geared towards the dancefloor as they appropriate those special moments of the originals while employing them to a diverse range of new contextual frames.
SR 325.2LP DR BOOGIE: Bear Traces: Nuggets From Bob’s Barn (Second Paw) LP (SR 325.2LP) 15.50
Sub Rosa presents part two in a two-part vinyl version of the Bear Traces compilation culled from the legendary collection of Bob Hite, founding member and singer of Canned Heat. Compiled by DJ Dr. Boogie. “Although it stems from the same artistic process as Volume One in the Dr. Boogie Presents series, this is not Volume Two of a series devoted to Bob Hite. The process WAS different in that here I focused on much more obscure tracks taken from the very small portion of what remains of the collection of 78rpms owned by the late and legendary Bob Hite. The collection of this boogie music ogre reached 20,000 78rpms in 1968. However, toward the end of his life, Hite was forced to sell chunks of his treasure to pay off debts, and the leftovers were literally pillaged after his death. Canned Heat’s drummer Fito de la Para managed to salvage a tiny slice of this collection. The first compilation album devoted to Bob Hite’s records focused on a handful of blues giants, including six titles from Elmore James’ repertoire. Here, since there will be no sequel, I decided to pack as much music as I could on 2 LPs vinyl (first one/Paw 1 has already been released and this is the second, Paw 2). I didn’t want to alter the dynamics of these fabulous 78rpms, so I opted for only a very light mastering, keeping the inevitable audio defects, artifacts and surface noise occasionally heard on the tracks that were more damaged. Bob “The Bear” Hite was a crucial part of the West Coast blues revival of the late ’60s. Along with fellow musicologist Alan “Blind Owl” Wilson, he helped formed the first incarnation of the legendary Canned Heat as a jug band. Their performances at the 1967 Monterey Pop Festival and the 1969 Woodstock Festival put them on the map as true bluesmen seeking to revitalize an art form. Hite toured nonstop with Canned Heat and performed as the group’s barrel-housing lead singer until his death of a heart attack on April 5, 1981. He helped revitalize the careers of John Lee Hooker, Sunnyland Slim and Albert Collins, and produced the now-legendary Hooker ‘N Heat double album in 1971. Hite is most remembered for his endless on-stage boogie jams. Enjoy this burning selection and most of all… don’t forget to boogie!” –Dr. Boogie
SR 329CD HOUSE OF LOW CULTURE: Poisoned Soil CD (SR 329CD) 15.50
Like many a musical endeavor before it, House of Low Culture began as an experiment. In this case, Aaron Turner was making guitar recordings in his bedroom in the Mission Hill neighborhood of Boston, Massachusetts. The then-ISIS vocalist/guitarist was, as always, looking to expand his musical horizons. “At the time I was enjoying my participation in ISIS and a couple other more band-oriented type settings, but also felt the need to stretch out a bit more without the judgments or limitations imposed by working with other people and also outside the confines of conventional songwriting,” he explains. And so, HOLC was built with the empirical process at its foundation. “It was about literal play with my instruments, about trying out any idea that came to mind and letting everything in as a possible influence, whether it was comic books or Penderecki or doing bong hits in my bedroom with a Roland digital 8-track.” Turner broadened HOLC’s sonic palette considerably over the course of the next several years, incorporating voices, keyboard textures and other non-guitar instrumentation. As of late, Faith Coloccia, Turner’s wife and bandmate in MAMIFFER, has become a regular contributor. Her presence can be heard and felt on Poisoned Soil, as can that of percussionist B.R.A.D (Asva, MMOB, Burning Witch, etc). The three lengthy compositions within conjure a wide variety of spatial effects and spectral imagery when experienced under headphones: distant rumblings, ominous premonitions and strange equilibrium disturbances, all underscored by the hiss of naked electrical current. The bleak sonic furnishings and deep chants of “Spoiled Fruits of the Kingdom” preside over windswept tundra where David Lynch and Loren Connors dream of permanent midnight. The cavernous vocal symphonies and nerve-rattling drum buildup of “The Ladder That Leads to Nowhere” decay into stereophonic gulls and mangled electronics. The blinking notes of a solitary guitar descend into the ether before “Inappropriate Body” immerses the listener in an uneasy kind of percussive mania. From there, a lugubrious torch light leads the way though chambers and caves ringing with the echoes of strange devotional chants and all the attendant speaking-in-tongues. There is static, and then silence.
SR 330LP ART ZOYD: Symphonie Pour Le Jour Où Brûleront Les Cités LP (SR 330LP) 15.50
LP version. Sub Rosa presents this cult album that has not been available in years. Re-released with new artwork and additional tracks. “In 1976, a self-released LP by Art Zoyd appeared in Belgian record stores. At the time, nobody knew Symphonie Pour Le Jour Où Brûleront Les Cités (trans. ‘Symphony For The Day Cities Will Burn’) would be the first of many albums from this strange chamber progressive rock outfit. All the ingredients of Art Zoyd’s sound for its first decade are here: unusual acoustic instrumentation for a rock band (violin, cello, piano and trumpet, plus guitar, bass, and percussion), dark and mysterious atmospheres recalling France’s Magma and foretelling Univers Zero (formed by Art Zoyd percussionist Daniel Denis), and complex pieces owing as much to contemporary classical as to progressive rock. The line-up for this first offering included Patricia Dallio (piano), Alain Eckert (guitar, vocals), Gérard Hourbette (violin), Jean-Pierre Soarez (trumpet, percussion), and Thierry Zaboïtzeff (bass, cello, vocals). The album is split into two parts. The first is Symphonie Pour Le Jour Où Brûleront Les Cités in three parts: an apocalyptic work opening with mad laughter, a vision of the end of the world with percussion clashing, frenetic violin motifs, and the trumpet from Judgment Day. Part one, ‘Brigades Spéciales,’ is the most striking moment of the album. Then comes Deux Images De La Cité Imbécile (trans. ‘Two Pictures Of The Stupid City’), two movements leaning more towards some warped chamber rock conception of the burlesque, especially on ‘Scènes De Carnaval.’ For a first exposition, Symphonie Pour Le Jour Où Brûleront Les Cités was as impressive as could be and earned the band an immediate cult following.” –John Bush.
TONE 045.4LP WINDEREN, JANA: Débris LP (TONE 045.4LP) 14.50
The fourth in the series of limited edition vinyl in the Tone 45 series. Artist statement from Norwegian sound recordist Jana Winderen: “I like the immateriality of a sound work and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans, there are invisible but audible soundscapes, about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognizable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions.”
VAMPI 140LP VA: La Onda Vampi 2LP (VAMPI 140LP) 25.50
Limited double LP version. Starting in 2002, Vampisoul is now established as one of the hippest and most respected reissue labels on the planet. New Orleans funk, Detroit R&B, boogaloo, Cuban jam sessions, exotic soundtracks, West African highlife, Latin soul, trippy tropical sounds, Peruvian groovers, Argentinian jazz, Nigerian Afrobeat — it’s all in their deep and expanding catalog. Based in the frenetic, beating heart of Madrid, Vampisoul is ideally situated to access the wild and wonderful music of Latin America, Europe, West Africa and the USA. Since 2002, they have built up a wealth of contacts across these continents. Such invaluable relationships have allowed them to release rare vintage sounds from the ’60s and ’70s that have consistently hit the target with the music-loving public, and they are also increasingly releasing new material and working with artists such as Joe Bataan, JC Brooks & The Uptown Sound, Garotas Suecas and Frente Cumbiero. La Onda Vampi is the latest in a series of popular Vampisoul samplers which includes previous titles In Search Of The Cool, Gettin’ Soulful, Movers and I Gotta New Dance. The label keeps travelling to familiar and new international destinations and their usual richness of sounds is broadened here by Iranian grooves, ’60s Czech mod R&B, flamenco rumba, psych library music from Italy, Colombian cumbia — the present and recent past of the label is represented on this fantastic selection. Today, Vampisoul is a flourishing independent label with a catalog that reveals an ocean of amazing sounds. Includes an exclusive, previously-unreleased track by Brazil’s Garotas Suecas.
MRSSS 025LP PATA NEGRA: Blues De La Frontera LP (MRSSS 025LP) 25.00
One could listen to this groundbreaking record today, almost 25 years after it invented those new languages, in a different manner. As Camarón himself put it, recognizing the talent of his apostles: “Pata Negra do what we all aspire to do, flamenco-rock.” Like cavemen in spaceships driven into the studio, late, by the success of Guitarras Callejeras, this record would be the last one recorded by the Amador brothers together. By then Raimundo and Rafael were taking part in the recording sessions separately, and a little later, during the filming of the movie Bajando Al Moro, they finally split for good. Ten years after the seminal Veneno album (the former project of the Amador brothers and Kiko Veneno), and with the road paved by Nuevos Medios’ Mario Pacheco they reached an agreement with producer Ricardo Pachón to release this album, but it wasn’t easy: there were no songs and the two brothers didn’t speak to each other; ideas weren’t coming along and the LP ended up being recorded in three different stages, more by chance than anything else. For example, at the last moment, they recorded something as filler, some scattered ideas joined up in a tanguillo style and with a chorus that is pure Eric Clapton; a mess in which roles change, as the drummer plays the bass, the guitarist programs a drum machine and Rafalillo handles the lead guitar. In the end, “Camarón” exceeded all expectations and became the strongest track on the LP. But the first thing they decided to record was the jazzy tour de force represented by the covers of “How High The Moon” and “Pasa La Vida,” indolent sevillanas by Romero Sanjuán, as well as the bulerías based on Lorca’s “Bodas De Sangre” with Riqueni on guitar and the mestizo track par excellence which would title the LP, bulerías played with a guitar pick that recreates the falsetas (flamenco guitar parts) of philosopher/guitarist Diego el del Gastor, who lived in Morón de la Frontera (hence the title). The second push came when, in the summer of 1987, they put together an efficient band: Antoñito Smash on drums, Jesús Arispont (later of Def Con Dos) on bass and Juanjo Pizarro on guitar. They also embellished four poems by Carlos Lencero, a frequent lyricist in Ricardo Pachón’s productions. In the end, more than 14 people collaborated on this, their fourth record, released in 1987. Liner notes in English and Spanish by expert Luis Clemente.
MRSSS 026LP VAINICA DOBLE: Taquicardia 2LP (MRSSS 026LP) 27.50
180 gram vinyl reissue of one of Vainica Doble’s strongest and most experimental albums. Folk, jazz, pop and traditional Spanish music create a beautifully haunting and captivating LP.”In 1984, the Spanish Movida movement was in full bloom and the people taking part in it professed the same devotion to Vainica Doble that British punk displayed towards teen idols such as Marc Bolan. But it would be hard to find a record from those years more impervious to the Movida than Taquicardia, the authors of which seemingly didn’t know about such admiration or didn’t care about it. Eternal dilettantes, it wasn’t strange that the career of Gloria van Aerssen (born in 1932 in Dos Hermanas, Seville) and Carmen Santonja (San Sebastian, 1934) moved forward, most of the time, due to the encouragement of a fan. But this ‘jump without safety net,’ as Mario Pacheco described it, only could have happened on a label as pathologically respectful towards its artists as Pacheco’s Nuevos Medios imprint, and at a vital point such as the one the duo were going through during the middle of the decade. It was his enthusiasm which took them out of their silence to record their sixth album and the end of a cycle, as their later recordings would finally be an epilogue of what culminated here magnificently. Elegant, classic, austere and, nevertheless, sounding at times like genuine avant-garde, Taquicardia is the reflection of a critical stage in the life of its authors. Disillusioned by the poor repercussion of their two previous albums for Guimbarda, the outstanding El Eslabón Perdido (1980) and El Tigre De Guadarrama (1981), Gloria and Carmen had found themselves at the peak of mature age and empty-handed. The duo delivers here their most personal, introspective and bitter work, which surprisingly becomes, as if by magic, a superb collection of calls to chaos, libertarian fables and exultant love songs. Passion becomes idolatry, gallant coplas (Spanish popular songs) are touched by grace, pieces of marital bitterness, all of which culminates in an anthem of incredible beauty such as ‘Sígueme,’ clean, stripped, overwhelming. Gloria declared being so ashamed of the track’s almost pastoral tone that she refused being credited for it. Of course, it’s her voice which will make the song remain forever. Stripped of the glitz they had displayed in the preceding years, it’s harder to find here the source of popular and academic music which could usually be heard in their music. But that clarity allows us, more than ever, to enjoy the boldness of many of their song structures and, of course, their vocal harmonies. These two pieces of vinyl contain their most refined work.” –César Sánchez aka Fulgencio Pimentel; Liner notes in English and Spanish by César Sánchez.
LR 321CD JOY DIVISION: Love Will Tear Us Apart CD (LR 321CD) 22.00
“CD version is the mini replica of the vinyl version, in slim plastic case with clear insert. Love Will Tear Us Apart should have been the band’s most shining moment, instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy. This special edition features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the ‘radio version’) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time). The remaining tracks include ‘These Days’ (which appeared on the original ‘Love Will Tear Us Apart’ single), along with ‘Transmission’ (their debut single released in 1979) and ‘Atmosphere’ (originally released as a France-only single) in 1980.”
VL 901288LP JOY DIVISION: Love Will Tear Us Apart LP (VL 901288LP) 23.00
“Love Will Tear Us Apart should have been the band’s most shining moment, instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy. This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the ‘radio version’) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time). The remaining tracks include ‘These Days’ (which appeared on the original ‘Love Will Tear Us Apart’ single), along with ‘Transmission’ (their debut single released in 1979) and ‘Atmosphere’ (originally released as a France-only single) in 1980. This special edition features clear vinyl in a (printed) PVC sleeve.”
new releases are also viewable at


Please enter your comment!
Please enter your name here