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SKILS, BART: Burnin’ 12″ (PURE 077EP) 12.00
Bart Skils’ releases for 100% Pure, Tronic, Remote Area, Cocoon and Rejected are internationally rated as some of the most cutting-edge dance tracks in recent years. Together with Anton Pieete he also forms the techno alliance District One. Thick bass vibrations provide the fuel for “Burnin’,” with its industrialized sound wallops and cleverly-cut vocal snatches. Remix by Nicole Moudaber.

100% SILK

PEAKING LIGHTS: 936 Remixes 12″ (SILK 014EP) 14.00
“Ponies from the SILK stable turn 936 dub-a-dub lullaby groovers into full-on synth-sex, acid-bubble, twinkle-starshine dance ditties on this remix redux. Beat it with the chic vocal pitch n’ bounce and metallic/mechanic swing of Ital’s take on ‘Marshmellow Yellow.’ Bring it on baroque with Xander Harris’ Sly and Dario giallo-reggae revision of ‘Birds of Paradise.’ Innergaze hi-five the minimal wave of ‘All The Sun That Shines,’ transforming the original into a syncopated psych-out dark-disco-dose FX fest. And Cuticle’s got the bleary bleep-bloop best of sweet serenade ‘Tiger Eyes’ with Casio keyed-up flourishes, hi-hat space jams, and damp ramp-up breakdowns. Even beater than the real thing; let the Domino fall for 936-gone-nightlife. ”


READ/23HZ & NUMAESTRO, GERRY: Roomland (Distal Remix)/Zumo (Sully Remix) 12″ (2NDRP 016EP) 15.00
“Sometimes you can’t keep a good remix down, and we certainly felt that with these two beastly versions by two very exciting producers of bass music. First up is an exciting producer 2nd Drop have been talking to for over a year now, Atlanta’s Distal has been making a lot of noise across the bass scene. Distal grabs the key elements and transforms them into an awesome juke workout. On the flip, we welcome back Sully, who first saw wax on 2nd Drop with the anthemic ‘Give Me Up’… Shifting syncopated beat patterns and moody El-B-esque swing.”

50 005LP

DAMAGE & DOC DANEEKA, BENJAMIN: They!Live 2LP (50 005LP) 20.00
2LP version. On their debut album They!Live, Benjamin Damage & Doc Daneeka present a versatile and deep journey through the territories of club-land, equally fitting for dancefloors and home-listening. This is a collection of Berlin-inspired, UK-influenced UK Funky, deep-house, tech-house, Detroit- and dub-techno, all recorded in Berlin between late August and early November 2011. You’ll find as much depth as you will find uplifting energy on here. There is as much darkness as light. Melodies and soundscapes go hand-in-hand with club-pleasing beats. On some tracks you will hear the lush voice of UK singer Abigail Wyles, who came to Berlin to record with the Swansea boys. For Benjamin Damage it all began with the raw, energy-fueled Maximum Carnage mix tapes with DJ Venom, mixing up bassline/niche rhythms with the emerging UK funky sound. Following this, was the insanely catchy “Deeper” for Doc Daneeka’s Ten Thousand Yen label, which was perhaps the true beginning of the deep rave sound. Following the success of “Deeper” came the brilliantly-diverse four-track solo EP Antidote. Featuring haunting melodies, intricate rhythms and vicious bass, the record was supported by the likes of Jackmaster, Sinden and Seb Chew and received radio play on Rinse FM and Radio 1. “Creeper,” the first collaboration with Doc Daneeka, moved the deep rave sound on further into the beautiful and unexplainable. Sent directly to Modeselektor on New Year’s Eve, it saw a huge San Francisco audience into 2011 that very night and was promptly signed the next day onto their 50 Weapons label. With the B-side “Infamous” complete, the duo was shipped out to a huge studio in central Berlin to write this magnificent album.


JOAAN: Nocturnality/Out Of Slang 12″ (7EVEN 021EP) 11.50
“Second release by Joaan on 7even Recordings after his acclaimed Splendor In The Grass/115 State debut on the label last year. Strong from his recent releases on Claude Von Stroke’s Dirtybird and Boys Noize’s BNR Trax imprints under his Maelstrom alias, the versatile French producer comes back in style with the house-infected number ‘Nocturnality’ and the halfstep ‘Out Of Slang’ cut.”


MOLLONO.BASS: My Hidden Playground Part 3 12″ (ACKER 022.3EP) 12.00
Third 12″ from Mollono.Bass with tracks off of his debut full-length My Hidden Playground (ACKER 002CD). The lively hustle and bustle on My Hidden Playground happens in many different ways: sometimes it’s the frisky bounce of hopping bass lines and stimulating house rhythms, sometimes it’s hypnotic sound structures that take the listener on an adventure.


Liimited 2nd pressing now available.. “This release features three tracks recorded in various locations in the Phoenix area in the mid 1980s. Two of these tracks have never been released.”


VA: African Scream Contest: Raw & Psychedelic Afro 2LP (AALP 063LP) 26.50
…Sounds From Benin & Togo ’70s. 2012 repress on vinyl. Double vinyl version, in deluxe gatefold sleeve and printed inner sleeves which replicate all of the liner notes from the CD version booklet. Same 14 tracks as the CD.


ORCHESTRE POLY-RYTHMO DE COTONOU: Volume One — The Vodoun Effect 2LP (AALP 064LP) 26.50
…Funk & Sato From Benin’s Obscure Labels 1972-1975. 2012 repress. Double vinyl version, in deluxe gatefold sleeve with printed inner sleeves. Following the highly-acclaimed African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo ’70s — which featured several tracks by Orchestre Poly-Rythmo de Cotonou, including the ground-breaking “Gbeti Madjro” — this new Analog Africa collection now focuses entirely on Orchestre Poly-Rythmo. Orchestre Poly-Rythmo de Cotonou is arguably West Africa’s best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, label-head Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from, he decided to split it into Volume 1 and 2. While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also “secretly” recorded with an array of smaller labels based around Cotonou, Benin’s largest city, and the capital city of Porto Novo. It is those tracks (all officially licensed) that are presented here on Volume One. The producers of those labels were genuine music enthusiasts, some of them ran these labels as a part-time occupation, with very limited budgets. They couldn’t afford high-quality recordings — all they had to work with was a Nagra (a Swiss made reel-to-reel recorder) and a sound engineer — courtesy of the national radio station. These sessions were recorded in private homes using just one or two microphones. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin’s modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the Vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with funk, soul, crazy organ sounds and psychedelic guitar riffs.


TUBE & BERGER: Envy 12″ (AREA 037EP) 12.00
Area Remote welcomes Tube & Berger with a Pirupa remix on the flip. “Envy” features bass growls, liquid slurps, cascading snippets and time-lapsed vocals for a dance monster that is sinfully bouncy.


FREEDARICH & STIGGSEN: Candide 12″ (AREAL 052EP) 12.00
Berlin act Freedarich & Stiggsen drop two infectiously melodic monsters. “Candide” is a popping track with shiny synth vacillations, and gently climbing, staccato melodies. “Lago” takes things even further down the tech-house tunnel — simple beats match clicks and melodic, chiming percolations for an understated, classy groove.


METOPE: Betaowl 12″ (AREAL 057EP) 12.00
Metope with a deep and playful but slightly weird piece of original house music.

AB 4189LP

Exact repro of 1978’s Secrets, the sixth album from the inspiring collaboration of Gil Scott-Heron and Brian Jackson. Songs about drugs (“Angel Dust”), the music industry (“Show Bizness”) and the rest of that voice-of-our-times America stuff (“Betters Days Aheads,” “A Prayer For Everybody/To Be Free”).

BEC 5161107

DJANGO DJANGO: Default 12″ (BEC 5161107) 12.50
Django Django present the first single from their self-titled debut album. The band’s story looks set to be a long and compelling one, going by early response to their debut record. By banging together their thirst for adventure and their exacting, high standards, they have produced an album that seems to have everything, but on which everything never seems too much. Remixes from Dan Carey, Tom Furse (The Horrors) and JD Twitch.


LP version. 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.

BD 187CD

WILEY: Evolve Or Be Extinct CD (BD 187CD) 15.50
“What is the true mark of the wayward genius of Wiley? Is it that, less than six months after the release of his last full album, 100% Publishing, he has another record all set for release? Is it that he has insisted that it is released on his birthday, Thursday January 19th 2012? Or that he initially refused to release a single from it? That he has made so much music that his fans will receive two CDs, the second with at least eight further tracks on it? Or even that one track on the album has no music (‘Customs’)? No, it’s not any of these. It’s that we can say, without fear of contradiction (or without much fear), that Evolve Or Be Extinct is the best album (so far!) of this unique artist’s career. Dark, funny, wild and exhilarating, this is a record which shows just what Wiley is capable of when he forgets the minutiae of recording contracts and concentrates on the many weird and wonderful facets of his life.”

BD 187LP

WILEY: Evolve Or Be Extinct 3LP (BD 187LP) 24.50
3LP version. Includes download code.


LEONHARD, LARS: 1549 CD (BINE 026CD) 17.00
This is Lars Leonhard’s full-length debut album 1549. Its name derives from U.S. Airways Flight 1549 which was ditched in the Hudson River after a bird strike about three minutes into the flight in January 2009. The overall theme runs like a common thread through the album, with Leonard mostly working with warm, deep pads and minimal sound effects. And as nature sets the agenda, hammering basses are obviously absent from this release.

BST 84415LP

GREEN, GRANT: The Final Comedown LP (BST 84415LP) 11.50
The soundtrack to this 1980 movie blaxploitation film about a Black Panther-ish radical group is credited to Grant Green, although the majority of the music is composed and conducted by Wade Marcus. The Blue Note label’s first soundtrack release.


JOYNES, C: Congo LP (WEAVIL 046LP) 23.50
LP version. Continuing further into the territories of domesticated English voudou sketched out by 2009’s Revenants, Prodigies & The Restless Dead (WEAVIL 039CD), UK guitarist C Joynes’ Congo is dominated by notions of landscape, imagination and personal ritual. However, while elements of introspection and intensity do appear, the mood is one of simple, uplifting joy. Warm, woody sounds and themes for a variety of donated, rescued and homemade instruments contrast with occasional stark arrangements, bursts of blossoming electricity, and passages of dense improvisation. Contributions from friends and colleagues generate momentum and interplay at key points, enabling these recordings to site the loner aesthetic within the traditions of social music for dancing and communion.


EVANA, ROSS: Deep In Thought EP 12″ (BNS 028EP) 12.00
Break New Soil welcomes promising newcomers — well, in fact two — as there are Ross Evana and his producer Alex Tepper With this four-tracker, Ross and Alex present a selection of pure DJ-food.


VA: New Black: Couper Decaler Électronique CD (BTT 117CD) 17.00
Couper Decaler is one of the most important contemporary forms of African pop music. It began around 2003 in a Paris diaspora. On the fringe of the French mainstream, a group of young Ivorians, known as the Jet Set, created an unprecedented hype that quickly led to fame and success as it ping-ponged between Paris and Abidjan. Their performances were flamboyant — turning up at the Ivorian clubs in the Paris suburbs with bundles of money that they would throw to the audience during the show. Musically, the shows revolved around sloppily thrown-together drum computer beats. The main beat, a fast, triplet rhythm on top of a 4/4 bass drum, is borrowed (though slightly altered) from the Congo. Refusing to be recognized as being in any way politically motivated, the lyrics concerned themselves with the singer’s fame and success and their assumedly glamorous life-style. There are some people who say that the party culture propagated by Couper Decaler helped prevent much worse bloodshed during the smoldering domestic political conflicts of the first half of the 2000s. The singers on this CD — Skelly, Gadouku La Star, Gotta Lalman and Shaggy Sharoof — represent different generations of Couper Decaler. In the last years, they, and others, have continued to develop theatrical stage performances and new dance styles, the so-called “concepts.” Couper Decaler has long been a defining musical and trendsetting influence for the Ivorian youth, even if the older generations complain about the artificial (read: electronic and not hand-played) character of the music. And then there are the obscene and licentious lyrics and stage performances. The tracks on this CD are the results of different collaborations, and the product of an exchange between Ivorian singers, producers and European musicians. The songs came into being between April 2010 and May 2011 at first in Abidjan, later in Berlin and Hamburg and during the Donau Festival in Krems, Austria. The Gintersdorfer/Klaßen Group, who have been researching dance, performance and theater phenomena from Côte d’Ivoire since 2005, had the initial idea for this experiment to bring Couper Decaler singers and producers together with musicians such as Melissa Logan (Chicks On Speed), Nadine Jessen, Ted Gaier, Jacques Palminger, Carsten “Erobique” Meyer, and later, Timor Litzenberger and Mense Reents. New Black documents the different phases and stages of these collaborations — from classic Decaler combined with European electronic music, to Couper Decaler beats enriched using European production methods and notions of sound, right up to dubstep-oriented beats with Couper Decaler vocals.

CT 110CD

HUDSON, JEFF & JANE: Flesh CD (CT 110CD) 13.00
“Dark Entries and Captured Tracks have teamed up to re-issue the debut album Flesh by Jeff & Jane Hudson expanded with singles and EP material. Jeff & Jane Hudson are a husband/wife duo from Boston who got their start in the art punk band The Rentals in 1977. The Rentals broke up in 1980 and Jeff & Jane relocated to Manhattan where they opened for Suicide and quickly signed with No Wave label Lust/Unlust. Their first single No Clubs was released in late 1980 and showcased a lo-fi avant garde all synthesizer band. The World Trade EP came next in 1981, expanding their brand of post-nuclear electronic pop. The duo reached their pinnacle with 1982’s seminal Flesh, perhaps one of the United States biggest achievements in the entire ‘synth’ movement of the era. The music was electro-pop employing early Roland synths and the TR-808 drum machine. Jeff’s lyrics flirted with technology and politics, while Jane wrote about cultural and psychological situations. Completely self produced by the band, the record has since been oft-cited as a groundbreaking and pivotal LP of the post-punk era, whose original copies are now heavily coveted by collectors. Completing the discography is the Special World 7″ released in 1983 before the band emigrated back to Boston and stopped recording and performing.”

CT 127CD

SHOULD: A Folding Sieve CD (CT 127CD) 13.00
“As the first contribution to Captured Tracks’ Shoegaze Archives series, Should offers A Folding Sieve. This classic take on the genre lends waves of euphoric dream pop sounds, similar to My Bloody Valentine. This album was originally released in 1995 under the name shiFt by the Austin-based record label N D. The CD release includes previously unreleased material.”

CT 128CD

DEARDARKHEAD: Oceanside: 1991- 1993 CD (CT 128CD) 13.00
“As the second contribution to Captured Tracks’ Shoegaze Archives series, deardarkhead offers their brilliant take on the genre with Oceanside: 1991- 1993. The New Jersey-based band was formed in 1988 with their name is taken from an anonymously written Irish poem of the 18th century ‘Cean Dubh Dilis’, about a beautiful girl with black hair. Their sound perfectly blends post-punk guitar experimentalism with a heavy atmospheric dreampop aura, similar to Pale Saints and Ride. This release is completely remastered.”


CAN, OZGUR: Washed Out 12″ (COLOUR 006EP) 12.00
A chuggy, discofied burner with a massive remix sporting an infectious, percussive groove and a driving lead. Özgür Can, Sweden’s undisputed champ of slow techno, steps up to serve up his first offering on the Stockholm-based imprint. A really hot package from the Colourful camp. Includes a remix and a drum tool from Orange Muse. On yellow vinyl.

CRS 8003LP

IMPRESSIONS, THE: The Young Mods’ Forgotten Story LP (CRS 8003LP) 12.00
Curis Mayfield’s last album with The Impressions, originally released in 1969. Includes classics “Choice Of Colors,” “Mighty, Mighty (Spade & Whitey),” “Seven Years” and the title track. Exact repro, manufactured by Rhino.


THEE HEADCOATS: The Kids Are All Square – This Is Hip! LP (DAMGOOD 380LP) 18.50
“A LP re-issue of arguably the best Thee Headcoats album. Originally issued in 1990 on Billy’s own Hangman Records label. 12 tracks including bona fide Headcoats classics ‘All My Feelings Denied,’ ‘Davey Crockett,’ & ‘Cowboys Are Square.'”


THEE HEADCOATS: Knights Of The Baskervilles LP (DAMGOOD 381LP) 18.50
“A LP only re-issue of a long deleted, previously US only Thee Headcoats album. Originally issued in 1996 on the Birdman Records label.”

DC 206CD

DAMON & NAOMI WITH GHOST: Damon & Naomi With Ghost CD (DC 206CD) 13.50
“Back from the abyss, Damon & Naomi with Ghost fills an empty space in the continuously flowering discography of Damon & Naomi. It was back in 1995 that Damon Krukowski and Naomi Yang first met Ghost. They felt an immediate kinship and soon plans were afoot to collaborate in some way– but it wasn’t until the year 2000 that they encountered Masaki Batoh and Michio Kurihara in the studio. The sonic trip they embarked upon was a revelation for all concerned. Alongside Kurihara’s singular guitar style, Batoh increased the peace in the mix, placing colorful and organic sounds within the dreamy conceptions of Damon & Naomi, mixing an ever-greater sense of deep space into the already massive songs. A shared sympathy for folk music informed the session as well. This in no way prefigured the back-to-folk movement of the coming decade, as the natural qualities of Damon & Naomi with Ghost exist out of time, today as then. It makes this record sound just as new today as it did old a decade or so back.”

DC 206LP

DAMON & NAOMI WITH GHOST: Damon & Naomi With Ghost LP + 7″ (DC 206LP) 19.00
“The LP version of Damon & Naomi with Ghost includes a 7″ single featuring a song included in the original Japanese CD release and a previously unreleased track, both of which appear here for the first time ever pressed on vinyl!”

DC 452LP

JEREBINE, DOUG: Is Jesse Harper LP (DC 452LP) 17.00
“Doug Jerebine Is Jesse Harper is an archival release sure to resonate with fans of Jimi Hendrix, 10 Years After, Randy Holden, Merrell Fankhauser and the HMS Bounty, Spirit and other heavy sounds not truly heard and felt since the days of Gary Yoder and Kak! The mystery of the Jesse Harper album, long rumored and gossiped about, is finally brought to light for all to hear and enjoy, with thrilling liner notes openly revealing the man behind the myth! Doug Jerebine is alive and well, recently resurfaced, gigging and recording again! Is Jesse Harper is the original artifact, set to excite underground psych rockers, uptight collector nerds, and geezer-dad gig-goers all around the world! Is Jesse Harper is a perfectly realized testament from that era, a record that bubbles psychedelically with shuffling beats and active bass, ultimately defined by a fuzzy haze of dripping guitar leads backdropped against strident and arpeggiated riffs, chords, and slabs of rhythm. Cohesively intertwined with spiritual perspectives and memorable choruses, Is Jesse Harper’s songs reach that universal plane so often sought after but rarely discovered on record.”

DC 504CD

BLACK BANANAS: Rad Times Xpress IV CD (DC 504CD) 13.50
“RTX are splitting into Black Bananas! The fruit is ripe and the bread will be fresh. After three albums under the name RTX, Jennifer Herrema and her bunch decided to flip the script and kick open the doors of perception a little bit. See, RTX was not Royal Trux, not a metal band, not a ’70s bar band and not a toxic substance; RTX was something, all of those things and none of them and way more, including Black Bananas bubbling in a witchy cauldron of their own herbaceous brew. The title of a song on their RaTX album detailed a bit of the recipe, taking elements often tossed aside or thrown all the way out and combining them into something new and worthwhile?a new strain of the almighty green–to feed and elevate the hungry ones.”

DC 504LP

BLACK BANANAS: Rad Times Xpress IV LP (DC 504LP) 17.00
LP version with printed innersleeve.

DC 507CD

VA: The Total Groovy 4CD BOX (DC 507CD) 31.00
“A little bit of history is a dangerous thing. How then would a present-day acolyte of punk rock’s strict regimen explain how Pete Shelly launched an avant-garde DIY label while riding high on the British charts and touring internationally back in 1979 and ’80? Loving the art of records and their wayward appeal, it was only natural for Shelley and Francis Cookson to conceive Groovy Records as a way to make some truly freaky (and decidedly un-punk rock) records, and do as much of the work of making the records themselves as they could. These releases represent some of the farthest-out sessions on the wild-to-begin-with late-70s Manchester scene. That three of these four albums were released in the space of one big year, 1980 the one real year of Groovy Records’ existence, is further testament to the swirl of passions in swiftly morphing times. Now for the first time ever, these four aural tomes are collected together for CD release with all original packaging included in miniature (plus an exclusive Shelley interview!) — so what are you waiting for? It’s been over thirty years’ now — you can finally get Groovy on digital.” 4CD BOX includes: Free Agents’ £3.33, Pete Shelley’s Sky Yen, Sally Smmit and Her Musicians’ Hanaghar and Strange Men in Sheds with Spanners.

DC 508EP

SIC ALPS: Vedley 7″ (DC 508EP) 5.50
“In answer to the unasked, ‘why one single when twenty-three would do so much more for this world,’ Sic Alps have made a 7″ record that pursues both options simultaneously, choosing quantity not over quality but instead declaring them equivalent, a musical answer not simply for short attention spans but for the meticulous, the fastidious, the obsessed and the tormented, all of whom have something to benefit from music of all kinds and all of whom will find their needs met at some point when they hear every bit of the scars-on-45 double-A rendition(s) called Vedley.”

EM 058CD

SURIZEHI, ABDULRAHMAN: Rakhshani Love Songs And Trance Music From Balochistan 2CD (EM 058CD) 37.00
“The music on this album is from both sides of the border separating Pakistan (East- Balochistan) and Iran (West- Balochistan), just south of the Afganistani (North- Balochistan) border. Featuring Abdul Rahman Surizehi, the album focuses on the Rakhsani music of northern Balochistan in the Rakhsani area — a border region including parts of Iran and Pakistan and southern Afghanistan. The album is presented as 2CD long books with plenty of room to present the traditions of a region that is split into three countries. With his great knowledge of the traditional music of Balochistan, we are presented here with a world premiere of two categories of Rakhshani music from northern Balochistan: Love songs and Trance Music. One CD contains love songs and the other contains trance music. Rakhshan is a large region in Balochistan, and Rakhshani is the name for one of the two main languages spoken here. The music often has an old-fashioned quality, improvised elements are minimalistic and the music is characterized by repetitive patterns. There are no exact borders, however Rakhshani is spoken in mid and Eastern Balochistan, while the other main dialect, Makorani, is more prevalent in the southern part of the region. Also typical for Rakhshani music is the string instrument called Tamburag. In the south this instrument is primarily used for accompaniment, while in the north it carries the melody. It should be mentioned that Rakhshani music of Balochistan has never previously been released.” Oversized, long-box packaging with booklets about each CD.

FF 176LP

GIANT SAND: Glum LP (FF 176LP) 31.00
“1994’s Glum was to be Giant Sand’s largest record and in order to make it so, Howe Gelb invited everyone along to the party. This carnival help create Giant Sand’s best record to date and Glum is now proudly re-issued by Fire Fidelity. Howe Gelb explains Glum’s story, ‘This was our best record for a long time. It had Malcolm Burn producing it with me and it was done up at Daniel Lanois’ studio in New Orleans. Since it was our first big budget session, I tried to get everyone who ever took part on a Giant Sand record to come to Dan’s mansion and stay and be on the record somewhere. This made the atmosphere in the house more entangled then it had to be, but seemed like the way it should be. For some reason I began singing like an old man on this record, or maybe was inspired too much from my new talking distortion pedal on my guitar.'” Includes download code.

FF 190LP

GIANT SAND: Black Out LP (FF 190LP) 31.00
“Fire Fidelity re-issues the rare and regarded Black Out recording from 1993. Forged from the embers of the recording session which was Purge & Slouch, and wholly acoustic, this collection of takes was originally released only in Germany. Black Out sits proudly amidst the Giant Sand re-issue project. ‘When we gathered for the grand experiment of Purge & Slouch, Howe Gelb recalls, ‘the idea of which was to record without having written anything prior for it. Some actual songs did pop out, perhaps for the sake of warm-up or while mics were being wired maybe just for the sake of vigorous deployment. Re-living some old songs there and then, we bundled ’em up after the fact for what would become Stromausfall instead. This was a limited batch release on a small German label that took my original title Black Out and translated it. The idea being that this is the sound that would happen during one… songs without electricity attached.’ Since then, most of that original pressing made in Germany has mysteriously self destructed so it is with pleasure we have the opportunity to release the album.” Includes download code.

FF 222LP

ESG: ESG LP (FF 222LP) 31.00
“When ESG’s debut EP hit the streets in 1981, no one suspected the profound impact these songs would have on the history of music, particularly ‘UFO’ (which soon became one of the most sampled songs in the history of hip hop) and ‘Moody’ (which was a huge hit on the downtown post-punk music scene), and the ripple effect of these songs have been felt ever since. After their label, 99 Records, folded in 1984, ESG maintained a low profile until making a comeback in 1991 with this self-titled LP. This release featured the two original smash hits from their 1981 debut, plus three cuts (‘A New Day’, ‘Standing In Line’ and ‘Crash’) from their obscure 1987 Bam Bam Jam EP, along with some previously unreleased material.” Includes download code.

GF 255CD

EVOL: Evol CD (GF 255CD) 13.00
“Our first release in digipak format, a newly-discovered, one of a kind acetate recording from an obscure West Virginia band. Recorded in 1970 and sounding remarkably like the Byrds, Buffalo Springfield and early Grass Roots, their effective blend of twelve-string guitar, haunting harpsichord, and beautiful harmonies definitely will have this band near or at the top of 2012’s most popular and best-selling reissues.”

GCD 922508CD

VELLARD/KEN ZUCKERMAN, DOMINIQUE: Indian Ragas & Medieval Song CD (GCD 922508CD) 21.00
Modal melodies from East to West, performed by Dominique Vellard, Ken Zuckerman, Anindo Chatterjee and Keyvan Chemirani. “This recording offers a rare opportunity to experience two different musical traditions in dialogue: the reconstructed musical culture of the European Middle Ages, and the ancient but still continuous tradition of North Indian classical music — two worlds that are indeed separated with respect to time and geography, and yet still linked by common characteristic features. The classical tradition of North Indian music is marked both by a strong adherence to its own origins and an openness to influences from other cultures. On the other hand, European art music of the Middle Ages, seemingly far removed and accessible only by means of written documents, has clearly recognizable roots in Eastern traditions. In their respective musical development, Dominique Vellard and Ken Zuckerman have each been strongly influenced by a variety of experiences with Eastern music traditions. The music on this CD was recorded as a live studio performance. For the Indian music performances, this spontaneity and improvised atmosphere is an extremely important ingredient to any rendering of the ragas and talas, but the improvised accompaniments of the monophonic songs definitely also benefitted from this unique ‘live’ quality.”

BB 093CD

VA: Beat Fräuleins: Female Pop In Germany 1964-1968 CD (BB 093CD) 17.00
Following two Funky Fräuleins compilations (2009 and 2011), the time has come for the Beat Fräuleins. Back we go, deep into the ’60s, when the beat forced its way into the innocent world of German schlager, when the rhythm grew hotter and the lyrics sharper, the drums louder and the guitar more distorted. Beat Fräuleins brings together 19 highlights of the era. Brigitt’s career began in the GDR, continued in the West in 1968 and ended at the age of 28. Her track features fantastic exotica and a brave arrangement using only percussion, bass and whistles. Motown’s luminaries can head to the back of the queue with Joy & The Hit Kids. This is soul in its finest form, with the greatest soul voice that Germany has ever produced. Marion Maerz was the ultimate Beat Fräulein and this track shot to number 6 on the charts. Dominique’s track addresses the topic of youth criminality. Anita Weibel’s track is a solid, Germanized version of Johnny Tillotson’s “Please Don’t Go Away.” Patty Pay’s track is a splendid little soap opera, penned by Ralph Siegel. Caterina Valente lands here in a feminist pose: promoting female autonomy and leaving the men no chance. Ingela Brander was an actress, a singer and a saxophonist. Inga Rumpf’s Sonny & Cher adaptation is an example of her extra-curricular solo activities in 1967. Conny Froboess sings a suitably unromantic song about being jilted. The track by Monique And The Lions was discovered in the CCA archives. It didn’t and doesn’t get any more garage than this in the Schlager world. The original: “Bus Stop” by The Hollies. James Last himself composed Dorthe’s jaunty number and Ruth Brandin was one of the most successful GDR vocalists of the 1960s until the Stasi wanted to enlist her. Ruth refused — effectively ending her career. Chris Doerk was another hugely popular singer from the GDR, best known as one-half of the duo Chris & Frank, here with a laid-back organ dance number. The Jacob Sisters cover The Supremes’ “Stop! In The Name Of Love” before Simone lets out a beat number and Pitty Und Ihre Beatchicks boost the merits of teenage love. Another James Last-penned track from Renate Kern is a real foot-stomper before Wencke Myhre contemplatively concludes this compilation, wallowing in a grand orchestral arrangement that is sure to melt any heart.


LOCKED GROOVE: Rooted 12″ (HFT 020EP) 11.50
“Hotflush presents the debut 12″ from Belgian newcomer Locked Groove aka Tim Van de Meutter. The young producer delivers three hypnotizing and genre bending tracks that expertly weave the sounds of Berghain, soulful house and UK garage into a single crushing package. The Rooted EP draws you in with the title track, bouncing along to an acid baseline, then moves onto ‘Drowning,’ a moody techno track that was included on Scuba’s DJ-Kicks mix compilation, filled with drum and ambient samples taken from field recordings. Lastly, ‘Change,’ a production that smartly melds classic house grooves with industrial techno, demonstrates Locked Groove’s rhythmic finesse and long-term promise as an artist.”


SPLASHGIRL: Pressure LP (HUBRO 3509LP) 22.00
LP version. Splashgirl is one of the most exciting young instrumental bands to come out of Norway in recent years. With Pressure, their third album and certainly their strongest to date, the band is taking yet another giant step forward. Here, the musicians are opening the doors to several new musical rooms — to the dark, dank cellar as well as to the attic — where all their forgotten memories are stored away. Splashgirl’s second album, Arbor (HUBRO 2500CD), was Hubro’s very first release in 2009. The group’s course of development from its 2007 debut, Doors. Keys derived inspiration from Paul Bley’s jazz piano recordings. The band’s foundation remains acoustic: Andreas Stensland Løwe, piano (Thelma & Clyde, Lama, Jæ), Jo Berger Myhre (Ingrid Olava, Solveig Slettahjell), double bass and Andreas Lønmo Knudsrød (Sacred Harp, Lama), drums. On this album there are some outstanding guest appearances by guitarist Juhani Silvola (Sacred Harp), vocalist Mari Kvien Brunvoll, tuba player Martin Taxt (Jæ, Hanne Hukkelberg), trombonist Erik Johannesen (Jaga Jazzist) and Lasse Passage with field recordings and tape feedback. The musical dynamics on Pressure have a broad scope, but as on Arbor, the members of the trio also work with some simple analog electronics. Modest and lyrical, the album ranges from gloomy prophecies of doom that flow onwards like hot tar to ethereal minimalism. The opening track, “Devata,” would have been perfect as film music for a Western based in the Antarctic. In any case, what is most striking this time is the enormous sense of concentration and the impressive focus on subtle details that are an integral part of Splashgirl’s music. The album was recorded by Alex Kloster-Jensen at Malabar Studio in Oslo, and was mixed by Randall Dunn (Earth, Sunn O))), Jesse Sykes) at Aleph Studios, Seattle.


PRESIDENT BONGO & DOP: Gossip Rats 12″ (IMS 012EP) 12.00
Icelandic President Bongo, founding member and front shouter of the legendary GusGus, meets up with French disco resistance dOP. The outcome: a psychopathic dub stomper where every relevant second of creative energy is put onto tape. A non-stop flow of music, poetry and love, with no beginning and no end. It’s like putting life to tape.

KK 065LP

J.R.PLANKTON: Neon LP (KK 065LP) 15.50
LP version. Karaoke Kalk introduces another exciting new artist to their roster. J.R.Plankton is a collaborative project by Jens Strüver and Robert Ohm. Strüver also manages the M=minimal label. His first collaboration with studio-nerd and multi-instrumentalist Robert Ohm was an hour-long radio-play/sound collage about the legendary composer Moondog, repeatedly broadcasted on German radio nationwide. Now, their own pure musical work Neon is nothing less than a tour de force. From the word go, the album sets an incredibly high standard. Opener “Musique Electronique” is, without a doubt, a nod to the founding fathers of German electronic music, Kraftwerk. The highly-charged electro style laid down on this opening track sets the pace for what follows over the remaining 37 minutes of the album. Clocking in at a massive 8 minutes, “City Jungle” is epic. Musically, the track switches down a gear though entering a more atmospheric world of ambient oscillations and arpeggiated synth sounds, while the tune moves towards a more driving, industrial feel towards the end. “Sundance” kicks in with a throbbing slap bass part, soon to be followed by wah-wahed guitars, all of which make for a surprise disco-funk track on this otherwise electro-oriented album. This is clearly a feel-good track and is sure to have any room jumping in seconds. The penultimate track “Nakamura” starts as another downbeat foray into ambient but again builds to reach a powerful, minimal crescendo. The track makes powerful use of textures to paint a sonic landscape which is a world unto itself. And this superb album draws to a close with “Regen” (trans. “Rain”), which is another masterpiece of arpeggio action. The tune teasingly implies that it might kick off at any moment, but the beat remains absent, creating instead a hypnotic tension. Neon has all the elements one might wish for from a modern electronic record. The experimental nature of some of the more protracted interludes should appeal to fans of Kraut and electronica: these moments are ideal for losing oneself in the trance-inducing intimacy of one’s headphones. At the same time, there’s plenty on the album to interest all you DJs out there who would do well to drop some of the more uptempo tracks on Neon. Debut albums don’t come any stronger than this.


PARTIAL ARTS: Trauermusik 12″ (KOM 149EP) 10.00
2008 release. Ewan Pearson and Al Usher’s “Trauermusik” could be heralded as the definitive emo-techno/house track of our time. Never melancholic, but sublimely sophisticated and deep, Partial Arts keep it slow and sexy throughout this massively produced, pop-bred ditty. Techno’s acid drill team Alter Ego turn it inside-out, reshaping a ragga-esque rhythm into a 4/4 bass line, then nodding their hats to the original with a sweep of glorious synths, making you scream for more.


VA: Pop Ambient 2012 CD (KOMP 096CD) 15.50
Pop Ambient 2012 begins in an unusually new but nevertheless somehow familiar fashion. Mohn with “Manifesto” is the opening act. A manifest of slowness. A slowness that Jörg Burger and Wolfgang Voigt have taken up as a new mission. Mohn is their new ambient-grunge-downbeat project, scheduled to depart on its official musical journey to Middle Earth early 2012. What follows is equally surprising: the old Kompakt swashbuckler Superpitcher is taking part for the very first time. His piece “Jackson” is borne by a slightly uncanny, spherical voice floating above a jazzy pop accord coolness and faintly ’70s sequencer aesthetics. It is followed by a familiar face from past times who is making an anonymous return on Kompakt under his new pseudonym Morek. “Pan” is a textbook example of a classical piece of pop ambient music. Timeless elegance. Magazine, the “Krauty” electronic guerrilla from Cologne-Deutz, has tailored the piece “The Visitors Bureau” we all know from Magazine 4 into a measure-made ambient frock. Then comes Jörg “Triola” Burger with a solo appearance. His multi-faceted, intricately-woven Arabian Nights-style sounds, with effectively placed harmonic shifts reminiscent of Pink Floyd in the best of their phases, indicate why the piece “Richmodis” was named after an old Cologne saga. Enter the Pope of Ambient: Wolfgang Voigt masterfully continues his impressive creative ambient frenzy in “Rückverzauberung 5,” not by stagnating on the usual planes but by further developing his new concept into a novel direction of abstract jazz. Bvdub is taking part for the third time, leaving nothing to be desired with his sensitive musical signature. Likewise, Marsen Jules constantly refines his bizarre, flickering sound constructions and even adds percussion drums that are atypical for ambient. Simon Scott is a newcomer to Pop Ambient but certainly no unknown face. The Englishman already impressed the scene a while ago on the Miasmah label. His contribution “For Martha” is a particularly good piece of classical pop ambient music. A relaxing final appearance is provided by a good friend of the house: Axel “The Field” Willner alias Loops Of Your Heart charms us with a light-footed, pleasantly-filled guitar loop tempting us to press the Start button at the end of the CD/record.


BJORK, HARALD: Kranglan EP 12″ (KLN 001EP) 12.50
The Kranglan EP by Harald Björk is the first record to be released on Kranglan Broadcast. The record holds three productions of pure naïve emotions that together summarize memories of childhood surroundings and its environmental changes. The record is manufactured in a production of 500 and comes with a full-color LP-sleeve. The artwork is made by the German illustrator Kheira Linder. The artwork is based on an idea by Harald Björk and pictures of the Nacka nature reserve taken by photographer Jesper Tengwall.


VA: Tucson Songs: Exciting New Sounds From Southern Arizona CD (LPM 032CD) 15.50
Tucson Songs: Exciting New Sounds From Southern Arizona is a stunning portrait of a musically sizzling city. In between mambo, country & western and Americana, a new desert sound is blossoming in Arizona. Tucson Songs contains 18 songs, 90% are previously-unreleased. Including two exclusive tracks by Giant Sand and Calexico. Ask most music fans which cities come to mind and most will state the obvious — Detroit, Nashville, Seattle, Austin, Philadelphia, Portland. But, tucked into the southwest desert is one that deserves a place on that list — Tucson. This “smallest big city in the USA” has always been home to a steady music scene, but in recent years, has become a vibrant Mecca for musicians. With the ever-shining sun and cheap rent for generous spaces, Tucson is the perfect place for musicians to stretch their legs and delve into their craft. For the past decade or so, bands like Giant Sand and Calexico have been delivering up quintessential sounds of the desert. But any connoisseur of the late ’80s will remember bands that paved the way for that sound, bands such as Green On Red, Chris Cacavas and Al Perry and The Cattle. However, a closely-guarded secret that is about to be cracked wide open is the latest generation of highly-talented musicians that are launching their own flagships of sounds from Arizona. A combination of Tucson’s extremely relaxed atmosphere with the prickly landscape dominated by unforgiving cacti makes for new good sounds, rhythms and songs. Along the way, this new crop of bands has had a helping hand from their pioneering forefathers — Calexico is to Sergio Mendoza Y La Orkesta as Giant Sand’s Howe Gelb is to Brian Lopez. However, none of this hot-bed of talent would have come to our attention had it not been for Tucson’s French-born chanteuse Marianne Dissard. She wisely plucked up many of these budding musicians to bring along with her on her European tours. And now, they appear on this compilation with their own offerings, including Andrew Collberg, Brian Lopez, Gabriel Sullivan and Sergio Mendoza. Her ex-husband, Naim Amor and fellow musicians like Amy Rude, Silver Thread Trio and Courtney Marie Andrews are also all at the core of a familiar scene that inspires the good kind of sounds. Researching the rich local music scene ended up in Le Pop putting together a sampler-concept compilation album entitled Tucson Songs… and on the treasure hunt, Le Pop got a lot of help navigating the scene from Joey Burns (Calexico) and über-knowledgeable local radio host Dr. Dan Twelker. Tucson Songs… is a portrait of a musical city like no other — a melting pot and creative oasis in the desert. Other artists include: Taraf de Tucson, Françoiz Breut, Otherly Love, Boffomet, Golden Boots and Bread And Circus.


TIGER STRIPES/ED DAVENPORT: Hooked/Eyespeak 12″ (LDLTD 005EP) 12.50
Here’s the 5th round of Liebe*Detail’s hand-picked re-release series. This time, the label combined two very special tracks from outstanding artists Tiger Stripes and Ed Davenport together on a strictly-limited 12″. Both tracks haven’t been available for more than 3 years on vinyl.

LR 332LP

AUDIENCE: Audience LP+CD (LR 332LP) 28.00
“London art rock band that rose from the ashes of mid-sixties mod band Lloyd Alexander Real Estate. Adding sax, acoustic guitar and woodwinds to the mix, Audience soon became very popular on the club circuit, landing a residency at Ronnie Scott’s and a record deal with Polydor. Their 1969 self-titled debut was a solid effort, but nonetheless was soon deleted, making original copies of this LP highly collectible. Featuring new ‘positive image’ cover photo plus 3 bonus tracks, including the theme from their soundtrack to the 1970 skinhead classic Bronco Bullfrog.” On 180 gram vinyl.

SCP 52747LP

WORLD: Opus 1 LP (SCP 52747LP) 21.00
“Recently discovered 1972 Latin teen soul-funk-rock private press mega-rarity from rural New Mexico. Pressed in very small numbers, this previously unknown gem is a very accomplished mix of smooth gliding soul and up-tempo funk, complete with swirling Hammond organ and mellow harmonies to go with the fuzz and funk guitars. At the album’s core, however, beats the heart of an adolescent small town garage rock combo. This six piece teen group, led by Rick Chavez and the smooth vocals of Ray Williams, features nine very catchy original tunes to go along with their very own funky version of the classic, ‘Bo Diddley.’ The great music on this authorized reissue has all been restored and re-mastered and is now offered as a very limited vinyl pressing for the first time. We have also restored the original hand-drawn outsider psychedelic cover art. With less than a handful of original copies known to exist at this time, this is a great new find and an absolute ‘must have’ for the collector of rare soul-funk-garage vinyl.”


CROWDPLEASER & ST-PLOMB: 2006 Remixes III 12″ (MGLTD 019EP) 10.00
2008 release. This is the third remix EP from the Crowdpleaser & St-Plomb album 2006 on Mental Groove. This time it’s “Last,” remixed by producer Elin (aka Autorepeat) and Crowdpleaser’s own “Indian Summer” edit of “New Times Roman,’ doing it deeper. Greatly mastered by Thomas Brinkmann.


LILACS & CHAMPAGNE: Lilacs & Champagne LP (MEX 106LP) 16.50
“As the producing-team behind Grails, Alex Hall and Emil Amos have hybridized and warped various cultures’ versions of psych music over the past decade. With their new project Lilacs & Champagne, they’ve created another umbrella under which to tweak hip-hop, tape-collage and the darkest creases of ’70s film-soundtracks with their lysergic and perverse style of head-music. The project’s name and imagery evoke a strange thrift-store mystery LP you might come across, unsure if you’ve discovered an exotic dub record, a flowery Bacharach AM radio classic or something by an obscure duo of Swedish avant-techno producers. The record began under the influence of Madlib’s production style, which had suggested that writing songs using an Akai MPC sampler would force the two to stretch their legs and explode any expectations created by records they’ve made in the past. But rather than sampling the funk and soul canon of traditional hip hop, they pulled from disparate sources such as Polish private press hippie records, indistinguishable radio noise or the chopped and reversed sounds of Jayne Mansfield’s head being decapitated. Layers of instruments and found sound were then painted over the original samples until entirely new directions were created and taken to their logical conclusion, creating something simultaneously alien and familiar, something like the sound of Nurse with Wound collaborating with J-Dilla. Release date 1/31. First pressing of 1000. Vinyl includes digital download.”


STOTT, ANDY: Passed Me By/We Stay Together 2CD (LOVE 070CD) 22.00
Repressed. Two acclaimed albums from Andy Stott available for the first time on CD format, including four bonus tracks. Produced slowly and meticulously, these two EPs were originally released on vinyl during 2011 and have become the most widely-admired productions yet from Manchester-based Andy Stott. Taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the Linn Drum classics of the vintage Prince-era — these tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. 2CD edition packaged in a deluxe oversized gatefold digifile. Mastered at Dubplates & Mastering, Berlin.


DEMDIKE STARE: Elemental Part 3: Rose 12″ (LOVE 075EP) 18.00
Part three in this 4-part set. This 12″ slots into the Elemental quad-gatefold which came with parts 1 & 2 (LOVE 073_074LP). The 2CD album Elemental features a different tracklisting with alternate versions of some of these vinyl tracks plus extra content. Mastered and cut by Lupo at Dubplates & Mastering, pressed on colored vinyl and limited to 1,000 copies for the world. Featuring specially-commissioned artwork by Andy Votel.

MK 106LP

REINHARDT, DJANGO: Rhythm Futur LP (MK 106LP) 22.00
“These recordings chronicle a time when Paris was the centre of the world–and the legendary night clubs of Montmarte, Pigalle and along the Champs- Elysees were filled with jazz bands–but with the onset of WWII, all this changed and gypsies like Django Reinhardt were systematically being rounded up and sent to the death camps. During this time Reinhardt found himself literally having to play and record in order to stay alive. As long as he was a star, he was safe. Amazingly, Reinhardt still managed to compose and record some of his best material during this dark era. Recorded in Paris between 1937 and 1940.”

MK 107LP

REINHARDT, DJANGO: Swing De Paris LP (MK 107LP) 22.00
Recorded in Paris in 1940. Tracks include Cole Porter’s “Begin The Beguine,” Edvard Grieg’s “Fantasie Sur Une Danse Norvegienne,” Fritz Kreisler’s “Liebesfreud,” Walter Donaldson’s “Little White Lies,” Hubert Rostaing’s “Festival Swing” and more.


ATTIAS, ALEX: Unreleased Dubz 12″ (MULE 047EP) 12.00
2008 release. First release by Alex Attias on Mule. The title track “Brazilika” was already featured on Mule Electronic’s second compilation, My Favorite Things, and “Timemachine” is simply for dancefloors — lots of percussion and hypnotic synth with minimal beats.


BENEDIKT FREY: Fairytale 12″ (MULE 086EP) 15.50
Mule Electronic presents the fantastic new artist Benedikt Frey. The title track features super-deep Detroit house sounds with smoky male vocals. Should be especially fascinating for fans of Theo Parrish or Moodymann or even DJ Koze. All the other tracks are also high quality stuff. Featuring contributions from Chris Cox and Simon Mager.

MM 157EP

DETTMANN, MARCEL: Landscape 12″ (MM 157EP) 12.00
If you didn’t just get back from a few months at the International Space Station, then you know that Music Man released Conducted (MM 036CD), Marcel Dettmann’s mix CD. Attentive listeners noticed that Marcel didn’t include any of his own tracks on this compilation, but the label has some good news for his fans: Marcel made an exclusive track for Music Man. “Landscape” is nothing but a wonderful trip, as you will hear. On remix duties is Answer Code Request.

MM 158EP

DUNDOV & GREGOR TRESHER, PETAR: Duo Tone EP 10″ (MM 158EP) 12.00
After hearing this release, one could ask themselves why Petar Dundov and Gregor Tresher never collaborated before?! Their sound seems to fit amazingly well together. With their debut for Music Man — and Gregor’s debut on Music Man altogether — they deliver two blinding, melodic techno tracks that will definitely appeal to fans of both artists. Comes as a marbled, colored 10″ vinyl.


NITIN: Latenightlife Remixed 12″ (MFR 045EP) 12.00
When it was released early in 2011, Nitin’s Latenightlife EP instantly became one of the biggest singles to date. Its mix of deep, dubby house and otherworldly electronica saw rave reviews across Europe’s press and had DJs lining up to play cuts from it. This brand new package includes re-edits and remixes from Nitin (featuring Sexteto Tabala), Anthony Collins, Subb-an and Brett Johnson. This is a truly heavyweight package from a label who are undoubtedly serious contenders.


COMMODO: Dokument/Eastern Bloc 12″ (ORG 003EP) 12.50
“Origin Audio announces its highly anticipated third release from up and coming producer Commodo. Both tracks have received support from the likes of Youngsta, Distance, Cyrus, Darkside and Tunnidge. Expect heavy weight sub and tight percussion as Commodo demonstrates just why he is such hot property right now. With this release Origin Audio continues to grow its reputation as one of the most credible and exciting labels in dubstep.”


ANGEL, DAVE: Frame By Frame CD (PIC 005CD) 17.00
Fountain Music sister label Plaza In Crowd presents the worldwide release of an album from the legendary British techno producer Dave Angel. Angel has remixed artists such as Eurythmics which charted at #23 on the UK charts. When drum n’ bass first appeared on the scene, he was one of the top techno DJs in the world alongside genre originator Grooverider — renowned for his jazz style and soul tastes. In recent years, he has released on labels such as K7, 4th & Broadway and Jericho and has also collaborated with George Clinton. This is Dave Angel’s first album after a long silence and includes a collaborative track with mid-’90s R&S label-mate Ken Ishii, which has already been plugged by taste-makers such as Derrick May and Laurent Garnier. The sound of this album captures Dave Angel’s innovative groove mixed with a minimal and tech house boom and an original Detroit techno essence. This veteran producer presents the perfect deep techno album with an intoxicating, high-tension groove. Remixes of this album are slotted to be from valuable top producers such as Shin Nishimura, Satoshi Fumi, Jamie Anderson and Marco Bailey.

REP 2120EP

FIRE! WITH JIM O’ROURKE: Released! 10″ (REP 2120EP) 25.00
Fire! are developing at a rapid speed and their exhilarating gig at Oslo Jazz Festival in August 2011 simply left the audience gobsmacked. This 10″ EP however, contains more music from their fruitful collaboration with Jim O’Rourke in Tokyo in September 2010, some of which was released earlier in 2011 as Unreleased?. Here are two workouts showing the wide musical spectrum they cover. Vinyl-only release in a numbered, limited edition of only 500 copies.

REP 2121EP

LAST HURRAH!!, THE: The Great Gig In Disguise 10″ (REP 2121EP) 19.50
MOJO invited The Last Hurrah!! to cover a track from Pink Floyd’s The Dark Side Of The Moon for their September 2011 issue. Their sublime take on the most iconic and uncoverable of Floyd tracks, “The Great Gig In The Sky,” had readers and journalists singing. Here it is, in all its glory, together with their interpretation of another classic, Sandy Denny’s “Who Knows Where The Time Goes” and two smashing new originals penned by Hurrah mainman HP Gundersen. Vinyl-only release in a numbered, limited edition of only 500 copies.

RLP 2118LP

ELEPHANT9: Live At The BBC LP (RLP 2118LP) 25.00
At the same time as their triumphant and memorable concert with Motorpsycho in London in November 2010, Elephant9 popped into BBC for a live session for their “Jazz On 3” program. Widely considered to be one of Norway’s best live bands, this album also shows the high degree of musicianship in this trio, all tracks being first-takes and without any editing whatsoever. Elephant9 is Ståle Storløkken (Supersilent, Humcrush) on Hammond organ and Fender Rhodes, Nikolai Eilertsen (Big Bang) on bass and Torstein Lofthus (Shining) on drums.

RLP 2119LP

Classic double live album from this free-spirited international trio, this time expanded with American sax player Mars Williams. Recorded live at Oslo’s Café Mono and at the Nattjazz festival in Bergen, both in May 2011, this fully shows why new drummer Frank Rosaly can be considered the perfect partner to founders Raoul Björkenheim (guitar) and Ingebrigt Håker Flaten (bass), not to mention Williams, who fit in perfectly with only a minimum of rehearsals before these concerts. The interplay is simply stunning and the sound is of studio quality. Vinyl-only release, housed in a gatefold sleeve and limited to 500 numbered copies.

RH 037EP

DEGIORGIO, KIRK: Divine Logic 12″ (RH 037EP) 12.50
The legendary UK techno producer Kirk Degiorgio is known as a purveyor of techno soul in its finest form. He was at the root of the UK techno movement in the early ’90s, soon after the Detroit sound went global. With “Divine Logic” he keeps true to his own tradition by delivering a timeless piece of techno music — a string-laden track that evolves around an arpeggiated synth line. A classy joint that shows that the heritage of Detroit techno still lives on.


SIMS, ZOOT: The Art Of Jazz LP (CELP 4520LP) 11.50
Tenor saxophonist Zoot Sims with Bob Brookmeyer (trombone), Milt Hinton (bass), Gus Johnson (drums) and John Williams (piano). Sims was a “gutsy blower” who played with everybody.

STS 21912EP

TERJE, TODD: It’s The Arps EP 12″ (STS 21912EP) 11.00
Smalltown Supersound split release with Terje’s Olsen Records. “His debut EP is a badly-punned tribute to the Monty Python’s It’s The Arts. It’s an experimental EP entirely based on the multi-faceted abilities of the ARP2600, one of the finest analogue synthesisers ever built. Endearing Monty Python punning? Check. Top synth-nerd action? Check. Illustrator and Norwegian superstar Bendik Kaltenborn did the amazing artwork. It’s a thing of beauty.”


MEGAFORTRESS: Megafortress 12″ (SFT 006EP) 15.00
“Megafortress is New York musician Bill Gillim. The project was conceived as a series of fictional field recordings, and has transformed into a collection of gorgeous vocal meditations. His debut self-titled release for Software Recording Co., Megafortress is a lucid and open effort combining homebrewed and studio recording elements into a dynamic cloud cover, using only sparsely layered and processed voice, sampled bells, and touches of synthesizer. At times, it feels like Gillim is concocting a new strain of (secular) devotional music; a contemplative, nascent music. Bill’s obfuscated lyrics hint at a resonant, universal sphere where identity is formed but never hardens. Considering how simple and unadorned Gillim’s setup is, the envisage is a testament to how powerful this music is. Megafortress begins with ‘My Favorite Girl,’ on which Gillim’s veiled falsetto is propelled forward through a hall of delays, accented by simple but completely unpredictable moments of synth vamp, while ‘Green Child’ is the definitive exit music for the vocal segment of the EP, a contemporary dirge that wouldn’t feel out of place if installed at the emotional/architectural nodes of Fallingwater, year 2012.” Numbered edition of 500 copies; includes download code.


NAPOLIAN: Rejoice 12″ (SFT 009EP) 15.00
“Software Recording Co. is proud to introduce Napolian, 19-year-old producer and chief visionary behind LA-based production crew Renaissance Music Group. His debut release, Rejoice, is stately, direct, and stylistically interwoven. Rejoice runs the gamut of computer funk, ambient, and trance, but always retains a hard, synthetic R&B core. The same way Napoleon III urged porcelain designers to reflect the historic images of the day as opposed to generic landscapes and classical nudes, our Napolian’s commanding dionysia of electronic music histories are dream-coated in digital resins and fabricated in the manner of a visionary metal worker. What’s immediately evident in Napolian’s craft are the anthemic leads that tear across the conductor rod of 21st century hardware-based production. Napolian’s cyclonic smack of disparate yet logical influences sets him apart from the contemporary sidechain scene. The Harold Faltermeyer/Dr. Dre continuum on Rejoice’s ‘False Memories’ or the wormhole connecting Marcus Miller to Alice DeeJay on ‘Rejoice’ represent a couple of the Napolian’s unprecedented stargates. The songs of Rejoice aren’t fleeting screen grabs, rather riffs hard-ripped by hand on time-tested, Ikutaro Kakehashi-approved gear. It made us cry and it shook our skulls.” Numbered limited edition of 500; includes download code.

SG 1151EP

G-MAN AND ROB STROBE: Acrophobia EP 12″ (SG 1151EP) 12.50
Sonic Groove presents the legendary G-Man aka Gez Varley along with Robert Hauck aka Rob Strobe. Gez is also known for being the founding member of one of techno music’s all-time most famous acts, LFO. Now after a few years’ hiatus of releasing new material, G-Man returns with Rob Strobe to bring forth a three-track dancefloor burner of chord-driven, pumping techno. Acrophobia is of the purist Sheffield/Detroit techno kind, mixing classic styles with contemporary.

SG 3005LP

RAW MATERIAL: Raw Material LP (SG 3005LP) 22.00
180 gram vinyl version. This London-based quintet’s ambitious and highly entertaining debut touches on psychedelia, progressive rock, jazz and pop, with imaginative arrangements and superb musicianship. Issued on the tiny Evolution label in the autumn of 1970, it sank without trace, with original copies now changing hands for several hundred pounds.


BENGA: Diary of an Afro Warrior 3LP (TEMPA 010LP) 23.00
2012 Repress on vinyl: triple LP version. Substantially different track listing on the vinyl version, with 5 tracks not found on the CD. 9 tracks in total.


SKREAM: Anticipate (feat. Sam Frank) 12″ (TEMPA 063EP) 11.00
Skream releases a brand-new single on Tempa. Anticipate features guest vocalist Sam Frank and as always, his trademark sub-bass lines weaving throughout. This 12″ also comes complete with an on-point remix from Netsky and is the first in a series of heavyweight singles from Skream set to make an impact in 2012 and solidify his reputation as the seminal breakout producer of our generation.


TANGA & THE SELENITES, BIBI: Be Africa Remixes 12″ (THRONE 008EP) 12.00
Paris’ Bibi Tanga & The Selenites is led by Bibi Tanga and Professeur Inlassable. Their album, Dunya, sounds a bit like Fela Kuti, Chic and Sidney Bechet getting together to jam at a disco on the Left Bank of the Seine. For this special, ultra-limited release, Throne of Blood presents two mind-blowing remixes of “Be Africa.” Populette transforms it into a deep and funky Afro-house workout tough enough for peak-time dancefloors. Tim Goldsworthy delivers a mix with an epic breakdown.


CALLAHAN, EDDIE: False Ego CD (TLR 056CD) 14.00
“CD version. Packaging in an exact reproduction heavy mini-LP style cover, with Japanese woven inner sleeves, and a double-sided insert with a bunch of great vintage photos of Eddie rockin’ the Marshall stacks at the False Ego sessions, and new notes from Eddie, his wife Donna-Davi, and album producer Robert Berry. Edition of 500 copies.”


CALLAHAN, EDDIE: False Ego LP (TLR 056LP) 31.00
“First ever reissue, deluxe and legit, of this quite rare 1976 southern California private press gem. It’s a strange, fantastical, and totally distinct album that will have you sucked in almost instantly. This one is extremely hard to pin down – think something like a loner powerpop rock opus, heavy on the psychedelic production values, studio dreamer vibes, and timeless hooks. The songs are unusual but infectious, the production is breezy and expansive but not polished, and the vocals are constantly morphing yet always effective. In fact, the hazy chameleon-like personality here might be one of the best things going for the album, as not only does Eddie seem to be channelling a handful of different vocalists, but the whole mood and sound shifts around unexpectedly as well. Even the potential low points somehow work, and there are surprises around every turn. The often questioning, self-reflective lyrics add yet another layer of mystique to the trip. Musically the mellowest points hover around gorgeous, airy, rural-tinged, floating psychedelia with beautifully layered acoustic & electric guitars, tinkling keys, and lush mellotron. When things pick up they’re truly rocking, with tight punchy rhythms and Eddie firing off big chunky guitar riffs like he’s playing to the packed stadium behind his third eye. All the studio tricks at hand are put to full use with sweet Leslie guitar effects, special tones, backwards solos, elaborate multi-tracked sound fields, and some of the most wonderfully bent synthesizer soloing ever laid to tape. The perfectly strange and beautiful cover art seals the deal. False Egos is mastered from the artist’s well preserved and great sounding master tapes. Pressed on highest quality 180gm virgin vinyl, and packaging in an exact reproduction heavy old-style cover, with exact repro labels. One time pressing of 700 copies. Includes a double-sided insert with a bunch of great vintage photos of Eddie rockin’ the Marshall stacks at the False Ego sessions, and new notes from Eddie, his wife Donna-Davi, and album producer Robert Berry. ”

TO 083CD

AMBARCHI, OREN: Audience Of One CD (TO 083CD) 14.50
On Audience Of One, Oren Ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. His previous solo albums for Touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. Audience Of One, while also existing in clear continuity with these recordings, opens the next chapter. Remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating Ambarchi’s musical personality in its full range and singularity. The techniques and strategies developed in his refined improvisational work with Keith Rowe and his explorations of the outer limits of rock with Sunn O))) and Keiji Haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. And on the cover of Ace Frehley’s “Fractured Mirror” which closes the record, Ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patters of the original into a rich field of phase patters reminiscent of the classic American minimalism of Reich and Riley. The album features a multitude of collaborators, who, far from appearing in incidental roles, are integral to the pieces on which they perform: on “Salt,” Ambarchi paints a hypnotic, chiming backdrop for Paul Duncan’s (Warm Ghost) vocals, and Joe Talia’s virtuoso drumming and driving cymbals are at the core of the epic “Knots,” in which Ambarchi, alongside a chamber arrangement by Eyvind Kang, weaves a net of frequencies and textures with the organic push and pull of a ’70s psych jam, the bass response of a doom metal ritual and the psycho-acoustic precision of an Alvin Lucier composition. On his previous records, Ambarchi’s signature guitar tone was the ever-present bedrock over which other elements sounded. At moments on Audience Of One, this disappears entirely, as on the beautiful “Passage,” which, recalling the ’70s Italian non-academic minimalism of Roberto Cacciapaglia and Giusto Pio, is composed of overlapping tones from Hammond organ and wine glasses, Jessika Kenney’s voice, various acoustic instruments, and the delicate amplified textures of Canadian sound-artist Crys Cole. Rather than being provided by any particular sound, the unified feel of Audience Of One stems simply from the unique, patient sensibility Ambarchi has developed over the last 20 years; abstracting musical forms into their barest forms, while somehow always managing to leave their emotive power intact.


KENO, DAVID: Bambi EP 12″ (TRAPEZ LTD095) 12.00
David Keno delivers a fine selection of four bouncy house cuts that are elegant, bloomy, sunny and uplifting. “Watermelons” is a very poppy track that defines itself through the vocals much more than with the other tracks. “Towards You” is a slacker — gentle and floating, leaving a stain of romance. “Catnip” features walking bass lines — their acoustic quality and small digits of melody often meeting Detroit-sounding chords, making this a true Berlin product.


RAUCHERECKE: Papierfabrik EP 12″ (TREIB 097EP) 12.50
Treibstoff welcomes the Cologne-based duo of Sebastian Habben and Joschka Tschirley aka Raucherecke. Moving away from their minimal approach to techno, the boys now display their affection for dancefloor-driven music with this EP. “Der Tropfende Kessel” flows with deep emotion, augmented by a spine-tingling melody. “Drei Töpfe” presents clear drum sequencing and droning synths.


The Trost label presents a live recording from the trio Sonore, featuring Peter Brötzmann (tenor and alto sax, clarinet and taragato), Ken Vandermark (tenor sax and clarinet) and Mats Gustafsson (baritone sax). All compositions by Brötzmann, Vandermark and Gustafsson. Recorded at Café OTO, London, for Jazz On 3, BBC Radio 3, April 20th 2011.


ZDAR: Don’t U Want 12″ (TURBO 028EP) 12.00
2005 release from Philippe Cerboneschi’s Zdar.


PROXY: Destroy EP 12″ (TURBO 035EP) 12.00
2006 single with Riot In Belgium’s remix of “Destroy.”


LEKEBUSCH, CARI: Shaded EP 12″ (TURBO 049EP) 12.00
2008 release of remixes of Cari Lekebusch’s 2004 single (featuring vocals by Krister Linder). Remixes by Compuphonic & Kolombo, Jesper Dahlback and Clouded Vision’s “acid dub.”


CHROMEO: When The Night Falls 12″ (TURBO 107EP) 12.00
New wave/electro funk duo Chromeo team up with singer Solange Knowles. Features the Hercules & Love Affair remix and Crowdpleaser remix.


ZZT (ZOMBIE NATION & TIGA): Partys Over Los Angeles 12″ (TURBO 112EP) 12.00
ZZT continue their reign of underground club domination with their most overt anthem yet. “Partys Over Los Angeles,” taken from their Partys Over Earth album (TURBO 033CD/LP) is the dancefloor herald of the End Times, brought to life by Tiga and Zombie Nation. The duo has harnessed the essence of the peak-time monster and unleashed it on the new-jack masses. Duke Dumont’s remix is a stripped-down snakecharmer while Jon Convex serves up a version that reflects the vanguard of new-school UK bass-influenced techno.


WOMACK, BOBBY: Facts Of Life LP (UALA 043LP) 11.50
Exact repro of this 1973 album, featuring originals “I’m Through Trying To Prove My Love To You,” “Nobody,” “He’ll Be There When The Sun Goes Down,” plus a cover of Bob Dylan’s “All Along The Watchtower” and Carol King’s “Natural Man.”


This CD is the first collaboration of Steven Stapleton’s Nurse With Wound and composer/sculptor Graham Bowers. It is, without doubt, one of the best things United Dirter has ever released. It’s an extremely unnerving, but also hauntingly moving listening experience. The work is an attempt to create a musical illustration of the “goings-on” in the brain during the last hour and three minutes of life after suffering a major stroke. It is multi-layered and is primarily concerned with the internal chaos caused by the loss of control of thought processes, responses and consequential actions, with all types of incoherent disjointed memories and present real-time events — as well as moments of lucidity, panic and fear — clashing, merging and evolving. It’s essentially one long piece, but is presented in three parts: 01. “…A Life As It Now Is 02. “…Is Not What It Was” 03. “…And Will Never Be Again.” It arrives packaged in a beautiful 6-panel gloss-laminated digipack, featuring artwork from both Babs Santini and Graham Bowers. The edition is limited to just 1,000 copies in this format.

VG 002CD

KENNIFF, KEITH: Branches CD (VG 002CD) 14.50
A Pennsylvanian by birth, Keith Kenniff is an honors graduate of Boston’s esteemed Berklee College Of Music, best known as the brains behind dulcet ambient/electronic practitioners Helios and the fingers on the ivories of post-classical piano minimalists Goldmund (the latter’s music once described by no less an authority than Ryuichi Sakamoto as “so, so, so beautiful…”). A succession of albums under those aliases has made Kenniff the darling of discerning critics and his music has also been widely used in film, television and advertising, not least on the soundtrack to Harmony Korine’s 2007 comedy-drama Mister Lonely and the trailer for the 2009 Academy Award-nominated Revolutionary Road, directed by Sam Mendes. In 2007, Keith formed the band Mint Julep with his wife Hollie. Mint Julep was designed as a conscious departure from Keith’s previous projects. Keith’s project Branches sees him return to his twinkling piano keys and the intensely atmospheric strings of his earlier solo work. Branches sounds like a journey that ebbs and flows through a wondrous forest, accelerating and slowing up to reveal beauty in all its little nooks and crannies. The album is a haunting and beautiful work that will appeal to fans of Max Richter, Jóhann Jóhannsson, Nils Frahm and Hauschka.

VL 901271LP

NEW RIDERS OF THE PURPLE SAGE: Dawson, Nelson & Friends LP (VL 901271LP) 24.00
“When the Grateful Dead met country music men Dawson & Nelson, the New Riders of the Purple Sage were born! Recorded in 1968-69, side A features the only known recording of the band’s original line-up (John Dawson, David Nelson, Jerry Garcia, Phil Lesh and Mickey Hart), plus two even earlier pre-NRPS tracks, while Side B represents Dawson’s resurrection of the band in 1989 with an entirely new line-up.”


FCL: More Vocals For Everyone 12″ (WPH 015EP) 12.50
Three house tracks from FCL followed by a Balearic remix by Arto Mwambe. Vocalist Lady Linn is the perfect conduit for the sounds and lyrics, with “Used To Be” taking things deep and melodic for an anthem that will touch all love criminals. The mandatory instrumental is there so Red D can play the vinyl when performing with Lady Linn. “Back” is aimed straight at the dancefloor and is vintage WPH/FCL/San Soda material.


VA: WPH/Lany Summer Special 2011 12″ (WPH SS2011EP) 12.50
Split-label release between We Play House Recordings and Lany Recordings. The WPH side kicks off with a remix Russ Gabriel did for outfit Norken + Deer. FCL does a second track with an old rave sound in a drum machine. On the Lany side is two more tracks, the first a remix Lemakuhlar and Red D did for Rebirth, and the second is from label-boss Maxim Lany, reworking his mighty “Cuncambias” to great effect.

YT 075EP

SBTRKT: Braiden/Lil’Silva Remixes 12″ (YT 075EP) 12.50
Young Turks brings together two of the best producers in the UK to give their perspective on the work of SBTRKT. This musicological take on SBTRKT’s “Pharaohs” recontextualizes Roses Gabor’s Afro-futuristic vocals in a more genuinely space-age industrial club sphere. Lil’Silva’s treatment of “Living Like I Do” takes Sampha’s vocal and adds a jerk discord to a dramatic vocal performance. His trademark two-note bassline presents itself with its usual menace. Also includes a remix by Braiden.

YT 077EP

RADIOHEAD: Bloom (Jamie XX Rework Part 3) 12″ (YT 077EP) 12.50
Following Jamie XX’s first Radiohead remix, another take on “Bloom” has surfaced. The first half of “Rework Part 3” features an otherwise unexplored deep house side of Jamie XX, before transitioning halfway into more familiar territory with vaguely Zen chimes and sliding ghost reverb.

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