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100% SILK

POLONAISE: Trocadero 12″ (SILK 018EP) 12.00
“Scott Goodwin has elevated electronics through deliberate drone as Bonus and maximized minimal techno as Operative but with Avalon Kalin, the fine finder of Finesse, and tasty treater of Glass Candy, they’ve found a key-board to Portland paradise with Polonaise. The twosome remind that romance is alive and lively on Trocadero, a vibrant valentine to primitive piano-plush early house. As the San Francisco danger-disco-drug-dance destination Trocadero Club sucked you into its sparkle spectacle so, too, does this EP: down the K-for-Kraftwerk Hole into those chase-bassy Black and White balls, all trance tuxedos and superfluid Steinways. Polonaise patience keeps you measured and mindful, freely feeling a designed dance; the blueprint for boogie. Bot-bops and Polonaise sauce, eat it up.”


FORT ROMEAU: Kingdoms LP (SILK 022LP) 14.00
LP version. “‘Jack this groove,’ a deep voice persists in ‘Jack Rollin’,’ the tour-de-four-on-the-floor force set opener of Kingdoms. Seedy deeds are done during Fort Romeau’s late-night lush, a frolic down London foggy fascination streets. Vinyl crackle on the hush-hush, Fort Romeau plays bass face-time and clap attacks through shadow jackin’ steam, muted mambas, and the sultry spiral of total texture. A feminine touch, soothing and somnolent, with a man’s musk, pounding, pursuing. Makes you teary, tearing down Romeau’s Row, as syncopated swishes, like woodwind winter winds, suck, sigh, and blow. It’s a sauna sound: hot gusts, warmer water jets, sensual shuffles, breathy and beautiful. ‘I need you,’ a yearning voice persists as the album closes, that covetous caress you’ve got your heart set on, that Fort Romeau languishing lull you set your heartbeat by.”

200 002CD

VA: The Best Of 200 Records 2011 CD (200 002CD) 17.00
200 Records has selected the best tracks from its seven releases in 2011. Featuring Till Krüger, Nhar, Soukie & Windish, Constantijn Lange, Pazul and Alex Q. As if the 200 Records owners Dirk Middeldorf and Kai Sasse had planned this from the beginning, this year’s compilation flows delicately, similar to a well-balanced DJ set. It opens with the first release of the year; Till Krüger’s “Last Track,” the deep production that laid the foundation not only for this compilation, but also for the other releases that graced the label throughout 2011. French producer Nhar joined 200 with two EPs in 2011 and did an unforgettable performance at 200 Club celebrating the release of “Bluedrop,” the second track on this compilation, followed by Soukie & Windish, who returned to 200 in 2011 with their second EP Duster/Flott. “Flott” brings back warm memories of summer, and works as a smooth transition into Constantijn Lange’s slightly more uptempo release of “Morning Dew.” Pazul also made his 200 Records debut with “Soundgarden,” which included a stunning remix from Alex Q. The original version maintains the lightheartedness of the first half of this compilation. The remix transitions into the second half with something more befitting a dark nightclub as opposed to a summery outdoor event. Till Krüger’s “Deciduous” comes next; with a colossal kick drum, lengthy pads, and hypnotizing melodies, Krüger sets things up for Nhar with two of the label’s biggest tracks of the year. The Motionless/Betrayer EP not only concludes the compilation, but also finishes up the year of releases for 200 Records. Includes a download code to get a free 200 best-of mega mix by Till Krüger.

50 006LP

ADDISON GROOVE: Transistor Rhythm 2LP (50 006LP) 21.00
Double LP version. Following several releases for the well-known Tempa label (as artist Headhunter), the debut album for the current new project by Antony Williams aka Addison Groove is now released on Modeselektor’s sub-label 50 Weapons! Addison Groove started life under a different pseudonym altogether. Recording as Headhunter, with an LP and 12″ releases on the influential Tempa label stretching back to 2007, he achieved legendary status within the dubstep scene. His work at the deeper end of the spectrum graced the label an impressive seven times, a figure matched only by Skream. This work looked set to continue until 2010 when, seemingly out of nowhere, he crafted one of the biggest bass music tracks of the decade, “Footcrab,” under the new name of Addison Groove. The response to “Footcrab” was phenomenal, receiving critical and commercial success in equal measure across the dance music scene. Getting plays not only from the dubstep DJs that Williams was used to reaching, it also found its way into the record boxes of techno and house heavyweights such as Aphex Twin, Surgeon, Ricardo Villalobos and Mr. Scruff, bringing an enormous new audience to his music in the process. Taking influences from the Chicago ghetto tek and juke scenes, Addison Groove’s impact on UK bass music has been colossal and unprecedented, sparking a huge interest in these styles from his peers and the listening public alike. Transistor Rhythm is a rare example of a release where the description “much-anticipated” is not just a fantasy of some PR agent. Features guest artists Spank Rock and Mark Pritchard.


HYETAL: Searchlight 12″ (ACREMIX 001EP) 11.00
This is the last broadcast from the acclaimed debut album from Hyetal (ACRE 002CD/LP). Featuring his own kick drum-driven reanimation of album favorite “Searchlight,” discordant keys and angular synth-work keep it equally matched for dancefloor and headphones. On the flip is the massive noir epic re-rub from current indie-dance hotboys Stay+, who stretch the original to its limits, creating a moody and atmospheric anti-anthem.


APENDICS.SHUFFLE & MR. C: Something Strange 12″ (ADJUNCT 023EP) 12.50
Label-boss [a]pendics.shuffle teams up with the legendary Mr. C for a dancefloor masterpiece titled “Something Strange.” On remix duties is Mike Shannon, with a slab of disgusting tech/house dub. Also on board is Affie Yusuf, from House Of 909, slowing down the pace and laying it out.


ANTIPARALLEL: Antiparallel 02 12″ (ANTI 002EP) 14.00
Part 2 of the Antiparallel concept EP. As the word suggests, anti-parallelism describes the natural relationship between two occurrences, objects or even non-material things, that are virtually identical and yet oriented in different directions. When this music was made, the artist was researching natural phenomena like this one, and it became part of the nucleus, fabric and inspiration for this work.

AU 5017CD

INNER DIALOGUE: Inner Dialogue CD (AU 5017CD) 17.00
The brainchild of celebrated composer/songwriter Gene DiNovi, this trio were championed by Raquel Welch. Their classic debut was originally issued in May 1969, and has been compared to the work of sunshine-pop legends such as The Free Design and Eternity’s Children. Features the full original artwork.

AU 5018CD

CROME SYRCUS, THE: Love Cycle CD (AU 5018CD) 17.00
This Seattle quintet shared stages with legends such as The Doors and The Grateful Dead, but only got to make one album, which appeared in January 1968. A heady blend of five stand-alone tracks and the side-long epic from which it took its name, it melds influences such as rock, jazz, classical and electronica to powerful effect, and makes its long-overdue return to CD here, featuring the original artwork.

BAM 7001LP

BLUES CREATION: Demon & Eleven Children LP (BAM 7001LP) 25.50
LP version. Japan’s Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Highly influenced by Cream and The Yardbirds, Takeda joined forces with school friends Takayuki Noji, Shinichi Tashiro, and lead singer Fumio Nunoya. Formerly vocalist with Taboo, a heavy band led by future Happy End guitarist Eiichi Otaki, Nunoya was also searching for an even heavier sound, and the results of the new American-influenced experiment were released in October 1969, as Blues Creation. Singer Fumio Nunoya soon found himself edged out of artistic decisions by the supremely confident Takeda, and thereafter left to form his own band, Dew. While searching around throughout 1970 for a new singer, guitarist Takeda heard the new, even more strung-out music of Led Zeppelin, Black Sabbath, Eric Clapton’s solo LP Clapton, and Leslie West’s Mountain, and decided he should take the opportunity to start again from scratch. Takeda enlisted bassist Masashi Saeki and drummer Akiyoshi Higuchi for the new line-up, and eschewed the previous style in favor of his own compositions. With the new Blues Creation fronted by singer Hiromi Osawa, Kazuo Takeda recorded what has come to be regarded as his masterpiece in the form of Demon & Eleven Children, originally released in 1971 on Denon. This album was recorded at the Japan Folk Jamboree, and is a full-on gem of a record, but Takeda was now widely-known as a true Japanese guitar hero, and — as ever — had set his sights higher and higher. He split Blues Creation the following year, leaving for London in late 1972. This sludge-y slab of big, loud, brain-busting heaviness sits at #17 on Julian Cope’s Japrocksampler top 50 list. Includes original LP insert and lyric sheet.


ANANDA, GABRIEL: Green 12″ (BASMATILTD 001) 12.50
Basmati has created the Limited Series as a platform to release unique music, with a unique presentation. Each vinyl will function as its own artwork. The A-side will contain the title track, and the B-side will contain the logo of Basmati, hand-drawn and etched. Each vinyl release will be named after its color, pressed on colored vinyl and strictly limited to 333 copies. This edition is from Gabriel Ananda.


CHAPMAN, MICHAEL: The Resurrection And Revenge Of The Clayton Peacock CD (PTYT 068CD) 16.50
Following its original Summer 2011 release as a 500 copies limited-edition vinyl release for Thurston Moore’s Ecstatic Peace! label, Michael Chapman’s The Resurrection And Revenge Of The Clayton Peacock is now released on CD for the first time by Blast First Petite. For those already aware of the Yorkshire-born composer, singer, guitarist and self-confessed maverick troubadour, Chapman’s Clayton Peacock recording may come as something of a surprise. The music here is unlike anything he has crafted before, casting aside his skills as a songwriter and focusing on improvisation for the first time. The LP was Wire magazine’s No. 5 Album Of The Year, after it received a full-page rave review by Edwin Pouncey and later, Chapman himself received his own Invisible Jukebox feature. Chapman, along with Bert Jansch, John Renbourn, John Fahey et al, was a significant and historical informant for this young set. But he claimed to have never even entertained the notion of an LP of exclusively improvised playing. Anyone who has had the good fortune to hear Michael just take off in the middle of his songs and simply shred into zones of in-and-out-of-the-chakras stratosphere knows that such an idea could only be wildly welcomed.


MAZUREK, BOHDAN: Sentinel Hypothesis 2CD (DUX 002CD) 38.00
2010 release. “Polish Radio Experimental Studio is the first official series of CD releases dedicated to the music produced in the legendary Studio. Established in 1957 by Jozef Patkowski, it was among the first institutions of that kind in the world with only Paris, Cologne and Milano preceding the Warsaw one. Despite that, unlike their foreign colleagues who quickly became the most important figures of the XX century music, Polish composers working in the Studio are known only to a limited number of insiders. Sentinel Hypothesis is a monograph 2CD album by one of the most important figures of Polish Radio Experimental Studio. Bohdan Mazurek started working in the Studio in 1962 as a recording engineer but soon became its prominent composer, both of illustrative (film music) and autonomous music. His compositions are known for their solicitude for sound and extensive use of traditional instruments – not as neutral or random base for composition but rather as a material presupposing its limitations and ways of usage. The selection of compositions on the album are dated from 1967 to 1989 showing a wide spectrum of his interests from ‘classical’ electronic music to what would today be called field recordings.”


ZEITKRATZER: Zeitkratzer Plays PRES CD (DUX 003CD) 19.00
2010 release. “Instrumental versions of the pieces from Polish Radio Experimental Studio arranged by one of the most unusual ensembles of contemporary music — Zeitkratzer. International virtuoso group is specialized in this kind of provocative approach to electronic music. Recognizing that instrumental techniques are indebted in electronic music, Zeitkratzer demonstrates what was once possible only in recording studios can now be played live on violins and pianos. This is exactly what happened in Sejny’s White Synagogue, where the premiere of the repertoire took place. After listening to hours of compositions from the Studio, musicians have selected six of them to be reinterpreted for the concert. They represent different stages of Studio’s history and were prepared for instrumental covers by Zeitkratzer during its members stay in Residential Arts Centre in Wigry. Now the selected six compositions are presented as this album.”


LAS: Memories/Mental Judgement 10″ (BOXCL 012EP) 11.00
LAS weaves a rich tapestry of sound on “Memories,” silken pads and resonant bell tones drifting around effortless drum-work and rich bass undulations. “Mental Judgement” is more militant in tone, with steppah drums and pounding 808 subs powering a bongo-driven dub track.


VA: Ten 12″ (BOXER 089EP) 12.50
Boxer celebrates their 10th anniversary with streamers, confetti, and four artists which are particularly dear to them: Robag Wruhme, Von Spar, Lexy/Shades Of Gray and Le Dust Sucker.


SPANK ROCK (FEAT. BIG FREEDIA): Nasty Remixes 12″ (BNR 074EP) 12.50
On the peak of the successful wave of Spank Rock’s sophomore effort, Everything Is Boring And Everyone Is A Fucking Liar, Boysnoize Records proudly presents Spank Rock’s latest single called “Nasty,” featuring the undisputed “Queen Diva” of bounce music, Big Freedia and hooked up by the lady herself. Remixes by SCNTST, Addison Groove and SebastiAn.


TELEFON TEL AVIV: The Birds (Matthew Dear & E.Allien Rmx) 12″ (BPC 247EP) 12.00
Telefon Tel Aviv have mastered the art of balancing the bittersweet romance and occasionally excessive melancholy of so many ’80s electro-pop pearls, dusting off their retro sleeves and presenting them in the form of lavish, melodic epics. The new EP features the intoxicatingly beautiful album opener “The Birds” in its original version and in two remixes that could hardly be more contrasting from Ellen Allien and Matthew Dear. None other than Cocteau Twins co-founder Robin Guthrie makes an appearance on “The Sky Is Black.”

BB 095CD

39 CLOCKS: Subnarcotic CD (BB 095CD) 17.00
Retrospectively, one could impute Hanover of the late 1970s and early 1980s with the glamorous tristesse normally associated with places like Manchester. But it was probably just dull and nothing more. It was here that the band 39 Clocks came into existence, earning the greatest compliment one could possibly pay them: they were a foreign body. Everything about this band must have unnerved their contemporaries: The 39 Clocks did not sing in German. This, at a moment when, for the first time since the end of the Second World War, it was possible to hang a “cool” tag on the German language. Think Neue Deutsche Welle (German New Wave). Commercial suicide. And the Clocks looked like no one else: grainy black and white photographs reveal two thin men dressed in factory issue black. Wearing sunglasses, they are only dimly recognizable. Elusive and impossible to categorize: a little bit weird. Fittingly, they discarded their names and classified themselves as machines: J.G.39 and C.H.39. A sense of the unreal pervaded their music: sizzling, trippy, repetitive. Allusions to late 1960s psychedelia, to Can, are on the money. Subnarcotic is the second 39 Clocks album. It still has the capacity to unsettle, it still sounds strange. The conscious (or perhaps unconscious) refusal to flex their muscles, to feel the groove, would be echoed by many lo-fi bands a decade later, but few would match their radical modus operandi. The 39 Clocks brought together what did not belong together: noise and fragility, ’60s garage punk and synthesizers. Manic, chaotic and yet: pop music. In England they would have been welcomed with open arms by the likes of Rough Trade or Factory. In Germany, however, reactions were extremely different. Mastered from the original tapes; better sound quality than the original. Includes a previously-unreleased bonus track.


OLIVA, ANDREA: The Click Off EP 12″ (CADENZA 074EP) 12.00
Andrea Oliva steps up with The Click Off EP. “Piano Piano,” a soundscape that quivers between rumbling tech-house and attentive melancholy, transforms into a mesmerizing tech-house track. “Click Off” is a chugging floor-mover with innate essence. Joining “Click Off” is “Jungle Dub,” its trembling bass line living up to the track’s title. Reeking of the underground with crisp snare drums cutting the air and playing partner to the bass, this nods directly to a long-lost era of dark, dub-fuelled rave.

CAP 21487CD

VA: Folk Music In Sweden: Fiddlers From Five Provinces CD (CAP 21487CD) 17.00
“Some of the best-known fiddlers of the 1950s from five Swedish provinces are presented here. Both playing styles and instruments used reveal clearly the distinguishing characteristics of these different areas. All these players had an important role in the development and survival of Swedish folk music. Several of them carried out significant collecting work, while others created a greater interest in folk music among the general public, for instance through their many public appearances – also on radio and TV. Some, like Gustaf Jernberg, took great pains to make sure that the melodies he had learnt from earlier generations did not die out. The recordings took place between 1955 and 1960.”

CAP 21489CD

VA: Folk Tunes From Jamtland CD (CAP 21489CD) 17.00
“The memory of the legendary player, Lapp-Nils, Nils Jonsson (1804-1870), was still very much alive in the province of Jamtland at the beginning of the fifties. This Matts Arnberg realized when he undertook a fourteen-day recording expedition in Jamtland for the Swedish Broadcasting Corporation in 1951. In this selection of 47 tunes, eight of the most outstanding players are heard: two diddlers, one clarinetist and five fiddlers, namely Erik Axel Nasstrom, Alanas and Mans Olsson, Mattmar, Eric Nilsson, Mattmar, and the fiddlers Nestor Lofstrom and Anders Martensson, Strom, Olle Falk and Per Viktor Rost from Offerdal, and Bengt Bixo , Morsil. The melodies have been written down and collected in many different variants, both in Jamtland and outside the province, and also on the Norwegian side of the border. Some of the polskas and marches go back to the earlier eighteenth century. The style of its tone language is confident and a strong awareness of tradition is here given expression.”

CAP 21820CD

SEVDA: Exclusive Collector’s Edition 2CD BOX/DVD (CAP 21820CD) 34.00
Deluxe box with two reissued albums from Sevda, plus a bonus DVD Sevda live on Swedish television 1972. “It was back in the early 1970s, more precisely in 1971, the Turkish trumpet player Maffy Falay decided to start the band that would go on to be legendary — Sevda. Maffy had been living in Sweden since 1960, working both there and in Europe (for instance with the famous Clarke-Boland Big Band in Cologne and in Kurt Edelhagen’s Radio Orchestra), and was widely known in jazz circles. Maffy had this notion — something he also frequently demonstrated — that the combination of Turkish folk music and jazz was a match made in heaven. Turkish folk music is modal, highly rhythmic and profoundly improvisational, a fact that corresponded well to the developments in jazz in the 1960s. The sound for the first album, Jazz i Sverige ’72 Maffy Falay/Sevda, came from the audio-track of a live television recording that was made by Swedish Television on the 15th March 1972. Initially the plan was to make the album by recording a concert with the group at the Museum of Modern Art in Stockholm in February that same year, and, for the B-side, do a studio session. However, the television recording turned out so good, that it was decided to use it to do the whole album. Besides the original members, Bernt Rosengren (tenor sax & flute) and Okay’s younger brother Akay Temiz (darbuka) is also featured on this recording. The second album, Sevda Live at Jazzhus Montmartre featuring Salih Baysal (RIKS LP 41/CAP 21822), was recorded only a week after the first album, when the group made a guest appearance at the legendary jazz club Montmartre in Copenhagen. A young Nils Winther-Rasmussen (founder of the label Steeplechase) recorded the concert on his tape-recorder and managed to capture the groove and drive that was the true hallmark of the group. Both albums that Sevda made for Caprice are included in this exclusive and unique collector’s edition, available on CD for the first time. Besides these this edition also features a bonus DVD with the two original television programs that Swedish Television broadcast in 1972 and 1973; accordingly the same recording that was used for the first album.” Artists include: Maffy Falay, trumpet; Brent Rosengren, tenor sax; Salih Baysal, violin; Gunnar Bergston, bari sax; Ove Gustaffson, bass; Okay Temiz, drums; Akay Temiz, darbuka. DVD is NTSC all-region format; aspect ratio: 4:3; audio: Dolby Digital 2.0.

CAP 21825CD

SULTAN, KURASH: Arkak Su CD (CAP 21825CD) 17.00
“Kurash Sultan was a prolific and versatile musician, an excellent performer on several traditional Uyghur instruments, as well as on the accordion. However, this CD focuses mainly on Kurash as a singer and dutar player, the artistic role he evidently had the strongest personal attachment to. Also, the dutar and its tradition stands out as an emblem of Eastern Turkestani and Uyghur cultural identity. It is used in the urban muqam ensembles as well as in rural folk singing. It is the most widespread instrument found in the home, among the Uyghurs. Kurash Sultan was only seven years old when he made his first acquaintance with the instrument.” Artist includes: Kurash Sultan, dutar, vocals.


SHANNON, MIKE: Foxology EP 12″ (CFLTD 005EP) 12.50
Mike Shannon steps up to the Cityfox LTD plate and squeezes the jack juice on his latest offering. It’s a 3-track session of deep, jazzy basslines and smooth cuts. “Foxology (feat. Flowing)” is a twisted, deep house cut with Shannon’s signature shuffle groove and warped, dynamic basses with some wicked blues-harp action from Flowing. The B-side is home to “Foxwell” and “Zukunftstrasse,” the former being a rather hot number bubbling with bouncing bass, whereas “Zukunftstrasse” is even more laid-back and downtempo.


MAETRIK: Live At Cocoon Ibiza CD (CORMIX 038CD) 17.00
Even after more than 30 years of living the lifestyle of electronic dance music, techno is still sometimes looking for a matching form and sound language to transfer the special thrill of a live event to a club night adequately. So, Sven Väth and his crew were even more excited about the live set of Eric Estornell aka Maetrik at Cocoon’s Closing Party at Amnesia/Ibiza in 2011. For the finish of a season that once again explored the limits of party culture, Maetrik celebrated an extraordinary energetic state of emergency for more than one hour. The resulting live CD reflects that matchless mixture of pumping deep house, energetic soul and adrenaline-enriched noise that Maetrik presented already on such renowned labels as Treibstoff, Dumb-Unit and Audiomatique, and which is, with timeless tracks like “Snorkel” and “Crush On Me,” also an important part of Cocoon’s current label portfolio. The Texan that lives in Valencia, Spain delivers a brilliant performance with ten tracks or remixes (among them Silicone Soul and Popof), including four unreleased tracks. Estornell’s distinctive style stamps the night with his hallucinogenic vocals and deep hypnotic beats, illuminating the club with an energy that is literally everywhere. Thanks to the preacher vocals in “The Poem,” a longing, subsonic pulse in the “Jazzersize” remix of the soul anthem “3am,” the reduced, pumping funk of “The Pressure” or the programmatic, Maetrik-style definition “Particle House” with his breathless house mantra, the limits of time and space are overridden effectively, before the final “Crush On Me” — one of the best club tracks in 2011 — provides the set with a conclusive climax.

TEG 77518CD

VA: Top 4: The Best Of Cold Chillin’ Records CD (TEG 77518CD) 15.00
“Cold Chillin’ Records released some of the most important music in the golden age of hip hop from the late 1980s to the early 1990s. A producer/crew label founded by manager Tyrone Williams and run by Len Fichtelberg (d. November 4, 2010), and then with the help of legendary NYC DJ/radio personality Mr. Magic (d. October 2, 2009), most of the label’s releases were by members of the Juice Crew, a loosely knit group of artists centered around producer/DJ Marley Marl. Marley along with artists like Biz Markie, M.C. Shan, Kool G Rap and DJ Polo and Roxanne Shante released classic single after classic single, many becoming life long hip hop measuring sticks (Shan’s ‘The Bridge,’ Marley’s & Craig G.’s ‘Droppin’ Science’ and Kool G Rap’s ‘Ill Street Blues’) that have set the standard for rap artists of today. The ever charasmatic Biz Markie even gained worldwide commercial success with his quirky anthems ‘Just A Friend’ and ‘Spring Again’ and today has a coveted acting spot on the hit children’s television show Yo Gabba Gabba! on Nick Jr. All these gems, 15 in all, from Cold Chillin’s Top 4 artists, are collected together here in this one handy go to package.”


JOASH: Compost Black Label 84 12″ (COMP 381EP) 12.00
Joash’s debut album, Don’t Fear It, Fight It (COMP 371CD) achieved so many props from such a diverse range of people that it has inspired a striking variety of great remixes covering a vast spectrum of styles. Here is another great package of delicious remixes by Arto Mwambe, Coyu, TJ Kong & Nuno Dos Santos and Till Von Sein


VA: Future Sounds Of Jazz Vol. 12 3LP (COMP 390LP) 25.50
3LP version containing 15 tracks. Artists: Der Dritte Raum, Wareika, Deep Space Orchestra, Uncountable Doors, Santos, The Glimmer Twins, Bibi Tanga, Ragout DeLapin, Letherette, Lo Tide, Sepalcure, Laszlo, Dave Aju And The Sol Percussion Ensemble, Basti Grub & Mike Trend, Roberto Di Gioia.


EL FREAKADELL: I Got You 12″ (CODIS 006EP) 12.00
El Freakadell is the new project founded by Enzo Elia (Balearic Gabba Sound System) and Roskow Kretschmann (Sygaire, Kosma, Mudegg and ex-Jazzanova). Here the duo delivers gorgeous garage, compatible to the famous loft classics. The original disco version “I’ve Got You” rings in with the traditional disco percussions in combination with shaking hi-hats and the appearance of strings and an outstanding soul voice. The house version combines a rubber roll-deep house chord with a laid-back atmosphere.


“EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore’s foremost artists. The visually arresting film has been live-soundtracked by a number of artists (including Oren Ambarchi) in several locales, and after Black to Comm, a.k.a. Marc Richter’s accompaniment at Berlin’s Asian Film Festival and the Unsound Festival in Krakow (both in 2010), he decided to commit it to record. In Marc’s own words: ‘Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg. The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film basically is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) — the music tries to translate that concept employing similar collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice.’ Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTHis complex, as you know.) Guests on EARTHinclude David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label).”


LP version, with mp3 download.


GOTH-TRAD: New Epoch CD (MEDI 007CD) 16.50
New Epoch, Goth-Trad’s debut album for the DEEP MEDi Musik imprint, is the result of over a decade of pushing forward from the man Kode9 calls “a one-man army mutating the UK hardcore continuum in Japan.” Takeaki Maruyama aka Goth-Trad is a spearhead among producers worldwide who have taken the sounds of the UK underground and mutated them into new forms. Emerging from a vibrant underground Japanese electronic scene, Maruyama-san has developed into one of the most outstanding artists of his generation. His unique style involves freely playing samplers, keyboards and even self-made instruments — this approach brought him the nickname “the Sound Originator.” His sound comprises a broad palette of influences from abstract electronica to noise, from dub and reggae to jungle, from rave and grime to punk, and almost every form of music somehow is absorbed into his black hole-like approach, emerging from a trans-warp conduit on the other side as something uniquely Goth-Trad. With a strong back catalog of albums and touring beneath his belt, the buzz for his music has slowly spread further and further around the world, and New Epoch is certain to bring the bass mutations of this Tokyoite even further. New Epoch is by far and away Goth-Trad’s most complete piece of work to date, showcasing what he has learned in his years of producing, touring, playing live and remixing. The album features 11 superbly and delicately-crafted tracks. From “Man In The Maze,” full of beautifully dark, emotional strings and pulsating, mesmerizing groove, to the intense synthesizer stabs and pure dancefloor mayhem of “Mirage” — one of the strongest tracks that has been firing in heavy rotations from Mala and Kode9 — to the title track, which defines a producer digging through different styles, experiences and cultures to find himself, now one of the most unique artists within the scene and beyond. Features an appearance from reggae godfather Max Romeo.


TROYER, KASSIAN: Stills 12″ (DIAL 062EP) 12.50
Kassian Troyer shows up with an adventure into wonderful, sound-designed techno music. These four pieces of deeply grooving structures contain the influences of early works by Jan Jelinek’s Farben project, the swing of STL and the deep rooms of Pole — which is no coincidence at all. Troyer studied sound engineering and production and has been responsible for the live mixing of Stefan Betke aka Pole and lots of other artists like Andrew Peckler and Pantha Du Prince.

DB 158EP

CONSOLE: Herself Remixes 12″ (DB 158EP) 12.50
Console mastermind Martin Gretschmann asked some artists for whom he had done some remixes before (under his alter ego Acid Pauli) to do some rework on the last Console opus, Herself (DB 156CD/LP). Remix artists: Marek Hemmann, Wareika, Dirty Doering and Douglas Greed featuring Mooryc. On white vinyl.

EB 087CD

VA: Space Is King: From Dub To Dubstep CD (EB 087CD) 12.50
Explore the fiery and fierce force of mixing desk experimentation and smoking grooves that led into the bewitching masterclass of future-dub — and a STEP further. Echo Beach presents the first volume of Space Is King, a superb compilation that documents the logical development of modern dub to dubstep. In this volume, the remixers focus on London dub legend Adrian Sherwood, the Birmingham circle of dub producers around G.Corp/Groove Corporation and the Bristol “connection” around Rob Smith with his past and future projects (Smith & Mighty, Rob Smith’s Blue And Red, RSD). Special guests from the world of dubstep and dub include Big Youth, Carl Douglas, Martha & The Muffins, Ragga Twins, Lee Scratch Perry, Sara Lugo, The Ruts, Dubblestandart, Noiseshaper, Waterhouse Rock, Dreadzone, Jim Screetchy, Red Hands Common, Koe DNB, Dubmatix, Jason “DJ Shine” Spanu, Devon D, Tom Watson and El Wharton.


PATERAS, ANTHONY: Errors Of The Human Body CD (EMEGO 140CD) 15.50
Errors Of The Human Body is a feature film shot at the Max Planck Institute in Dresden, Germany. Written and directed by Eron Sheean, it stars Michael Eklund, Karoline Herfurth, Tómas Lemarquis and Rik Mayall, with music by Editions Mego stalwart Anthony Pateras. In the early 2000s, Sheean met Pateras in Melbourne, and they have worked together ever since, Pateras scoring three of Sheean’s short films which have all been screened a numerous festivals worldwide. Errors Of The Human Body OST is the musical results of their first feature-length collaboration. Instrumentation includes strings, winds, brass and a broad arsenal of percussion performed by Melbourne’s magnificent Speak Percussion. Pateras’ distinct keyboards and electronics permeate throughout, evoking the film’s key themes of isolation, scientific intrigue, ambiguous ethics and hallucinatory metamorphosis. This album covers a lot of ground, incorporating elements of alien synthesis, lush textures, odd, layered rhythms and wild production. There is even a club track with tape-delayed string orchestra, contrabassoon and cowbell. No one can decide whether they like it. Quite possibly being the only record this year incorporating ARP2600 and thumb piano, it features Pateras’ electronic language with contemporary experiments with orchestration, glued together with a determination to test the edges of the film music medium. Music performed by: Anthony Pateras (piano/prepared piano/organs/electronics), Anna McMichael (violin), Erkki Veltheim (viola), Judith Hamann (cello), Brock Imison (bassoon), Liam Kinson (clarinet) and Andrew Young (horn). Speak Percussion feature Eugene Ughetti and Matthias Schack-Arnott with Elizabeth Welsh (additional strings).


PATERAS, ANTHONY: Errors Of The Human Body 2LP (EMEGO 140LP) 27.50
Gatefold 2LP version. Includes liner notes from Pateras and pictures from the film.

EM 1096CD

SKANDRANI, MUSTAPHA: Istikhbars And Improvisations CD (EM 1096CD) 20.00
Mustapha Skandrani: besides having an excellent name, this man, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabo-Andalusian and European styles. Istikhbars And Improvisations, recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arabo-Andalusian culture which flourished in Spain) on the piano, that quintessentially European instrument, Skandrani was greeted with derision by some purists. Skandrani’s powerful musical vision, however, perceives the European element involved in Arabo-Andalusian musical culture, a world of exchange and co-existence, and his decision to play this music on the piano reminds us of this European influence. Skandrani’s modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on the istikhbar and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani’s playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani’s precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not vast. This is an admirable achievement, resulting in beautiful music of a rare charm. Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education. Istikhbars And Improvisations comes with liner notes in English and Japanese. Housed in a gatefold cardboard sleeve jacket (embossed print) with inserts.

EM 1098CD

OHNO, MATSUO: I Saw The Outer Limits 2CD (EM 1098CD) 27.50
Mind-stretching analog synth wizardry from the legendary Matsuo Ohno, sound designer for Astro Boy and many other Japanese films and TV programs. His first non-soundtrack release, from 1978, is a massive, undulating galaxy re-released here on CD with a bonus mini-CD reissue of a rare 1970 flexi-disc Play On Animals, rated as one of 2011’s top releases by Byron Coley of The Wire. This reissue of his stellar 1978 LP I Saw The Outer Limits presents him at the peak of his powers, combining his mastery of classic analog tape music techniques with then-state-of-the-art analog synthesizers. This is a true under-recognized classic, a masterfully recorded, massive-sounding poetic construction of unearthly sound, a breathing behemoth, with Ohno’s galaxy moving beyond “sounds that already exist” in search of new sonic spaces. Matsuo Ohno was born in Kanda, in central Tokyo, in 1930. The relentless bombing onslaught of the war years, the near-apocalyptic conditions, were defining, formative forces. As a youth he was interested in Surrealism and philosophy, and was uninfluenced by music and musicians — an exception being the electronic works of Karlheinz Stockhausen. Other early influences were the film director Fumio Kamei and the dramatist Michio Kato; rather than viewing himself as a musician, and never studying under any masters, Ohno forged his own path as the original “onkyo sound” artist, defining himself as an “onkyo designer” in the 1960s. His innate independent streak manifested itself early on, when, chafing under creative restrictions, Ohno left a prestigious post at NHK, Japan’s national broadcaster. But of course, his skills were in high demand and he was extremely busy as a freelance sound designer for a wide range of films, television shows and radio programs, developing his ear and his technical savvy. In 1963 he began his most famed efforts, providing sound design for the legendary Japanese animation series Astro Boy, with Takehisa Kosugi as his assistant. I Saw The Outer Limits was the first full-length non-soundtrack release by Matsuo Ohno. The record was a huge step for him, being non-programmatic music, designed to stand alone, free of visual imagery. Ohno himself has stated that he was uninterested in notions of message, expression and representation. Shinji Hinoki, a producer at Toho Records, approached Ohno with the offer of releasing an album; Hinoki perhaps envisioned something to cash in on the popularity of the synth-driven elements of Pink Floyd — what he got was something much more abstract and otherworldly. Hinoki supplied both title and subtitle, including the latter’s variant spelling of “marijuana,” a ploy to evade Japanese censors. On these recordings, made at Sogosha in Tokyo, his private studio, Ohno used the EMS Synthi AKS, which at that time in Japan carried a price close to that of a family car, the newly-released Roland System 100 (three of these, in fact), and a custom-made synth. He combined these synthesizers with his virtuosic control of analog tape recording techniques, resulting in a magnificent LP. The original vinyl release was, however, somewhat marred by 50 Hz hum generated during the mastering process at Toho Studios. This EM CD reissue restores the masterpiece to its primal, clear, massive glory. Housed in a foldout thick paper sleeve. Liner notes and biography in Japanese with an English translation. The bonus disc is pressed on a mini-CD (8cm) and packed in a triple foldout sleeve, in the same style as the original 1970 issue, and is inserted in the EM 1098CD sleeve.

EM 017CD

SURIZEHI, ABDULRAHMAN: Love Songs & Trance Music From Balochistan 2CD (EM 017CD) 37.00
“Abdul Rahman Surizehi is regarded as the world’s best player of the Balochi instrument Benju. He taught music in the tradition of his country Balochistan, the region that occupies the north-west of Pakistan, the South West of Afghanistan and the southeast of Iran extends to the CD perfectly. Mixed sounds of a variety of ‘Balochi’ instruments are a good way to mix and create a unique listening experience. The first CD contains its own traditional compositions. The second offers a good cross section of traditional trance music from his homeland.” With guest artists Ostad Mohammad Bachal L. Baloch (deohka) and Maula Bakhsh Noori (tamburag). Deluxe oversized hardbound packaging.


VA: Transformations 12″ (XTRACTS 001EP) 12.50
This is the first release of the freshly-launched Falkplatz Xtracts series. Here you will find some of the pearls of Falkplatz’s digital sub-label for the first time on transparent vinyl. All the tracks are remastered vinyl versions and essential. Artists: Ron Deacon, Acid On The Rocks, Sascha Dive, Freestyle Man, Davenport & Deutschmann, James Kumo and Tres Punto & Pele.


CARDINAL: Hymns LP (FIRE 216LP) 21.50
LP version. “Eighteen years after the release of their landmark self-titled debut, Cardinal — the recording collaboration between Richard Davies and Eric Matthews –are preparing to unveil their long awaited new album. The new record, entitled Hymns, picks up where their debut left off — well-crafted, layered orchestral pop, with Matthews’ multi-instrumental talents enhancing Davies’ sublime songwriting gems. Hymns comprises ten new originals, another milestone in the band’s quest to provide the missing link in chamber pop history, following the Beatles and Bee Gees and before Belle & Sebastian, and a worthy follow up to their self-titled debut, a record lauded then, and now, as one of the most important albums of the ’90s. Ushering in an era of appreciation for the orchestrated pop music the 1960s, with a modern approach, Cardinal’s debut opus, originally released in 1994, seemed to come out of nowhere with its layered textures and delightful melodies, swimming against the tidal wave of grunge.”


DIDDLEY, BO: The Black Gladiator CD (FDR 600CD) 15.00
“While the sixties came to a close , Diddley may have been working at a less prolific pace than during his earlier heyday, but the man was certainly charged up and ready to drop a full-blown musical bomb. In an attempt to fit in with the current youth oriented scene (Sly and the Family Stone, Rare Earth, The Rolling Stones) and recent acid rock audience targeted albums by label mates Muddy Waters (Electric Mud LPS 314LP) and Howlin ‘ Wolf (The Howtin’ Wolf Album GET 54038CD/LP), Bo would further push the boundaries with the release of The Black Gladiator. The album would modernize his blues-rock sound with a rugged funk edge, while retaining the spirit and humor of his fine work and feature an album cover of the man donning a bodacious leather belt/pseudo S&M get up that would put Isaac Hayes ‘ chain link vestments to shame. Across ten wild child tracks, the future rock and roll hall of fame inductee hits hard on every note. There are raw gospel shouts, ripping guitar, fatback drums, gritty Hanunond organ, and even a round of the dozens with Cookie Vee (Cornelia Redmond). Originally lost amidst a new decade and changing soundscapes, The Black Gladiator never really registered upon it s release in June 1970. Still, it’s tough grooves and bold, black, and beautiful sleeve design has been a soulful secret in many a record collection. Replete with extensive liner notes by Scott Schnider and remasterinq from the original tapes by engineer Dave Cooley (Elysian Masters), the re-release makes The Black Gladiator finally ready for battle again.”

GET 51296CD

WAH WAH WATSON: Elementary CD (GET 51296CD) 15.00
“A Detroit native, Wah Wah Watson earned his nickname from his dominating control and precision on the Wah Wah pedal. His talents made him a highly sought after commodity throughout the funk and soul heyday of the seventies. In 1976 Wah Wah decided to take a crack at a solo career, and turned his attention toward the release of his first ever studio album, Elementary. Enlisting the help of his friends, who just so happen to be equally great and notable studio musicians, Wah Wah crafted a timeless collection of jazzy-funk grooves that was eventually found a home on Columbia Records. Unfortunately, Wah Wah’s solo’s career was cut short as the album received critical acclaim but was a disappointing commercial failure. Columbia did not repress Elementary and it remained out of print for decades. Now, thanks to the fine folks at Get On Down Elementary returns in an enhanced, digitally remastered format. Housed in a gatefold digipak, Elementary will be available for the first time anywhere on compact disc and first time anywhere in generations.”

GET 54047CD

DIDDLEY, BO: Big Bad Bo CD (GET 54047CD) 15.00
“Big Bad Bo sure plays like he is big and bad on this early ’70s era classic. He traded in his signature scratchy guitar sound for a funkier, tighter, and crisper sound. While the album rings of experimentation, the results are flawless and the funk is flowing through the legend on songs such as ‘Stop The Pusher’ and ‘Bite You’. Bo keeps it real bluesy on tracks like ‘Evelee’ and the Native Tongues famously sampled ‘Hit or Miss’ for the classic De La Soul song ‘Buddy’. Available for the first time in generations, this repackaged digpak CD contains digitally enhanced audio, remastered from the original Chess records master tapes and delivered straight to your home hi-fi in stunning high definition sound.”


VA: Shangaan Shake 2CD (HJR 058CD) 17.00
In the summer of 2010, just before the World Cup, Honest Jon’s unleashed a bolt from the blue: Shangaan Electro, a startling compilation of jacking dance music from the South African countryside. Heartfelt family and spiritual matters set at a breakneck 180 bpm to cheap samplers by local producer Nozinja aka Dog. In?your-face, candid and berserk — with sweet vocals riding bareback the processed progeny of marimba, drums, guitar — fluorescent orange wigs, nutty dancing — and no bass at all. A slap in the face and a jab in the bum of solemn, trend?driven dance music, Shangaan Electro is resplendently vivid and full?color, shot through with lightning?fast multi?rhythms, and dementedly, dazzlingly animated. A few years ago, Honest Jon’s offered up a set of homages — entitled Lagos Shake — to the great Afrobeat architect Tony Allen, using his own recordings and compositions as its starting point. Now, in a captivating series of 12″s running throughout last year and into 2012, the Shangaan Electro tracks have been similarly fantasized — rather than just flatly remixed — by some of the contemporary scene’s most inspired artists and producers, from Detroit to London, Berlin to Bristol. Kicking off a prodigiously active year for the Honest Jon’s label, the double CD Shangaan Shake collects these new versions, presenting a cross?section of the most vital moods and grooves currently at-large in underground dance music. Fresh from the label’s recent Chop Up live revue, Detroit techno alchemist Theo Parrish throws in a hypnotic, 13?minute, carnivalesque head-scrambler, multilayered with synths, galloping drums and clattering percussion. Trailering his brand new album for HJ this spring, the inimitable Actress ramps proceedings as up?and-out as can be without jettisoning the dancefloor completely. Elsewhere, Anthony “Shake” Shakir’s Motor City stomper — a favorite with Gilles Peterson on his BBC Radio 1 show — is this pioneer’s most impactful work of late, hard?hitting and reckless in all the right places; characteristically, Mark Ernestus from Rhythm & Sound is swingingly original and tersely dubwise; and amongst the set’s wildcards, the futuristic pop duo Hype Williams turns out a mesmerizing tribute, lagging somewhere ages behind the party people, achingly soulful and lost. Nothing in modern dance is more attuned to Shangaan musical sensibility than Chicago juke and footwork — and celebrated originators Rashad, Spinn and Boo lock into its madness with a lethal, frantic pair of reworks, true to the hyper-energy and raw, unhinged power of the source material. From the coiled forensics of Peverelist, though, via the deep, minimal funk of Villalobos & Loderbauer, to the carefree drive of Oni Ayhun — each and every one of these Shangaan Shake reimaginings sparks from genuine, far?fetched inspiration into wildly diverse and brilliant new trajectories. Other artists include MMM, Demdike Stare, Old Apparatus, Tshetsha Boys, Mancingelani and Burnt Friedman.

HF 007CD

SCUBA: Personality CD (HF 007CD) 14.00
Scuba is the production and DJ alias of Paul Rose, the curator of Hotflush Recordings, a label which, having released some of the most important tracks of the formative period of dubstep, has grown into a leading player in the wider world of electronic music. A celebrated and influential DJ, Scuba was voted #25 in Resident Advisor’s 2011 poll of the world’s Top 100 DJs and has also been nominated for several categories in DJ Magazine’s Best of British 2011 Awards. In 2011, Scuba released his Adrenalin EP, picking up radio plays from Zane Lowe, Annie Mac, Rob Da Bank as well as Mistajam, illustrating how his sound has mutated into previously-unexplored areas. Alongside Adrenalin, Scuba also released his edition of K7!’s DJ Kicks series, which has made notable appearances on several “Best of 2011” lists. Scuba’s third album through Hotflush, Personality, features 11 brand-new tracks and takes in a wealth of genres across contemporary dance music, proving once again Scuba’s place at the cutting-edge of the electronic music scene. “Where he once used dubstep as the foundation for his distinctive productions, this time he’s taking prog house, trance, big beat, rave, old techno, and synth pop, and packaging it up in something stylishly retro, all coated in a futuristic 2012 sheen… one of the gutsiest, risky things a pillar of the scene like Scuba could have done.” –Pitchfork (8.1)


NADJA: Excision 2CD (IMPREC 298CD) 13.50
“Essential collection of previously vinyl only Nadja tracks which work brilliantly as a 2CD album. All of these tracks originally appeared on limited vinyl or cd releases between 2007 and 2009 and are now out of print. ‘Jornada del Muerto’ originally appeared on the Trinity CD (Die Stadt Musik) and ‘Perichoresis’ on the Trinitarian LP (Important Records), both of which releases featured solo tracks by Aidan and Leah and one Nadja track. ‘Spahn’ appeared on Tumpisa (Accident Prone Records), a split LP with the American band 5/5/2000, and ‘Kriplyana’ (Melted & Refrozen Snow That Looks Blue In Early Morning) appeared on the Magma To Ice CD (Fario Records), a split with the Italian artist Netherworld. The two remixes of ‘Automsomal’ were released on the LP version of Bodycage (Equation Records) and Kitsune (Fox Drone) appeared on a split CD/LP (Denovali Records) with the German band Kodiak. ‘Clinging To The Edge Of The Sky’ (Vendetta/Adagio830 Records) was released as a single-sided 12.””


VAN WISSEM & JIM JARMUSCH, JOZEF: Concerning The Entrance Into Eternity CD (IMPREC 348CD) 13.50
“Beautiful new collaborative work from Jozef Van Wissem & Jim Jarmusch. CD features an exclusive version of ‘Continuation of the Last Judgment.’ Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker and guitarist Jim Jarmusch. Jarmusch’s previous collaborations with Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another’s space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth exemplifying an austere understanding and compatibility. Jarmusch’s guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, ‘He Is Hanging By His Shiny Arms, His Heart An Open Wound WIth Love,’ finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg’s work, this record is extraordinary, new and arcane at the same time, modern but timeless.”


VAN WISSEM & JIM JARMUSCH, JOZEF: Concerning The Entrance Into Eternity LP (IMPREC 348LP) 18.00
LP version. Limited edition of 500 copies.


PIERRE LX: Out 1 Reworks (Big Strick, MLZ) 12″ (INITIAL 031EP) 12.00
Two cuts from Pierre LX’s Out 1 reworked by Big Strick and MLZ. On grey/marble-colored vinyl.


PING!: Departure EP 12″ (INSIST 003EP) 12.50
Intelligent, groovy techno from Ping!. “Departure” has funky, offbeat elements in the beginning and cleverly-placed breaks. Sascha Sonido’s remix catches a touch of tribal techno, moving the track with its vocals a good bit further into the house cosmos. “Steady State Universe” features jazz sound figures and a hypnotic beat. The Justin Berkovi remix focuses more directly on the dancefloor.


COSTA, ALEX: Organ Loop 12″ (INTAC 039EP) 12.00
Alex Costa is back for some more Intacto-fuelled action. “Free Loop” has a rumbling bass belly — hungry for some dance fuel and easily satisfied by the energizing, housey vocals that fuse over the white synths, while the high-hats tingle and collide. “Organ Loop” urges you to stamp to mashed-up madness with its hypnotic, staccato thumps as the organ ebbs and flows like a musical tide washing under a splattering of vocal conversations.


BUBBLE CLUB: In Consequence Of A Wish/Seven Hills/Ex-Voto 12″ (IFEEL 019EP) 12.00
London summer 2011 — the fires rage, the mobs pillage, the politicians dawdle and tucked away in a small oasis somewhere in Hackney, Dan Keeling beavers away on new Bubble Club material. The title track meshes intricate production, euphoric melody and block-rocking beats (and a slide guitar). “Ex-Voto” is what happens when Vangelis visits Paris, Texas and the mysterious “Seven Hills” completes the package with its Juan Atkins/electro spy-theme feel. Complete with deluxe packaging and 180 gram vinyl.

KIS 4009LP

EMILY: Emily LP (KIS 4009LP) 22.00
Gatefold LP version. Recorded in Paris by a 16 year-old New Yorker, and released only in France in the spring of 1972, this extremely rare album has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly-established rarity in its original incarnation, this long-awaited reissue is sure to delight all fans of adventurous singer-songwriting, Emily. First-ever 180 gram vinyl release.

KIS 4018LP

AMERICAN DREAM, THE: The American Dream LP (KIS 4018LP) 22.00
LP version. Originally known as The Great American Dream, this Philadelphian quintet were local legends who’d opened for The Who, Jefferson Airplane, Santana and many others. Packed with snappy songs and infectious good humor, their sole album was taped in New York’s just-opened Record Plant in the fall of 1969, and marked Todd Rundgren’s debut as producer. Issued in February 1970, it stands as one of the best pop-rock albums of its time. On 180 gram vinyl.

KL 077CD

BURTON, LEE: Busy Days For Fools CD (KL 077CD) 17.00
Lee Burton aka Liberto released his debut album Lullaby for Klik Records in 2006. His warm, deep tech-house sound received high praise in the Greek and international music press alongside the interest of some of the most important names in the electronic music scene. As a result, the following years were productive for Liberto, with releases, remixes and collaborations with labels such as Trapez, Plastic City, Material, Playmobil, Syndikaat and the co-foundation of the record label Material with Michael Safras. In 2009 he started releasing music under the name Lee Burton, making recordings for labels such as Orpheas, Material and Plastic City in addition to making appearances in festivals and clubs. In 2012, Lee Burton returns with his second album project, Busy Days For Fools. Burton manages to escape from the sound of Lullaby, creating a unique output that combines the sound of German electronica with a Greek temperament and a South American laid-back feeling. Busy Days For Fools is the stoner side of electronica. Lee Burton produced the album himself, spending a whole year in his personal studio using new production techniques and recordings such as various kinds of microphones, ranging from the classic condenser microphone, cell phone microphone and even the microphone from a VHS camera. Electronic sounds were created with vintage analog equipment but also with live recordings of noises using various objects as well as music instruments. The result is a warm, natural and analog-sounding album, drawing from influences from across the electronic scene and also pulling ideas from lo-fi rock, blues, folk, jazz and everyday life.


BJORK, HARALD: Bigfield CD (KLN 001CD) 17.00
Harald Björk grew up in a Stockholm suburb surrounded by musicians and nature. His interest in recording sounds started when he, as a child, stumbled upon his father’s old tape recorder, a machine that quickly became his favorite toy. Lots of mixtapes and a Nirvana-influenced punk band soon followed. As a teenager, Harald bought his first decks and started DJing hip-hop. Soon, he got in touch with the early Swedish techno scene. A creative year in Berlin resulted in releases on Deep Focus, Traum Schallplatten and Apparillo Music. After moving back to Stockholm, Harald started working on various music projects as well as touring live. At the end of 2009, his own record label KrangIan Broadcast was born, releasing the mesmerizing Kranglan EP as its first output. In 2010, Harald played at some of the biggest festivals and clubs in Sweden. The time has come for Bigfield, his debut album for Kranglan Broadcast. Harald Björk’s music is a naive and emotional, melodic type of techno with a melancholy Scandinavian touch. His music can be described as a mixture between the playfulness of Aphex Twin and the poppy electronica of early Röyksopp spiced with techno beats à la Berlin and Cologne. Harald’s tracks are often appreciated by followers of labels like Border Community, Kompakt and Cocoon. His records are played by DJs like James Holden, Sven Väth, Miss Kittin and Four Tet, amongst others. In his live performances, Harald uses a computer brimful of chopped-up, raw emotion and an army of machines and controllers used to build up atmospheres of innocent love and sweet frustration. Bittersweet melodic adventures escalate into explosive breakdowns, winding up into motorik beats. Listening through Bigfield, it’s clear why many people consider Harald one of the finest producers of electronic music today. Every single sound is pure perfection, the colors are vivid, the arrangements to the point yet never less than enigmatic. What’s more important is that he’s got soul, oceans of it. Harald is a true romantic artist, constantly returning to the same themes of nostalgia, understated euphoria and sunshine over snowy landscapes. Bigfield is one of those rare albums that will make listeners dance, weep and smile in equal parts.


PIROTH: Piroth Remixed CD (KLN 002CD) 17.00
Electronic, danceable pop meets industrial, dark techno. It’s the first time you can hear the folk-pop songs of Piroth in these free interpretations. Piroth Remixed is a collaboration between the Swedish label Kranglan Broadcast and Oma Gusti Records. The release consists of six remixes of songs by the Swedish folk-pop duo Piroth. The remixes are made by some of the finest electronic producers such as Popnoname (Kompakt/Firm/Italic), DisRelatedKin (Ministry of Sound/Kitsuné), Harald Björk (Kranglan Broadcast), Studio Barnhus (Petter Nordkvist, Axel Boman, Kornél Kovács) (Studio Barnhus/Border Community/Pampa Records/Ourvision Recordings), Clara Moto (Infiné) and Nathan Fake (Border Community). The mastering was done by Stefan Echinger aka Lopazz. The artwork and cover design was done by Kheira Linder at


WINO & CONNY OCHS: Labour Of Love CD (GMT 026CD) 14.00
“Limited edition hand numbered quantity of 500 in foil stamped sleeve. First release from Wino (Obsessed, Saint Vitus) & Conny Ochs. Wino & Ochs met up on tour in 2010, forming an extraordinary vibe between the two of them. By the end of the tour, Wino would play with Conny on his songs, and Conny would play with Wino on his songs. Reminiscent of Townes Van Zandt, CSN&Y, $ & Spirit Caravan, this new Latitudes session is the culmination of 2 men who found each other by sharing the same vision and the same labor of love.”


WINO & CONNY OCHS: Labour Of Love LP (GMT 026LP) 19.00
“Hand numbered 180 gram green colored vinyl version is limited to 500 quantity and comes in letterpressed & foil stamped jacket.”


SYLVESTER ANFANG II: Untitled CD (GMT 027CD) 14.00
“Limited edition hand numbered qty of 500 in foil stamped sleeve. Sylvester Anfang II and the artists surrounding the Kraak label in Belgium are a beacon of free-form, experimental hope. The 5 tracks presented here were extracted from a 3 hour session with no preconceived plans to see what would materialize from their wigged-out psychedelic improvisation. The result is 35 minutes of kaleidoscopic noise, droning mantras & freak-folk joy that sweeps you off your feet & leaves you hovering in the ether.”


SYLVESTER ANFANG II: Untitled LP (GMT 027LP) 19.00
“Hand numbered 180 gram white colored vinyl version is limited to 500 quantity and comes in letterpressed & foil stamped jacket.”


ENTRANCE BAND, THE: Untitled CD (GMT 028CD) 14.00
“Limited edition hand numbered qty of 500 in foil stamped sleeve. The Entrance Band cemented their place in a Latitudes session by having the album (2006’s Prayer Of Death) that everyone at Southern Records could agree that they loved – one late night call later and the Entrance Band made this three song Latitudes session with their usual psychedelic take on traditional American music.”


ENTRANCE BAND, THE: Untitled LP (GMT 028LP) 19.00
“Hand numbered 180 gram yellow colored vinyl version is limited to 500 quantity and comes in letterpressed and foil stamped jacket.”

LL 010CD

DR. LEKTROLUV: Live In Brazil CD (LL 010CD) 17.00
After the successful mix CDs recorded live at Extrema, Pukkelpop, Lowlands and Rock Werchter, this time, the extremely popular green-masked Dr. Lektroluv has recorded his set during the Xxxperience Festival in Brazil when he was touring there in December 2011. Expect the fattest electro cuts from the hottest names around, he doesn’t settle for less. Artists include: Mumbai Science, Azzido Da Bass, Mustard Pimp, The Subs, Hatiras, Polydor, Le Petit Belge & Le Cheval, Ado, Polymorphic, Nickel, Housemeister, P.O.S., TWR72, Elite Force, The Loops Of Fury, Mightyfools, Modek, Gesaffelstein, LFO, VNNR, Goose, Attaque, SCNTST, Zombie Nation, Étienne Crécy, Mr. Magnetik and Junior. Comes packaged in an irresistible Super jewel case.


WEXLER, MIKE: Dispossession LP (MEX 104LP) 18.00
“Dispossession is the second full length from Brooklyn’s Mike Wexler, and his debut for Mexican Summer. An artist who defies easy categorization–a songwriter/guitarist without a traditionalist bone in his body, with an ear for far flung sound-worlds and sonic atmospheres both high & low, Wexler brings all of his manifold interests to bear in carving out a space for a singular vision uniquely attuned to the present moment. Dispossession is the product of over two years of intermittent recording. It features players from the worlds of underground rock (ex members of White Magic and The Occasion), free improvisation (Ryan Sawyer, Nate Wooley, Jessica Pavone), synth and string textures inspired by the likes of Eliane Radigue and the Spectralists, a vocal and lyrical presence of unsettling, near-subliminal depth, and the omnipresent backbone of fingerstyle guitar, without a trace of ‘Americana’ to be heard. The basic band tracks were recorded live, at more or less the moment when the arrangements first crystallized, so there’s a bedrock of spontaneity and a free feeling to the proceedings, complicated by the highly mapped-out nature of the subsequent orchestration, synth washes and overdubs. It’s a record that fits the broken mold of auteurist songwriters who nod to the ideas of forward looking writers and artists in their work, a loose lineage that could include musicians like Robert Wyatt, Scott Walker, or Richard Youngs.” Includes download card.


HOBO: Iron Triangle CD (MINUS 118CD) 15.50
M_nus introduces a new name to its artist family: Hobo. Iron Triangle is a stunning take on the stripped-to-the-bone essence of electronic dance music. Joel Boychuk aka Hobo takes us on a tour of the Iron Triangle — a destination point for the techno artist whose very name embodies both the restless spirit of his productions and his journey from being one-half of the former M_nus duo Tractile, to being a recognized star performer in his own right. With this album, Boychuk intends to encapsulate the unique atmospheres of the three geographical points and spaces in between that have influenced both his musical output and his outlook as a person. What is the Iron Triangle, and how has it influenced his approach to making his first full-length album? “The Iron Triangle is both a simple concept and complicated percept — kind of abstract but also very simple. In it’s simplest form it’s an area between three places where I come from, covering a bit of Canada and the U.S. — three places which are connected by a lot of history and three important train lines that once ran between them, hence the ‘iron.’ Where it begins to stretch into a much more abstract and complicated territory is in how I relate to the iron triangle: sometimes I’m there, sometimes I’m not there and sometimes I wish I was or wasn’t there. At the end of 2010, I had been away from the triangle for much longer than usual and mentally, I was as far away as ever. I reflected on past experiences and looked forward to new ones as inspiration for the album: All of the tracks are based around experiences I’ve had at this place, sometimes just an image or memory. My approach to production changes frequently: sometimes I produce just because I enjoy doing it; other times I view it as something that needs to be done for the purposes of clearing the mind; and sometimes it’s just done for raw musical experimentation. I think my sound went back to its earlier roots while making this record, at times playful and weird with a tinge of darkness. In that respect, some of the tracks on the album share exact influences with other previous tracks of mine, so I can infer from that the evolution in the album’s sound directly reflects my evolution as a producer.”


PAN-POT: Gravity 12″ (MOBILEE 091EP) 14.00
Mobilee presents Pan-Pot’s Gravity. The release doubles as a teaser to the sixth edition of the successful Back To Back compilation series. The title track is a high-tempo number, picking up linear momentum verse after verse, featuring serious vocals by G-Tech. On the flip, Cari Golden’s soulful vocals chime in and out of “No One Knows.”


DEMDIKE STARE: Elemental 2CD (LOVE 077CD) 23.50
It’s been almost a year since Demdike Stare finished their Tryptych of releases, and in the intervening months, Miles Whittaker and Sean Canty have been busy touring and gradually piecing together sounds for this new series: Elemental. After four limited edition vinyl installments, Elemental is now released as a 2CD album, including different versions of tracks that have appeared on the vinyl editions, plus extensive additional material — making for a two-hour trip through dark, post-industrial terrain. Mastered and cut at Dubplates & Mastering, the packaging features specially-commissioned artwork by Andy Votel and comes as an oversized gatefold/6-page digifile.

ML 026CD

MONOLAKE: Ghosts CD (ML 026CD) 15.50
Robert Henke is back with a new Monolake album entitled Ghosts. Dark and colorful, with haunting and deep excursions into magic worlds of sound and grooves, held together by a fragmentary story as part of the artwork that indicates a continuation of themes present on Silence (ML 025CD): precisely-crafted, earth-shaking beats, rough, dirty noises, wide, lush soundscapes and little sonic creatures inhabiting a fascinating planet in which a lot of things go badly wrong and nothing is taken for granted. Music that augments reality when listening to while commuting, music to get lost in when experienced loud in a club. There is nothing minimal in this music, it is bass-heavy and full of detail. Ghosts is released on Robert Henke’s own label Imbalance Computer Music on CD in a luxury digipack.


FENSTER: Bones CD (MORR 112CD) 15.50
Fenster is the duo of New Yorker-turned-Berliner JJ Weihl and Berlin-born Jonathan Jarzyna, that plays de-constructed pop music, layering subtle distortions, melodic chords and city soundscapes under dream narratives. Their sound and recording style has analog warmth, exploring the relationship between machine errors in their circuit-bent beats and the tactile use of objects and instrumentation. Their influences range from The Velvet Underground to the sounds of broken records, the hum of a washing machine, or the faint melodies of oldies tunes through their kitchen radio, at times, reminding you of an American version of The XX. The band’s name springs from an ominous incident during the recording of their first album: a window shattered on JJ’s head, bestowing her with a bump and the name “Fenster.” The album starts off establishing most of its musical themes in the first half of the tracks, introducing characteristic elements such as stripped-down percussion, reverby vocals, slamming doors and dynamic song structures. Starting off with the classic lo-fi pop ballad “Oh Canyon,” the album dives into moodier tracks like “The Hunter” or “Gravediggers,” pairing synthesizers with banjo, and integrating shovels and batteries as percussive instruments. The second half of the album begins with the suicidal sea ballad, “Fisherman,” a song based around a randomly generated rhythm, incorporating electric guitar, glockenspiel and zither that culminates in a four-part harmony underscored by drums recorded in a freight elevator building up to the final moment in which the guitar sonically drowns. On “Killer Surf Walker,” a pastiche of ’50s surf rock, a slide guitar is paired with an old out-of-tune piano, and a recording of a beach in Brooklyn at sunset. Lyrically, the album touches on everything from Schadenfreude to nostalgia about the beginning of one’s adult life and the illusion of invincibility and permanence to vivid imagery of death, murder, and fallen kingdoms in “Blue To White,” “Killer Surf Walker,” and finally “Gespenster,” which ends with an explosive 8 part harmony. Fenster’s charm and inimitability comes in the form of collage; hungry to integrate their vision of the future with the sound of the past. Futuristic nostalgia with a lyrical bent towards the macabre world of dreams.


BARNT: Hark 12″ (MUSIQ 147EP) 15.50
Barnt is a Cologne-based producer who is known as a member of Magazine (artist & label). The original on the A-side is like a dark house remix of Goblin. If you like dubby techno sounds like Echospace or Redshape, you will be into this track. On the B-side Vakula remixes the track into warm, deep house.

MR 319CD

VA: Tension: Spanish Experimental Underground 1980-1985 CD (MR 319CD) 17.50
It happened during the peak of the media excitement over the countercultural movement known as “Movida Madrileña.” That DIY spirit, that in Spain was awakened later than in others due to the political ballast of nearly 40 years of dictatorship, had but one stage where not all of its protagonists could fit. Still, some even preferred to move away from the spotlight. Between 1980 and 1985, through the width and breadth of all of Spain, groups began to emerge that captured the fundamental essence of underground acts from other parts of the globe. New York’s No Wave, the avant-garde pop of The Residents, the possibilities of technical manipulation or the less exhibitionist side of post-punk were adopted with the radical imagination, passion and freedom that comes from not having to answer to anyone. The success of those bands lay with breaking with the past and never looking back, burning their boats with each recording; they gave everything without expecting anything, making tension the criterion for quality. At a time when certain kinds of records weren’t easily available in Spain and the chances to see the most fearless foreign bands live were scarce, a number of people and small collectives, inevitably centered around Madrid and Barcelona, created a diverse scene of bands, labels and fanzines which slowly and bravely developed and gained followers across the whole country. Cities like New York, London and Berlin served as examples to follow. Within this varied group of artists there was room for industrial sounds, daring post-punk, out-rock, mutant funk, dark wave, weird dance music and pure experimentalism. Tensión is the first comprehensive compilation of this most daring side of the early ’80s Spanish music scene. Most tracks reissued for the first time, plus two previously-unreleased tracks. Sleeve notes written by César Estabiel, illustrated with original artwork and memorabilia.

MR 319LP

VA: Tension: Spanish Experimental Underground 1980-1985 2LP (MR 319LP) 25.50
Gatefold 2LP version. It happened during the peak of the media excitement over the countercultural movement known as “Movida Madrileña.” That DIY spirit, that in Spain was awakened later than in others due to the political ballast of nearly 40 years of dictatorship, had but one stage where not all of its protagonists could fit. Still, some even preferred to move away from the spotlight. Between 1980 and 1985, through the width and breadth of all of Spain, groups began to emerge that captured the fundamental essence of underground acts from other parts of the globe. New York’s No Wave, the avant-garde pop of The Residents, the possibilities of technical manipulation or the less exhibitionist side of post-punk were adopted with the radical imagination, passion and freedom that comes from not having to answer to anyone. The success of those bands lay with breaking with the past and never looking back, burning their boats with each recording; they gave everything without expecting anything, making tension the criterion for quality. At a time when certain kinds of records weren’t easily available in Spain and the chances to see the most fearless foreign bands live were scarce, a number of people and small collectives, inevitably centered around Madrid and Barcelona, created a diverse scene of bands, labels and fanzines which slowly and bravely developed and gained followers across the whole country. Cities like New York, London and Berlin served as examples to follow. Within this varied group of artists there was room for industrial sounds, daring post-punk, out-rock, mutant funk, dark wave, weird dance music and pure experimentalism. Tensión is the first comprehensive compilation of this most daring side of the early ’80s Spanish music scene. Most tracks reissued for the first time, plus two previously-unreleased tracks. Sleeve notes written by César Estabiel, illustrated with original artwork and memorabilia.

MM 156EP

DUNDOV, PETAR: Stairway/The Arch 12″ (MM 156EP) 12.00
Two songs not on Petar Dundov’s new 2012 album on Music Man: “Stairway” and “The Arch” are two tracks that in one way breathe Petar’s signature sound, but on the other hand don’t sound like anything you’ve heard before.

NEOS 11201CD

CASSIDY, AARON: The Crutch Of Memory CD (NEOS 11201CD) 21.00
“The works on this disc trace the ongoing history of a straight forward but fundamental re-conception of instrumental performance, followed through uncompromisingly to uncover a new, alien world of musical material. That conception is the idea of instrumental decoupling: the independent treatment of the physical components of performance (embouchure and fingers on a wind instrument, for example, or the two hands of a string player). A simple, if counterintuitive, idea. But right away, pursued with Cassidy’s diligence and self-awareness, consequences multiply: the dismantling of a performer’s acquired physical, musical and technical relationship to his instrument; a shift in emphasis from the sounds produced to the means of producing them; the displacement of pitch from its inherited position at the center of musical discourse; the necessity of new hierarchies and new perceptual vocabularies.” Performed by Elision Ensemble: Daryl Buckley, Artistic Director. Richard Haynes, clarinets and saxophone; Graeme Jennings, violin; Benjamin Marks, trombone; Carl Rosman, bass clarinet and voice. Peter Veale, oboes; Tristram Williams, trumpet.

NW 80728CD

HOWARD, EARL: Granular Modality CD (NW 80728CD) 15.00
“In many respects Earl Howard’s (b. 1951) music is an anomaly that resists categorization and the seductiveness of genre. He is an important force in improvised music and yet his work employs complex structures and rigorous transitions of sound and texture. His electro-acoustic music is realized with a K-2600 Kurzweil that for Howard is not merely a keyboard synthesizer but an open system, a computer with a most effective interface with modules and a key map that enable more freedom in the composer’s creation of textures. In the three solo works (‘Bird 3’, ‘Strasser 60’, ‘2455’) presented on ‘Granular Modality’, one can observe the striking continuity of Howard’s aesthetic approach. All three pieces employ a flexible script of material that transforms and modulates from texture to texture. Each section in the composition represents a complex sound world that is not simply multiphonics or sub-harmonics, for example, but an exchange, an interplay that is both directional in terms of an overall sense of form and discursive in its oppositional characteristics. The discursive elements in Earl Howard’s playing on the saxophone and on the synthesizer convey a restless approach toward material. Musical material and texture always change and evolve. On the synthesizer this is accomplished with a scripted succession of programs, textures and behaviors that can overlap and be revealed over time. The scripted flow of events creates a coherent overall structure that is malleable in terms of duration and nuance. Distinction between the improvised and the composed becomes irrelevant, as the order of events, the script, remains the same as the details are revealed in the action of improvisation. ‘Crupper’ (2009) features Miya Masaoka on koto with the composer on synthesizer. The piece has a fascinating tension between tonality and sound finding a delicate balance between the stochastic and the melodic.”


PEAKING LIGHTS: 936 CD (NNF 217CD) 12.00
2012 repress. “Sometimes it feels so simple: two of our favorite people in one of our favorite bands release one of our favorite records of all time. 2009’s Imaginary Falcons was its own genius slushpile of tape-hissy drift-dub haze anthems, no question, but 936 takes every facet of the Peaking Lights mighty diamond and shines it to fluorescent perfection. The songwriting is insane; ‘All The Sun That Shines,’ ‘Amazing & Wonderful,’ ‘Tiger Eyes (Laid Back),’ etc, all seep into yr mindstream and float there like melodic gold dust. Indra Dunis’ silky soul-jazz keys and tranced vocals have never sounded so exquisite, and Aaron Coyes busts out the best bass/drum loops and sneaky dub guitar of his musical lifetime. Recorded by Luke Tweedy at Flat Black Studios in Iowa City (where both the NNF Wet Hair LPs were tracked) and mastered in Berlin, 936 retains the cool crate-digger grit of their earlier highlights, but within a much more vivid spectrum of sound. Could not be more jazzed and honored to unveil this total groove-wave classic. CD version includes two bonus tracks from the same recording sessions not chosen for inclusion on the LP. CD digipaks with vintage art by the band, plus some stills from their ‘All The Sun That Shines’ video. Edition of 500.”


BEASTIE BOYS: Don’t Play No Game That I Can’t Win 7″ (MAD 155EP) 12.50
“Major Lazer takes on the task of remixing the Beastie Boy’s hit single ‘Don’t Play No Game That I Can’t Win’ featuring guest vocals from Santigold. Layering on clacking percussion, a moombahton beat and blaring vuvuzela horns, Major Lazer transform the track into an island club anthem. Pressed on limited edition orange colored vinyl and featuring an exclusive Major Lazer dub, this is one not to be missed.”

NA 7029EP

YAGHMAEI, KOUROSH: Saraabe Toe/Dar Enteha 7″ (NA 7029EP) 8.00
“The second single by Iranian psychedelic rock musician Kourosh Yaghmaei presented by Now-Again Records – ‘Saraabe Toe’ – is Kourosh’s rarest. These two beat-heavy Iranian rock songs are two of Kourosh’s masterworks.”

NA 7031EP

YAGHMAEI, KOUROSH: Hajme Khali/Akhm Nakon 7″ (NA 7031EP) 8.00
“Now-Again Records presents exact reproductions of two of the four 7″ singles that the Iranian psychedelic rock musician Kourosh Yaghmaei released before the 1979 Islamic Revolution. Taken from Back from the Brink, the only legitimately licensed Kourosh collection, these recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them — along with key ephemera from the ’70s. Here, fans of the 7″ vinyl format can purchase Kourosh’s last two singles as he originally released them. The first single presented here, ‘Hajme Khali,’ is a masterful psychedelic dirge that was included on this label’s Forge Your Own Chains anthology. ‘Akhm Nakon,’ the b-side, is perhaps Kourosh’s most famous song in the West and is psychedelic funk music at its best.”


MARA TRAX: Sensibilia 12″ (PERL 090EP) 14.00
Maayan Nidam and Vera Heindel’s project Mara Trax was founded in 2006. First starting to DJ and tour together, it did not take long until the first production was done. Releases on Oslo and Cyclical Tracks followed, a well as a contribution to the Superlongevity 5 (PERL 084CD) compilation in 2010.


LE TOUGH, MANO: Mountains 12″ (PERMVAC 091EP) 12.00
Irishman Mano Le Tough travelled far and wide to return with these hypnotic and psychedelic house cuts. “Mountains” and “Even Now” embody the space and vastness of the Swiss Alps while “She Sighed” sees Mano return to the melancholy rain and rich musical history of his native Ireland. Enjoy the trip.

ASH 3021LP

BRAST BURN: Debon LP (ASH 3021LP) 22.00
Phoenix Records reissues on LP Brast Burn’s Debon — a classic of Japanese Kraut obscurity originally released in 1975 on Voice Records. Brast Burn are often linked with Karuna Khayal, with many aficionados concluding that they were actually the same band. Whether this is true or not remains an unsolved mystery, but one thing is for sure: Brast Burn’s one and only recorded outing left an indelible stamp on those who were to follow. Nurse With Wound’s Steve Stapleton thought highly of Debon and included it on his “legendary list” that appeared on the sleeve of his band’s 1979 debut album. Featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, Debon is an album that’s a must for headphones and for devotees of the likes of Faust and Can. A rare musical experience and a vital addition to any record collection. Features the original LP artwork.

ASH 3042LP

CAESAR, J.A.: Kokkyou Junreika LP (ASH 3042LP) 22.00
Gatefold LP version. Tokyo playwright, director and artist J.A. Caesar sprang to prominence in the early ’70s largely through his work with Shuji Terayama’s Tenjo Sajiki Theatre, specializing in vaguely sinister music reminiscent of a Hammer House Of Horrors soundtrack. 1973’s Kokkyou Junreika release, often considered Caesar’s finest work, was culled from the 5 hours of music written for the original play, distilled down to an album’s worth of ageless chants, Buddhist mantras, heavenly invocations and fuzztone guitar vamps supported by Caesar’s droning electric organ and the eerie female vocals of Yoko Ran, Keiko Shinko and Seigo Showa. An album that sits comfortably alongside early Ash Ra Tempel, Cosmic Jokers and Atem-period Tangerine Dream. Those that like their music with a healthy dose of gloom, look no further. Housed in a gatefold sleeve.


KAREM, UTO: Take Control 12″ (PLUS 8125EP) 11.00
Uto Karem returns to Plus 8 for his second release on the label. “Take Control” is a liquid track which builds in looped layers through piston-pumping percussion, upright beats and plenty of melodic drama. “All Over You” features a crisp, almost dry production style as various percussive elements flesh out a 4/4 techno groove. Hidden within each bar are some wooden-sounding hits and various melodic notes, all of which are heart-warming additions to a killer dancefloor groove.


Voices From The Lake is an intensely personal project borne out of the long-standing friendship between two Italian DJ/producers, Donato Dozzy and Neel. The project extends and deepens their explorations of ambient techno, with an emphasis firmly placed on the “techno” component. Listening to Voices From The Lake is an immersive experience, as the textured beats and carefully-crafted rhythms have a deeply hypnotic effect. The open, fluid structure of the music gives it an organic, natural feel, transporting you to more peaceful surroundings. With the music of Voices From The Lake there is a completely natural progression and flow, nothing is forced or hurried. The sounds develop and unfold at their own pace, creating a powerful sense of tranquility. The genesis of the Voices From The Lake album can be found in the mountains of Japan, where the duo made their live debut at The Labyrinth festival in 2011. This album recreates and refines that performance. For 2012, they are preparing a new live performance for a series of special shows.


EKOPLEKZ: Dromilly Vale EP 12″ (PUBINF 004EP) 19.00
“Five brand new emissions from Bristol’s premier electronicist Nick Edwards, alias Ekolplekz. Three-hundred copies only, no repress. Opening with a glorious ode to the founder and oldest surviving member of the BBC Radiophonic Workshop, ‘Dick Mills Blues’ we are deep inside a mournful place, lathered in digital vapour trails and infectious circuit-gunk. Soon drops a nod to King Tubby down Dromilly Avenue, sliding the biggest drums this side of Dub-Kingston, slowly dissolving in pure liquid drift. Rocketing onto the flip we are plunged into a headlong fizz of modular scorch with ‘Neutronik’ and into the fractal Chris & Cosey cabaret of ‘Jugglin’ For Jesus,’ before our heads are gently assaulted in wave after wave of gaseous Radiophonic noise with ‘Clayton Freak.’ Somewhere holed up inside these single-take, unique abstractions is the sound of pop-electronic, it beats roughly, strangely against the vinyl groove-wall, in sweet disharmony just waiting to be discovered by your stylus.”


KAVINSKY: Nightcall 12″ (REC 065EP) 14.00
Taken from the Drive original motion picture soundtrack. Since the film’s release, the YouTube video for “Nightcall” has climbed to over 11 million views, and has been on repeat across an expanse of playlists, always fueling the after-after party with the slow burn of glossed synth echoes. Now Kavinksy emerges from this late-night haze with the helping of friends, bearing a collection of covers, remixes, and second takes for yet another drive through the midnight hours. Remixes from Dustin N’Guyen and Jackson.

REELR 024-25CD

DEAN’S NINESENSE, ELTON: The 100 Club Concert 1979 2CD (REELR 024-25CD) 23.50
For the many friends and fans of the late saxophonist and composer Elton Dean, this poignant 2CD release is the debut presentation of a complete concert performance from Elton’s ensemble of Brit-jazz firebrands known as Ninesense. Elton Dean was a consummate musician, widely-recognized for his indelible sound and serpentine solos on alto sax and saxello. From his roots in the R&B styling of Long John Baldry’s Bluesology, through The Keith Tippett Group, Soft Machine, and Just Us, Elton founded Ninesense from London’s finest jazz upstarts: Alan Skidmore, tenor & soprano saxophones; Mark Charig, cornet & tenor horn; Harry Beckett, flugelhorn & trumpet; Nick Evans & Radu Malfatti, trombone; Keith Tippett, piano; Harry Miller, bass; Louis Moholo, drums. Joining Ninesense during their second set is American trumpeter Jim Dvorak. Throughout The 100 Club Concert 1979 Ninesense deliver staggering renditions of Elton’s magnificent charts, two of which, “Bounce” and “Marks” are hitherto unrecorded. Also unique to this concert is Nick Evans’ elegant “First Born.” Elton’s colorful compositions are cast across a harmonically rich canvas, and noteworthy for featuring each soloist in deep with the volcanic Tippet/Miller/Moholo rhythm team, amounting to an unfolding series of molten-hot trios. Thirty-three years later, it is simply extraordinary that Italian Riccardo Bergerone captured this exhilarating concert in stereo during his stay in London that winter. Ninesense: The 100 Club Concert 1979 includes Riccardo’s private photographs and personal notes, honoring the musician who remained his life-long friend — the great Elton Dean.

RT 1009CD

IMPROVED SOUND LIMITED: Engelchen Macht Weiter: Original Motion Picture Soundtrack CD (RT 1009CD) 17.00
This soundtrack to an obscure German sex comedy first appeared in 1969, and makes its long-overdue CD debut here. Written and performed by cult Krautrockers Improved Sound Limited, the music takes in experimental pop, blues, rock, jazz, funk and easy listening, with tape effects, phasing, distorted guitar and much more to keep you guessing throughout, and comes complete with background notes. Digitally remastered. Title translates to: “Up The Establishment.”

RT 1010CD

VA: Hell’s Angels ’69: Original Motion Picture Soundtrack CD (RT 1010CD) 17.00
Hell’s Angels ’69 is a cult biker movie concerning the efforts of two wealthy brothers to rob Caesar’s Palace in Las Vegas. Its rare soundtrack is a hip blend of jazz, ballads, pop and grooves that first appeared in August 1969. Digitally remastered. Features the full original artwork.

REL 3017CD

FORT MUDGE MEMORIAL DUMP, THE: The Fort Mudge Memorial Dump CD (REL 3017CD) 17.00
This quintet came from Walpole, Massachusetts, and boasted the powerful vocals of Caroline Stratton and the powerful guitar work of Dean Keady. Their sole album was produced by Michael Tschudin (The Listening, Cynara), and originally issued in March 1970. A taut blend of acid rock and ballads, it has been favorably compared to Jefferson Airplane and other leading psychedelic acts of the era. Digitally remastered. Features the full original artwork.

REL 3018CD

TAX, WALLY: Love In CD (REL 3018CD) 17.00
Recorded in the summer of 1967, at the height of The Outsiders’ Dutch popularity, this unconventional solo album finds Wally Tax abandoning raw rock and roll for a lush, romantic set of ballads. Only released in Holland and Germany at the time, it has gone on to become a considerable rarity. Digitally remastered and complete with background notes.


STEINVORD: Steinvord 12″ (REPH 212EP) 11.00
Rephlex knows virtually nothing about this artist. They discovered him via internet forum rumors. They know his name but are not allowed to disclose it. His location may possibly be Europe. They think he probably makes music using a computer, but they’re not sure. They don’t think he’s released anything before. One might say that it has elements of electroacoustic sound sculpture colliding with fierce drum and bass rhythms. It’s atmospheric future music, available on retro vinyl only for the foreseeable future.


VA: SID Chip Sounds: The Music Of The Commodore 64 CD (RER 013CD) 16.50
Compilation of music from classic Commodore 64 computer games. The 18 original pieces of music have been remastered for this release. When people talk about “Commodore 64 music,” it’s easy to forget they’re not talking about a musical style: they’re talking about a delivery mechanism. What that convenient phrase hides is the sheer amount of originality and creativity that went into creating the music for games on the Commodore 64. Included on this compilation is some of their most celebrated work, including music from games “Arkanoid,” “Comic Bakery,” “Last Ninja” and “Sanxion.” Influence in modern music is widespread. The sub genres of 8-bit, chiptune, gabba; the lo-fi sounds of DJ Scotch Egg, the rapid arpeggios of Rustie, Crystal Castles’ warped glitches and even the beats of international pop hits such “TiK ToK” by Ke$ha are all informed by developments made during the early years of home gaming. As relevant as ever, SID Chip Sounds: The Music Of The Commodore 64 is a vital collection for fans of remarkable electronic music, whether retrospective or modernist.


TERJE/SON OF SAM, TODD: Digital Dubplates 10″ (RB10-INCH) 12.50
Two previously digital-only tracks from the Running Back catalog on one split 10″ plate. Todd Terje’s picturesque ambient version of Ragysh’s antagonist “Snooze 4 Love” is backed up by Jack Plug’s (alias Chris Bishop) Supernatural (disco) Dub of Son Of Sam’s 1984 electro-punk punch “Nature Makes A Mistake.” Two for one, one for all and 500 copies for the world.


HOLTER, JULIA: Ekstasis CD (RVNGNL 014CD) 13.50
“Julia Holter’s second album,Ekstasis, is a collection of songs written and recorded across the span of three years in Los Angeles, California. Ekstasis marks a return to the playful searching of her 2007 Eating the Stars EP, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Holter’s songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Stars was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. Holter’s critically acclaimed debut album Tragedy (Leaving Records, 2011) embraced Stars strains of shimmer, but used sparser textures in a narrative context. While Ekstasis reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holter’s approach to crafting the songs of Ekstasis centered around what she describes as, ‘open ear decision: what seemed to sound best for that moment.’ This blindness to reverence unintentionally steers Ekstasis along the experimental pop spectrum most commonly associated to New York’s Downtown music micro-universe of the ’80s, specifically the works of Laurie Anderson and Arthur Russell.”


HOLTER, JULIA: Ekstasis 2LP (RVNGNL 014LP) 19.00
Gatefold double LP version with mp3 download. “Julia Holter’s second album,Ekstasis, is a collection of songs written and recorded across the span of three years in Los Angeles, California. Ekstasis marks a return to the playful searching of her 2007 Eating the Stars EP, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Holter’s songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Stars was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. Holter’s critically acclaimed debut album Tragedy (Leaving Records, 2011) embraced Stars strains of shimmer, but used sparser textures in a narrative context. While Ekstasis reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holter’s approach to crafting the songs of Ekstasis centered around what she describes as, ‘open ear decision: what seemed to sound best for that moment.’ This blindness to reverence unintentionally steers Ekstasis along the experimental pop spectrum most commonly associated to New York’s Downtown music micro-universe of the ’80s, specifically the works of Laurie Anderson and Arthur Russell.”


MR 76IX: Experiment Four CD (SKALD 029CD) 14.50
The mysterious Mr 76ix drops the fourth installment in his series of Hits of 76ix. This is an 18-track album that glides across acidic beats, melodic smak/garage drones and plenty of juice. Dip into this album and let it drop you in a place you just might like. Let it roll.


REFORMED FACTION: The War Against… CD (SOL 153CD) 11.00
2012 reissue of The War Against, housed in a slipcase no longer including postcards. Originally released in 2007. “It may be difficult for some to acknowledge, but the cold war is over. In its place: People. We have chosen to create new folk devils and to instill new, more insidious moral panics as a consequence. The War Against what or who? Reformed Faction is a new band featuring Robin Storey and Mark Spybey. The War Against… is their second CD, following Vota (KIanggalerie, 2006). This new album was cultivated from hours of improvisations made whilst watching Werner Herzog movies and drinking red wine. Spybey would record Storey and then manipulate the sounds, combining rough mixes of the pieces with sounds of his own. Although the most of the music was recorded over the course of a weekend, it took several months to assemble the album. Themes from the recording sessions were played in live concerts and then reworked for the final version of the album.”


REFORMED FACTION: I Am The Source Of Light, I Am Not A Mirror 2CD (SOL 165CD) 12.00
2012 edition, released as a double CD in a jewelbox with a 12 page full-color booklet featuring the work of East German artist Ira Tannheuser. Originally released in 2009. “Reformed Faction are Robin Storey and Mark Spybey. I Am The Source of Light, I Am Not a Mirror followed their 2007 Soleilmoon release The War Against, and is their third album. This is an homage of sorts, to the last 40 years of music making. Robin began as a guitarist, Mark as a drummer. Throughout their careers they have neither deliberately nor consciously eschewed the use of conventional instruments or traditional compositional techniques. They do not regard themselves as an ‘experimental’ band, preferring to leave the laboratory safe in the hands of physicists and technicians. A long time ago :zoviet-france: declared that they could, if they wished, create the perfect pop record or the archetypal country record. Both Mark and Robin were profoundly influenced by the music of rock bands in the seventies while boldly assimilating ideas from world music in the belief that all musical sources exist to be appropriated. In the same way, over the years, they have embraced technology. This is an homage of sorts, to the last 40 years of music making.”


REFORMED FACTION: The World Awake/11 Stueck 2CD (SOL 179CD) 20.00
“The World Awake/11 Stueck is a new double album from Reformed Faction, the duo of Robin Storey and Mark Spybey. The World Awake! was originally intended for a vinyl release and recorded from improvisations made on one day in November of 2009. 11 Stueck was compiled from improvisations made on December 1st 2009, with drummer Christian Alderson and bass player Oscar Ruiz Fernandez. The Austin Texas based musician Tony D’Oporto, aka Gnome, also appears on one track. The work references the writing of Henry Miller, in his aptly entitled essay, With Edgar Varese in the Gobi Desert. This first edition of The World Awake/11 Stueck is presented in a high-quality screen printed sleeve with printed slipcases for each disc. It is limited to 444 copies.”


RAPOON: Stray CD (SOL 181CD) 19.00
“Improvisational, acoustic, electronic, and artfully arranged, the music of Rapoon is the auditory manifestation of impressionism. Robin Storey paints his songs with small details and fleeting impressions that evoke a mood or place in the listener’s imagination. Stray opens with a simple recording of a women’s choir, then in the next two tracks Storey transforms and transmutes the voices, adding pastel tones and rough shadows until the original canvas has been completely repainted. The fourth piece sprinkles tropical songbirds over distant drones and off-world rhythms, moving east until again, after two more songs, an entirely different atmosphere has emerged. The last three songs take up half of the album, and include two long pieces that comprise entire worlds unto themselves, from bedrock to mountaintop. Transitory, ephemeral clouds of sound flow down imaginary frozen canyons, pouring across weathered rocks and running to windswept shores, carrying sand, pollen and promises of spring’s renewal. Taken together, the nine songs on Stray are as gorgeous as they are oblique and engaging. Stray is presented in lavishly printed CD slipcase and folder with vellum overwrap. In a world of generic music sold in dull packaging, the exquisite cover created for this CD makes it an object to treasure, yet it is typical of the high standards of Soleilmoon. This edition of Stray is limited to 333 copies.”


VA: New Orleans Funk 3LP (SJR 047LP) 25.00
2012 repress. “Triple vinyl version, very loud pressings. this is a definitive collection of New Orleans funk, featuring acknowledged masters of funk such as the Meters, Eddie Bo, Allen Toussaint and Lee Dorsey next to some of the earlier artists from the area who helped shape the meaning of funk (Professor Longhair, Robert Parker, Huey ‘Piano’ Smith). The album is also filled with many rare, sought after, and undiscovered funk tracks from artists like the Explosions, Marilyn Barbarin, Sonny Jones, Mary Jane Hooper, and many more. The album covers the period from the emergence of the New Orleans sound in the early 1960s through to the mid-’70s.”


VA: Jende Ri Palenge: People of Palenque 2CD BOX/DVD (SJR 254CD) 26.00
“Amazing three disc set of this film and music project made in Colombia. Filmmakers Santiago Posada and Simon Meija arrived at Palenque, near the Caribbean coast of Colombia to record the music of the area and to make a documentary film about the people of Palenque. Palenque is a central location for Afro-Colombian culture, the location of the first free slave (or Maroon) community in the Americas. With its own unique style of music and language, heavily influenced by its African heritage, it holds a unique position and is today proclaimed by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. The film-makers built a studio in the town in order to record the highly percussive roots music that mixes African and Latin in equal flavors. Once back home they enlisted a select number of like-minded electronic, house and dubstup artists to produce a second disc of remixes – including Osunlade, Mattias Aguayo, Kromestar and others to interpret the original works. This set includes the DVD, a CD of original music and a CD of remixes. It comes in a stunning three case box set with sleeve notes about the project and the history of Palenque and exclusive photography.” DVD is double sided, so NTSC on one side, PAL on the other, both region free.


EDZAYAWA: Projection One CD (SNDW 035CD) 15.50
Digging deeper into the 1970s Nigerian rock scene, Soundway are excited to announce the release of Edzayawa’s first and only LP Projection One. Originally released in 1973 by EMI Nigeria, Projection One came out at a time when Osibisa and Fela’s influence was being felt across West Africa, and was the young Ghanaians’ band attempt at creating something unique and distinctly African. Re-issued here on CD for the first time outside of Nigeria, the album sounds as exciting and unrivaled today as it did 35 years ago. Writing songs with a heavy rock influence but also a distinctly African feel, Edzayawa wrote dark and deeply philosophical tracks with strong traditional themes far removed from the sweet love songs many of their contemporaries were writing. The majority of their songs were based around a 6/8 rhythm, influenced by the Ewe people originating in the South East of Ghana. With their new repertoire, they headed off to Lagos, Nigeria with hardly any money in their pockets and no instruments. They headed straight to Tommy Benson’s club, son of the legendary Nigerian entertainer and musician Bobby Benson, and got a gig playing at The Caban Bamboo in return for one hotel room between the four of them. Constantly searching for an adventure, they headed to Fela Kuti’s Kalakuta Republic. After waiting two hours for an audience with Fela, they were led through to meet him. There they had a long talk with Fela and eventually got asked to play at The Shrine. At the time Joni Haastrup’s MonoMono were playing at The Shrine, too, coming on after Edzayawa and before Fela’s Africa 70. It was during this time the band recorded Projection One in EMI Studio Lagos. Recorded over two days, the album was to be their only release. Projection One never got a release in their home country of Ghana — the only copies that made it into the country were the few that the band took back themselves. Soundway release Projection One remastered and accompanied by liner notes that contain the reminiscences of band leader Nana Danso (who subsequently founded and now runs the Accra-based Pan African Orchestra).

SP 014LP

FALSINI, FRANCO: Cold Nose LP (SP 014LP) 20.00
Franco Falsini is an Italian musician and producer perhaps best known for his work with his space/prog-rock group Sensations’ Fix, who released seminal albums in the 1970s. His music was primarily crafted with impressive guitar technique (proven to be way ahead of his time), various synthesizers, and unorthodox recording methods to churn out beautiful experimental psychedelic sounds. Cold Nose was his debut solo outing, originally released on Polydor in 1975 as a soundtrack to a film that has never been widely released and has only been seen by very few people. Falsini applied many experimental methods to his recording process, including a mechanism borrowed from the Bio-Electronic Meditation Society, which would monitor his brain activity in the studio. Only when his brain would produce Alpha/Theta waves would he begin to write and commit his music to tape. Composed in three suites of spiraling and kaleidoscopic proto-ambient psychedelic rock, Falsini had created a masterpiece that today stands as one of the all-time treasures of the Italian progressive music scene of the 1970s. Throughout the recording, we are treated to gentle washes of EMS and Minimoog synthesizers laced with floating guitar line melodies that break out into sky-high guitar leads. Cold Nose is a rare and gorgeous organic creation, glowing with colorful pulses and morphing algorithms. Spectrum Spools is pleased to present the first pressing of the album in over 30 years, remastered by Falsini to his specifications from the original tapes and cut to vinyl at Dubplates and Mastering, Berlin. Original record jacket scans by Devon Dagworthy.

SP 015LP

HUMAN TEENAGER: Animal Husbandry LP (SP 015LP) 20.00
Animal Husbandry is the result of absolute, genuine obsession: a devotional masterwork with song craft, exquisite production and aesthetics regarding the ultra-damaged times we live in, all in perfect harmony. Burrowed away in private studio sessions over the course of a year, Human Teenager have emerged with a profound and colorful masterpiece. Like Chrome before them, the effects of a carbon copy community of lemming rock groups were avoided and ignored, and the vision of creating a pure, singular work was achieved. Rarely does an album with complex structure and abstract tendencies sound as organically catchy as this. The duo spawn a brand-new sound that ranges somewhere between Ilitch’s 10 Suicides to the work of The Cleaners From Venus. To be clear, however, it would be impossible to plaster genre descriptors onto an album with such enormous scope. Terms like “synth-pop,” “rock and roll,” “punk,” et cetera, can all be applied on a surface level, but at the end of the day, it’s none of and all of these things at the same time, more or less. Few projects are able to create and exist in a personal universe that hits the nail right on the head the way Animal Husbandry does. From “Fourth Reich,” the album’s opening cut, it’s very apparent that Human Teenager has created an album that you will not be able to stop listening to with its wildly-morphing vocals, strafing synthesizer arrangements, and prismatic guitar detail. Police, The New World Order, YouTube, New York; it’s all a drag, and Human Teenager captures the horrors of everyday life in “the future” and holds them hostage. Spectrum Spools is very pleased to present you with an instant classic. Mastered and cut by Rashad Becker at Dubplates and Mastering, Winter, 2011.


GENERAL STRIKE: Danger In Paradise LP (STAUBANA 010LP) 17.00
General Strike’s legendary album from 1984, for the first time available on vinyl and as a download. Fully remastered by David Cunningham. These recordings were originally released on cassette by Touch in 1984 with the exception of “Parts Of My Body,” released on a single by Canal Records in 1979. Performed by: Steve Beresford (bass, piano, Farfisa organ, Prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit), David Toop (guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks), David Cunningham (tape treatments) with guests: Lol Coxhill, Dawn Roberts and Maartje Ten Hoorn. “The atmosphere which General Strike conjures together suits an old-fashioned, Cold War-ish scenario of technology. Their ‘Interplanetary Music’ is the space-pop of George Pal and The Day The Earth Stood Still, of computers built like Blackpool Tower in order to struggle through simple trigonometry, of The Jetsons and I.G.Y. They go no further than Expo ’67, the world’s last gasp of optimism. And although there are dark and disquieting moods set in this mosaic which their listeners have pieced together, it is made with a humor which is true to the spirit of adventure which those references apply. The sanitation merchants who make up most of the world’s record-makers today would forbid our ears from hearing these strangely electric keyboards, earthworked textures, bizarre chatterings of percussion, and voices that seem like puzzled robots. Cataloguing the sound in that way makes it all seem a bit of a joke, but it isn’t: laughter is encouraged, but it’s serious music, made with a great deal more serious spirit than the great and disheartening mountain of music which today implores you to hear and not listen.” –Richard Cook


“Obscure recordings from a lost session featuring Larry Young Jr. Officially licensed and released on a 400 only vinyl run.”


UNKNOWN: Story #6 12″ (STORY 006EP) 12.00
After keeping quiet for a year, the mysterious Story label proves within three chapters that there still remains fresh and exciting yarns in house music worthy to be told. Swinging beat structures masterfully lined and interwoven with melancholic organ chords and sketches of blissed-out Rhodes melodies.

K7 300LP

VA: DJ-Kicks: The Exclusives 2LP (K7 300LP) 23.50
Gatefold double LP version with 8 tracks from the CD. Artists: Four Tet, Henrik Schwarz, Hot Chip, The Juan MacLean, Soul Clap, Motor City Drum Ensemble and Gold Panda. “Not for nothing was DJ Kicks once named ‘the most important DJ mix series ever’ by dance music bible Mixmag. In the 17 years since it started in 1995 with CJ Bolland’s scene-defining techno set, via landmark releases by Kruder & Dorfmeister, Smith & Mighty and Kemistry & Storm, it’s established a reputation for quality, forward-thinking mixes by dance music’s big names. That’s a statement that holds just as true for the last five years, which has seen UK synth poppers Hot Chip, New York retro-futurists The Juan MacLean and London dubstep icon Kode 9, amongst many others, add their weight to the franchise. A big part of DJ Kicks idea is the exclusive track on each album: every artist doing DJ Kicks has to write and include a piece of music that’s not available anywhere else. The second Exclusives album, follow-up to the first collection released in 2006, collates all fourteen of those DJ Kicks-only moments from the last five years.”

SF 066LP

GROUP DOUEH: Zayna Jumma LP (SF 066LP) 22.00
LP version of Group Doueh’s record Zayna Jumma. From the gorgeously cracked yet all-embracing opening drum roll of “Zayna Jumma” (the title track), it’s evident this band is hell-bent on redefining the sound of its influences and in turn, shape the future sound of its surroundings. It’s musical alchemy in its purest, most remarkable form, pushing at the boundaries of geographical divergence while simultaneously speaking to the shared resonances between Western rock rhythms and the pulse of the Saharan trance tradition. Since its inception, Group Doueh’s ability to craft pop hooks from a foundation of saharoui roots music has been a manifestation of sheer song craft and innovation. The tracks on Zayna Jumma are a deeper excavation of the group’s forged terrain: a collision of contemporary Afro-Saharan grooves balanced with the searing modalities of Doueh’s desert origins, finally nuanced by the transcendental pop/rock/desert blues elements honed from gestating in the fringes of the Sahara desert. For the latest installment of this Dakhla family’s musical dynasty, Doueh recruits his next eldest sons El Waar (synth) and Hamdan (drum kit), and wife Halima is augmented by three female back-up singers. The band keeps evolving and this album reveals its newest phase — that of a formidable ROCK unit. The songs on this record were recorded in 2010 — a busy year for Doueh, maintaining its day job as the go-to group of the Saharan wedding industry while still managing recording sessions and a tour with Tony Allen (Fela Kuti’s long-time drummer). On the heels of this momentum, Zayna Jumma is released to coincide with the group’s 2011 spring/summer tour of the UK, Europe and a first-ever U.S. tour. This band continues to redefine the musical landscape and keep listeners amazed and transfixed. It’s the perfect ecstatic music for the impending apocalypse, a rogue sound rooted in the past and yet boldly harnessing the aural possibilities of the landscape ahead… go ahead and jump aboard. Recorded on location in Dakhla, West Sahara in 2010 by Hisham Mayet. Housed in a full-color heavy-duty gatefold tip-on jacket.


KALKBRENNER, FRITZ: Here Today, Gone Tomorrow 2LP (SUOL 001LP) 21.00
Gatefold double LP version. This is the debut album by Berlin vocalist/producer Fritz Kalkbrenner, the man with the unmistakable voice. Kalkbrenner isn’t new to the business. His voice is heard on longplayers by artists like Alexander Kowalski, Chopstick & Johnjon and Sascha Funke. Also “Sky & Sand,” the theme of the movie Berlin Calling was written and produced by he and his brother Paul Kalkbrenner, putting him right into the spotlight with numerous top ten chart entries around the globe. Over the last two or three decades, techno has repeatedly returned to its soul roots, and Kalkbrenner has been right there for it from the beginning, turning techno into liquid soul with his god-like vocals. On Here Today Gone Tomorrow Kalkbrenner doesn’t hold back on the soul, either, with a wonderfully silky, sophisticated techno album. Like any good pioneer, Fritz Kalkbrenner knows how to mediate between the various musical poles that are in constant need of reconciliation. The instrumental pieces, like the vocal numbers, come across as well-structured little stories, while the vocal tracks adeptly avoid drowning the dancefloor in a flood of self-pitying, melancholy tears. With the two spectacular hits “Facing The Sun” and “Sideways & Avenues,” the dark “Was Right Been Wrong” and the country-esque “Right In The Dark,” Fritz effortlessly pulls enough pop music aces out of his sleeve for the rest to feel right at home in the club world, always finely balanced between techno that equally rocks but also swings; sounds that are unmistakably in the family of or are mildly related to the opulent, enchanted moments we know from Sascha Funke or Superpitcher. Lavishly sprinkled throughout the album, the listener also finds little beat miniatures that remind one of Kalkbrenner’s socialization with hip-hop icons like Eric B. & Rakim, KRS-One or the Wu-Tang Clan. This is an altogether diverse album, full of sophistication, soul, and swing.


B-TRACKS: Come Back 12″ (SUPPLY 002EP) 12.50
B-Tracks aka John Barera and Soren Jahan present their second release on their own Supply Records imprint. The title track opens the EP with a grooving, stripped-down house cut for the dancefloor. “The Next Step” rounds out the A-side with a driving piece of deep house and techno music. On the B-side, “When The Time Comes” is a raw, barebones techno track with analog soundscapes. “Crisis” finishes on an upfront melodic note.

FL 4078CD

GUBAIDULINA, SOFIA: The Complete String Quartets CD (FL 4078CD) 17.00
“Sofia Gubaidulina, one of the most distinct composers of the present time, says of herself that she is ‘a daughter of two worlds, whose soul lives in the music of both the West and East.’ From her father’s side, her life was entered by the world of Islamic culture, while her mother introduced her to Christianity, in which she found her identity in the Orthodox faith. Her quest for a singular style was strongly influenced by the legacies of J. S. Bach and Anton Webern, as well as Dmitri Shostakovich, who encouraged her to remain herself and ‘continue down the mistaken path’ for which she was criticized by the guardians of aesthetic correctness in the Soviet Union. Gubaidulina’s personal story is one of a struggle to live in truth, conducted with calm, patience, perseverance and inner conviction. The five string quartets represent a singular journey towards a vision of freedom beyond the borders of any system: she extracts the material from beyond major-minor tonality, using micro-intervals, serial techniques, aleatory elements, unusual playing methods, thus revealing previously unthought-of acoustic possibilities of instruments, including the space itself, the movement of musicians, etc. The Stamic Quartet, an ensemble representing the famous Czech quartet school, is an attentive interpreter of the first complete recording.”


ELEH: Homage To The Pointed Waveforms LP (TAIGA 018LP) 25.00
Homage To The Pointed Waveforms is the final release in a series dedicated to specific sound waves. Following Square (2008) and Sine (2009), …Pointed Waveforms explores composition with triangle and sawtooth waves through studies of a dense modular system. Variations were performed live in Barcelona, Brussels and Madrid during spring 2011, but this LP is the next step. Side A contains a version of the piece that was conceived for the shows, which evolved during the three performances as it was continually reworked. Mixed with travel memories, the two tracks on side B are reflections on the arrangement. Presented as a hand-numbered edition of 500 direct metal mastered 200 gram virgin vinyl LPs in custom two-color letterpress jackets designed by John Brien. Note: This release was significantly delayed by a manufacturing anomaly. Distortion on track 1 of side B proved to be exceptionally difficult. After months of consulting with experts, test cuts and multiple remasters, the same phantom signals kept materializing. Regarding the situation, after much struggle, one cutting engineer said, “this is a problem of the audio itself, its structure and the specific combination of frequencies.” A tough decision had to be made; either release a one-sided record or a two-sided record where the B-side is a collaboration between Eleh and an unknown phenomenon. The resolution to fraternize with the limitations of vinyl cutting/playback and accept the intermodulation was made after much trial and error. Hopefully, without a direct comparison to the master recording, the distortion will go unnoticed by most listeners. Despite being created with analog synths, the clean transfer of this recording to LP proved onerous and the results bypass the periphery of the medium. Last copies, now deleted.

TR 225CD

HELLSONGS: Long Live Lounge CD (TR 225CD) 17.00
Hellsongs are a Swedish lounge metal band. They’re famous around the world for their outstanding cover versions of metal and hard rock songs. Once you’ve heard their versions of Iron Maiden or AC/DC you will NOT forget them. This is especially true seeing the band perform live. Long Live Lounge is a very special live performance recorded in their hometown of Gothenburg with members of the Gothenburg Symphony Orchestra. This recording features Hellsongs’ take on classics like Metallica’s “Seek & Destroy,” Black Sabbath’s “War Pigs,” Alice Cooper’s “School’s Out,” Twisted Sister’s “We’re Not Gonna Take It,” Slayer’s “Skeletons Of Society” and more. It was a legendary moment in the history of Swedish lounge metal. And a special night for the band, who described the Gothenburg Symphony as “monster musicians.”


KARANTAMBA: Ndigal CD (TBCD 015CD) 19.50
Teranga Beat proudly presents Bai Janha alias “Sweet Fingers” and his psychedelic steamroller, Karantamba. Composer, arranger, guitar player in Guelewar and Ifang Bondi, Bai Janha is undisputedly the most important musician to have come from Gambia. Band leader of the groups Black Star, Whales Band, Fabulous Eagles and Supreme Eagles, founder of the group Alligators who later became Guelewar, Bai is the one who created the unique psychedelic sound in the region of Sene-Gambia, mixing traditional compositions with soul. His musical innovations contributed to the domination of Afromanding music in West Africa for more than a decade. This record presents Bai Janha with his last group, Karantamba, a school for young musicians, in a totally unreleased recording, recorded in Thiès (Senegal) at “Sangomar” Club in 1984. The double gatefold LP’s liner notes and CD’s booklet include more information and photographs, outlining the living legend’s musical career and the wicked percussive rhythms and compositions of this album.


VA: Ililta! New Ethiopian Dance Music CD (TERPAS 018CD) 11.00
“Compilation of two dance tracks on one CD. A continuation of Konkurrent’s 2011 issued Ililta CD, a compilation of this new Ethiopian dance music, recorded with a new generation of singers over the last decade. A cross-selection of the production work of Mesele Asmamaw & some of his close colleges. This new offering was recorded during one of The Ex’s musical exchange projects in Ethiopia and mixed in Amsterdam by the two members of The Ex.”


“The Ex have been going to Ethiopia for quite a while, making connections with many adventurous musicians on many adventurous projects. The evening before the latest project was about to leave Addis, Mesele Asmamaw, Paal Nilssen-Love & Mats Gufstafsson wanted to record. After a week full of sensational cooperation and excitement, they had something to say. In room 101 of the Baro Hotel, some microphones were set up and an hour later it was ready. ‘Unheard music.’ A krar, a baritone-sax and drums. Free improvising. Recorded Februari 27, 2010, in room 101 of the Baro Hotel, Addis Abeba, Ethiopia.”


At long last the rarest and most peculiar of all Radiophonic Workshop albums is available. Originally issued in 1969, The Seasons has become almost mythical over the last few years. With its mix of unexpected electronics, percussion, tape manipulation and austere poetry, it sounds like no other. The Seasons has also become a major influence on bands such as Broadcast and a key reference in the development of Ghost Box and the whole “hauntology” soundscape. It is seen and heard very much now as an important and lost classic. And after over one year of detective work and rights investigation (which is a lot in this modern world of instant communication), this impressive, strange and wholly unique album is seeing the light of day once again. Originally made as part of the BBC’s Drama Workshop broadcasts, this album was meant for educational purposes. Coming in the later period of what is commonly known and remembered as “Music and Movement” or “Movement and Mime Classes,” the album was issued briefly as a teaching aid for the modern thinking 1960s classroom. The idea was to play the album and get the school children to dance, improvise, think and create to the sounds and words. The music was originated by one of the early pioneering Radiophonic musicians, David Cain. Very little of his music has ever been made available (except on the classic BBC “pink” album) but to some followers of early British electronics, he is the forgotten master. And for this release he has been interviewed by Julian House (The Focus Group) with a fascinating Q&A, which will appear in the new sleevenotes. As for the poet Ronald Duncan, he is now deceased, but had an interesting and inspired life. A born pacifist, he famously wrote the libretto for Britten’s opera The Rape Of Lucretia, wrote the script for Girl On A Motorcycle, and started the English Stage Company at the Royal Court Theatre. His poetry was published by Faber And Faber by T.S. Eliot, who became a friend. Duncan’s 16 featured poems were specially written in 1969 just for this project. The album sold in tiny quantities when it came out and was quickly deleted by the BBC. Even the BBC Archive doesn’t have a copy. In fact the album’s scarcity has only added to its mythical status. A handful of originals started appearing in bargain bins throughout the mid-1990s, and as interest in British electronics and the Radiophonic Workshop started to grow, the album’s reputation began to gain a little momentum. The album rarely surfaces, but Jonny Trunk and fellow collector Martin Green found three copies at back in about 1998, one of which was passed on to Jarvis Cocker. Jarvis has subsequently played a track at the start of each month (“January” in January etc.) on his 6 Music radio show over the last year. The album also appeared on the Trunk Recommendations pages back in the Spring of 2003 and as a result requests to hear the album started slowly coming in. These requests became regular, and the album started popping up on want lists, on blogs, even on YouTube. Prices for original copies of the album then started to hit three figures. So, in 2010, Jonny Trunk started looking into a reissue. It has taken one and a half years and has been a labor of love for all involved. Sleevenotes include contributions already mentioned, a piece by Jon Brooks (The Advisory Circle), and Trunk has even traced two of the four mysterious slides mentioned on the original sleeve, that could be ordered back in 1969 via the BBC as a further aid to dance and projection. These slides are featured in the CD booklet. Also worth noting is that this album has been remastered from the original Radiophonic Workshop tapes.


FIELDS, LEE: Faithful Man CD (TSCD 018CD) 18.00
“Since the late sixties Lee Fields has amassed a prolific catalog and has played and toured with such legends as Kool and the Gang, Sammy Gordon and the Hip-Huggers, O.V Wright, and many more. With a career spanning 43 years, it’s mind-blowing that the music he’s making today with Brooklyn’s Truth & Soul Records is the best of his career. While drawing comparisons to the Moments, the Delfonics, the Stylistics, and–of course–James Brown, Faithful Man is able to create a space of its own due to the group’s desire to interpret and further the formulas of good soul music rather then imitate them. Chalk that up to Truth & Soul producers and co-owners Jeff Silverman and Leon Michels. These are the same individuals that co-wrote, produced, and played on Aloe Blacc’s global smash ‘I Need A Dollar,’ and have provided the back drop for records by Adele, GhostfaceKillah, and Jay-Z to name a few.”


FIELDS, LEE: Faithful Man LP (TSLP 018LP) 20.00
LP version with digital download card.


ZZT (ZOMBIE NATION & TIGA): Work Pt. II (Norman Nodge/The Advent) 12″ (TURBO 118EP) 12.00
Turbo Recordings presents a second pack of killer remixes of ZZT’s “Work,” off the Tiga/Zombie Nation supergroup’s Partys Over Earth (TURBO 033CD/LP) — featuring The Advent & Spiriakos, Norman Nodge and Gingy & Bordello. It fills us with a profound, seething rage to think that anyone doesn’t worship The Advent. Here he teams with Spiriakos to convert any stragglers. Meanwhile, real-life lawyer Norman Nodge uses his autogenic training to create a track that’s elegant and hypnotic. Gingy & Bordello showcase another step in their evolution.


GESAFFELSTEIN: Conspiracy Remixes 12″ (TURBO 119EP) 12.00
Gesaffelstein presents his first Turbo remix package. Dave Clarke as Unsubscribe summons the demons of an evil warehouse exorcism on his remix of “Aufstand.” Brodinski pushes “Viol” into straight-up party-zone material, adding vocal samples, festival breakdowns and a BPM upgrade. Milano’s remix of “Opr” is a raw chunk of heavyweight 909-driven techno. The Hacker delivers space-probing techno that climaxes in oxygen-deprived bass madness on his remix of “Conspiracy Origins.”


CLOUDS: Optic (Jesper Dahlback Remix) 12″ (TURBO 120EP) 12.00
Scottish lads Clouds are some of the most promising producers working today, combining brutish, visceral force with real intelligence and control. They use no gear whatsoever, crafting their bombs from malware in public chatrooms, giving voice to a generation living in the digital ether. For the remix, Clouds enlisted Jesper Dahlbäck.


PORTER RICKS: Biokinetics 2LP (TYPE 100LP) 25.00
2012 limited repress, blue vinyl. Techno isn’t a genre that has birthed many classic albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks’ debut Biokinetics. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12″s, Biokinetics was the first of the label’s album releases, and still stands as its crowning achievement. The duo was made up of dark ambient pioneer Thomas Köner and sound engineer Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman. What separated Biokinetics from other albums at the time was its unwavering narrative — the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together — the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it’s hard to exactly put your finger on what makes it a classic. Simply put, Biokinetics is one of the most important records in the genre, and it is Type’s pleasure to make it available to the world once again. Cut at Dubplates & Mastering, Berlin.

VA 042EP

JEREMY & WALKER: Bedouin EP 12″ (VA 042EP) 14.00
“While jamming, we spoke of how nomads & Bedouins lived with a great lack of permanence and commented how DJs and musicians are similar. Eventually we jammed all night, developing the hook while Walker added detail and instrumentation.” — Jeremy P. Caulfield; “‘After The Eclipse’ evolved from a shared musical framework, causing the sketch to evolve fairly effortlessly. We passed sessions back and forth elaborating and then distilling.” –Walker Barnard; Remix from Avatism.

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